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It usually takes about about 2 1/2 minutes, the panels shifting gracefully in sequence like a ballet.Ī recent concert led by Finnish conductor Mikko Franck used two settings: the small orchestra, or Mozart, configuration for a piece by Einojuhani Rautavaara and the Mendelssohn Violin Concerto with Midori, and the full orchestra setting - the panels are higher and flatter - for Sibelius' "Four Legends." Study reveals for the first time that hearing loss and tinnitus is common in cancer survivors.Here's what we know about the stunning clifftop California castle Brad Pitt just bought for $40 million.Horoscope for Wednesday, 7/27/22 by Christopher Renstrom.William Shatner leaves wallet at popular fruit stand in Gilroy.'Family Guy' guy Seth MacFarlane is a Nancy Pelosi megadonor.Warriors' Steph Curry buys $2.1 million Central Florida home.Etsy announces plans to close its San Francisco office.
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They're controlled by a computer in the electrician's office, where Jacobs or an associate watches the stage on TV monitors and adjusts the canopy between pieces, as needed, while the stage crew makes changes. The changes you make could be very subtle, yet they have a lot of effect."Įach panel, which weighs about 111 pounds and can tilt, roll and move up and down, hangs by four 1/8-inch wire cables connected to one of 59 computer- rigged winch machines in the attic. By lowering the first six rows of panels three feet, "the reflection time was less, and the string sound was shaped harder and pushed out into the hall. "He wanted more presence from the strings into the auditorium, so we wound up lowering the front parts of the canopy," says Jacobs, demonstrating the system the other day in his office behind the Davies lighting booth. "He wants something a little different, not the stock file footage, if you will."Įarly on, the maestro attended a chamber recital at Davies featuring cellist Yo-Yo Ma and loved the way the strings sounded. For Mahler's Sixth, the panels above the timpani and low brass come down a bit because Thomas wanted "to try to get some more punch out of that," Jacobs says. 6 full orchestra setting, for example, there's the "MTT" No. When Music Director Michael Tilson Thomas took over in 1995, he began tweaking the settings to achieve the sounds he wanted.
The basic settings were created by Kirkegaard (known to some as the existential acoustician) and former Symphony maestro Herbert Blomstedt. "Now we can tailor the canopy to the ensemble and provide more immediacy to the musicians and the audience," says John Kieser, the Symphony's director of operations and electronic media. The musicians couldn't respond well to one another because they couldn't clearly hear what others were playing. They didn't stop the sound from sailing up 63 feet to the ceiling, where it took too long to bounce back. Originally, there were 19 oval reflecting dishes suspended above the stage - they looked like giant contact lenses - but they were inadequate. The panels were the first step in that renovation, which greatly improved the hall's sound. The $850,000 canopy was conceived by acoustician Larry Kirkegaard, who worked with the Symphony on the $10 million renovation of Davies in 1992, the primary goal of which was to improve the hall's notoriously spotty acoustics.
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