history of sound recording
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The acoustics are great in there for a jug band.
Here's my favourite bit of jug band music from one of my fave bands The Dead South..
maps.secondlife.com/secondlife/Whimberly/150/194/28
The acoustics of this season are different and all sounds, no matter how hushed, are as crisp as autumn air. -Eric Sloane-
Sing with me! You are my fire....my one...desire.....believe....when I say...... (Dedicated to my Uncle Cypher who sings this song all the time when he Djs)
A very uncomfortable bench but wonderful acoustics in this former limestone quarry atop Sorin's Bluff in Red Wing, MN
Happy Bench Monday
Doppler effect: acoustics and optics!
Dopplereffekt: Akustik und Optik.
Information about Austrian physicist and philosopher Ernst Mach: "wikipedia English"
Österreichischer Physiker und Philosoph Ernst Mach: "wikipedia Deutsch"
Glas: Rosenthal Studio Line Serie Papyrus Design Michael Boehm, Gravur am Fuß
Part of: "Weaving Diary Tapestry Aktion Tagebuch Teppich Tapisserie Tagebuch weben 365 days project 2: 2015 2016" 19. Februar 2016 - timeline zeitliche Abfolge golden thread goldener Faden: 1. 1. - 17. 1.. red thread roter Faden18. 1. - 9. 2., led lichterkette: ab 10. 2. Fastenbeginn - Esoterik Entlarvung Lichtnahrungsprozess // "res noscenda note notiz sketch skizze material sammlung collection entwurf design entwurfarbeit überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau" blauer Zweigelt ist rot / Stillleben in der blauen Spiegel Küche, still life in the blue mirror kitchen
19. Februar 2016 #lebensmittel #food #essen #trinken #wein #wine #eat #fasten #nahrung #nahrungsmittel #morgen #abend #nacht #color #colour #farbe #färben #dye #cotton #baumwolle #schafwolle #wollefärben #pflanzenfarbe #pflanzenfärberei #färbepflanzen #winter #leiermann #leier #line #linie #draughtsman #problem #stille #silence #improvisation #handwerk #weben #leere #lehre #inhalt #form #aufzeichnen #loom #webstuhl #bau #construction #öffentlich #rede #einblick #anblick #weiß #white #work #arbeit #schaubild #linear #idee #konzept #überlegung #gedanke #unterlegung #private #privat #privateness #metapher #symbol #analogie #bilderzyklus #tapis #tapiz #tapistura #wandteppich #bildwirkerei #bildteppich #textilkunst #werkstatt #webatelier #küche #kitchen #carpet #teppich #rug #szene #scene #review #preview #heute #beobachtung #view #blick #hirn #gehirn #gehirnwindung #darm
"A few days ago I walked along the edge of the lake and was treated to the crunch and rustle of leaves
with each step I made. The acoustics of this season are different and all sounds, no matter how hushed,
are as crisp as autumn air."
Eric Sloane
textures thanks to Pongo 2007
Eine meiner ganz alten Akustik-Gitarren. Sie ist sehr schwer zu spielen .. aber sie hat einen unwiderstehlichen Charme.
One of my very old acoustic guitars. It is very difficult to play .. but it has an irresistible charm.
This is Big Hogan alcove / amphitheater. We are south of Thunderbird Mesa on private Tribal land. Oftentimes the Tour Guides will play Navajo flute and drums and sing traditional Navajo songs. The acoustics are excellent and the setting is spectacular. There is a big hole in the roof and you can see the light on the wall.
This is the view looking out from inside the alcove.
naturalarches.org/gallery/AZbighogan.htm
Big Hogan is a cave natural arch eroded in DeChelly sandstone. It is located very close to Moccasin Arch. It is one of several nice arches which are included in the commercial Monument Valley tours that go to the area south of the self-guided loop drive. This arch is within the boundaries of Monument Valley Navajo Tribal Park and a Navajo guide is required for any visitation.
en.wikipedia.org/wiki/Monument_Valley#:~:text=Monument%20...
Monument Valley (Navajo: Tsé Biiʼ Ndzisgaii, pronounced [tsʰépìːʔ ǹtsɪ̀skɑ̀ìː], meaning valley of the rocks) is a region of the Colorado Plateau characterized by a cluster of sandstone buttes, the largest reaching 1,000 ft (300 m) above the valley floor.[1] It is located on the Utah-Arizona state line, near the Four Corners area. The valley is a sacred area that lies within the territory of the Navajo Nation Reservation, the Native American people of the area.[2]
Monument Valley has been featured in many forms of media since the 1930s. Director John Ford used the location for a number of his Westerns; critic Keith Phipps wrote that "its five square miles [13 square kilometers] have defined what decades of moviegoers think of when they imagine the American West."[3]
Diné bizaad: Tsé Biiʼ Ndzisgaii, which roughly translates to the valley of rocks.
navajowotd.com/word/tse-bii-nidzisgaii/
Navajo Nation 2025
South Clerk Street, Edinburgh, Scotland
Architect: Robert Brown (1823–24)
Original use: Hope Park Chapel of Ease
Conversion architect: Larry Rolland, Robert Hurd & Partners (1978–79)
Opened as The Queen’s Hall: 6 July 1979
Architectural style: Georgian Neoclassical
Listed status: Category A
Audience capacity: Up to 800 seated or 900 standing, depending on configuration
HISTORY — TWO CENTURIES OF PUBLIC LIFE
Standing prominently on South Clerk Street, The Queen’s Hall is one of Edinburgh’s most significant examples of the successful adaptation of a historic ecclesiastical building for modern cultural use.
Its origins lie in the rapid expansion of Edinburgh’s southern suburbs during the early nineteenth century. As the population of Newington and the surrounding districts increased, additional accommodation for public worship became necessary.
The building was commissioned as Hope Park Chapel of Ease, designed by Edinburgh architect Robert Brown, with construction beginning in 1823 and the chapel opening in 1824.
It was originally associated with St Cuthbert’s parish and provided worship accommodation for approximately 1,700 people — an indication of the scale of Edinburgh’s expanding population.
In 1834 the chapel became Newington Parish Church, acquiring a more independent ecclesiastical identity.
Following the union of congregations in the twentieth century, it became Newington and St Leonard’s Parish Church in 1932.
For more than 150 years, the building served successive generations of worshippers, until the congregation was dissolved and the church closed in 1976.
THE TRANSFORMATION INTO A CONCERT HALL
The church’s closure coincided with a growing need for suitable rehearsal and performance facilities among Edinburgh’s professional musical organisations.
The Scottish Baroque Ensemble, Scottish Philharmonic Singers and the recently established Scottish Chamber Orchestra were among those seeking a permanent or regular performance base.
The former church offered an unusually promising opportunity. Its generous internal volume, galleries and favourable acoustic properties made it particularly suitable for orchestral and chamber music.
A fundraising appeal was launched in 1977, ultimately raising approximately £850,000 for the conversion.
The architectural work was undertaken in 1978–79 by Robert Hurd & Partners, with Larry Rolland responsible for the adaptation.
The project retained the building’s essential Georgian architectural character while introducing the facilities necessary for a modern concert venue.
The Queen’s Hall was officially opened by Queen Elizabeth II on 6 July 1979, giving the building its present name.
It subsequently became particularly associated with the Scottish Chamber Orchestra and established itself as an important venue in Edinburgh’s year-round musical and festival programmes.
ARCHITECTURE — GEORGIAN CLASSICISM
The exterior is an impressive example of restrained Scottish Neoclassical architecture.
Unlike the elaborate Gothic Revival churches that became fashionable later in the nineteenth century, Robert Brown’s design draws upon the classical vocabulary of symmetry, proportion and architectural order.
The principal elevation facing South Clerk Street is constructed in dressed sandstone and arranged as a broad, symmetrical composition.
Its architectural features include:
* A central projecting pedimented section, establishing the principal axis of the building.
* A carefully ordered arrangement of tall, round-headed windows.
* Pilasters and strongly expressed horizontal stringcourses dividing the façade.
* A restrained classical entablature and parapet.
* A series of ground-floor entrance openings beneath the principal windows.
* A prominent central clock tower rising above the roofline.
The tower is the building’s most conspicuous architectural feature.
Its substantial lower stages rise into an open, columned belfry surmounted by a slender, metal-clad spire and finial.
The combination of a classical church façade and a tall steeple is characteristic of Scottish ecclesiastical architecture of the Georgian period, blending the architectural language of the classical temple with the traditional visual prominence of a parish church.
The tower also provides an important vertical landmark in the densely developed streetscape of Edinburgh’s Southside.
Although the building has undergone alterations and adaptation, its external architectural identity remains remarkably legible.
INTERIOR AND ACOUSTICS
The auditorium retains the essential spatial character of the former church.
Rather than a conventional theatre with a proscenium arch, fly tower and backstage scenery facilities, The Queen’s Hall is principally an open concert auditorium arranged around a performance platform.
The original ecclesiastical proportions contribute significantly to its character.
Its relatively intimate relationship between performers and audience is particularly appropriate for chamber orchestras, solo recitals, vocal performances and smaller musical ensembles.
The galleries, high ceiling and enclosed volume create a distinctive acoustic environment.
The building is widely admired for its clarity, warmth and natural resonance, qualities particularly valued in performances of classical and acoustic music.
Importantly, the conversion did not attempt to disguise the building’s ecclesiastical origins.
Historic decorative elements survive, including painted eighteenth-century religious panels depicting the Lord’s Prayer, Creed and Ten Commandments, transferred from the former Buccleuch Parish Church during the twentieth century.
An early nineteenth-century chamber organ, associated with the organ builder William Gray, also forms part of the hall’s musical and architectural heritage.
The result is an interior that retains the atmosphere of a historic place of worship while functioning as a concert venue.
TECHNICAL CHARACTERISTICS
The Queen’s Hall is a flexible performance space rather than a purpose-built opera house or conventional theatrical auditorium.
Its principal technical characteristics include:
Audience capacity: A maximum of approximately 800 seated, depending on sightlines and seating arrangement, or 900 standing.
Auditorium configuration: Adaptable for formal concert seating, standing events and cabaret-style arrangements.
Performance area: An open platform suitable for orchestras, chamber ensembles, soloists, amplified groups and spoken-word presentations.
Acoustics: A naturally resonant auditorium particularly suited to unamplified music, supported by professional sound reinforcement for amplified performances.
Lighting and sound: Modern concert lighting and audio systems allow the venue to accommodate a wide variety of musical and other performances.
Architectural limitations: As an adapted Georgian church, the building does not possess the conventional stage machinery, extensive wing space or fly facilities associated with a purpose-built theatre.
These characteristics have helped establish The Queen’s Hall as a versatile venue without sacrificing its historic architectural identity.
THE QUEEN’S HALL AND EDINBURGH’S FESTIVALS
Since 1979, The Queen’s Hall has played an important role in Edinburgh’s cultural life.
It is especially associated with the Scottish Chamber Orchestra, while its programme embraces classical music, jazz, folk, traditional Scottish music, contemporary music, rock, comedy and spoken word.
The venue also contributes to the Edinburgh International Festival, Edinburgh Festival Fringe and Edinburgh Jazz & Blues Festival.
Its comparatively intimate scale offers an alternative to Edinburgh’s larger performance venues, including the Usher Hall and Festival Theatre.
Among the internationally recognised performers who have appeared at The Queen’s Hall are Nina Simone, Nick Cave and Adele.
The building celebrated forty years as a concert hall in 2019, followed by celebrations marking its bicentenary in 2023–24.
ARCHITECTURAL AND CULTURAL SIGNIFICANCE
The Queen’s Hall is protected as a Category A listed building, having been designated on 14 December 1970, before its conversion to musical use.
Its importance lies in two complementary aspects of Edinburgh’s history.
Architecturally, it represents the expansion of Georgian Edinburgh beyond the Old Town and New Town into the developing residential districts of the Southside.
Culturally, its conversion demonstrates how an important historic building can be given a sustainable new purpose without losing the architectural qualities that make it significant.
The transformation from a nineteenth-century chapel into a twentieth-century concert hall was not merely an exercise in preservation. It created a new cultural institution while retaining the historic fabric of an established Edinburgh landmark.
More than two centuries after its construction, the building continues to bring people together — originally for religious worship and now principally for music and performance.
Photograph: The Queen’s Hall, South Clerk Street, Edinburgh, showing its symmetrical Georgian façade and prominent clock tower rising above the busy street.
The colour rendition of my Visual Acoustics VIII - New York City Sunrise image.
More colour work to come.
Facebook or any other photo sharing site on the Internet doesn't do justice to my panoramic images. Even more, no photo sharing site does do justices to my images at all. Best to see them live, for example at the Rotella galleries in NYC and Las Vegas where you can see my images in sizes up to almost 100 inches (2.5 meters).
My specific iSGM b&w workflow can also be used for processing color images. Want to know how: check From Basics to Fine Art - B&W photography- architecture and beyond that you can see here , written by me and co-author Julia Anna Gospodarou.
My images are processed to be printed large. A collection of my work can be seen as large format prints at the Rotella galleries in NYC and Las Vegas.
Each shot taken with the Formatt-Hitech Firecrest filters, totalling 16 stops per image and each image with a long exposure time of around 6 minutes.
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Doppler effect: acoustics and optics!
Dopplereffekt: Akustik und Optik.
Information about Austrian physicist and philosopher Ernst Mach: "wikipedia English"
Österreichischer Physiker und Philosoph Ernst Mach: "wikipedia Deutsch"
Glas: Rosenthal Serie Papyrus Design Michael Boehm
Part of "Weaving Diary Tapestry Aktion Tagebuch Teppich Tapisserie Tagebuch weben 365 days project 2: 2015 2016" 19. Februar 2016 - timeline zeitliche Abfolge golden thread goldener Faden: 1. 1. - 17. 1.. red thread roter Faden18. 1. - 9. 2., led lichterkette: ab 10. 2. Fastenbeginn - Esoterik Entlarvung Lichtnahrungsprozess - Pflanzenfarbe Wein // "res noscenda note notiz sketch skizze material sammlung collection entwurf design entwurfarbeit überlegung gedanke brainstorming musterbogen schnittmuster zwischenbilanz bestandsaufnahme rückschau vorschau"
19. Februar 2016 #food #essen #trinken #wein #wine #eat #fasten #audiotape #morgen #abend #nacht #color #colour #farbe #färben #dye #cotton #baumwolle #schafwolle #wollefärben #pflanzenfarbe #pflanzenfärberei #färbepflanzen #blut #tropfen #blutstropfen #schneewittchen #winter #leiermann #leier #line #linie #lineatur #warp #kette #tonband #draughtsman #problem #stille #silence #improvisation #raster #handwerk #haus #bauen #baustelle #hausbau #weben #leere #lehre #inhalt #form #aufzeichnen #loom #webstuhl #bau #construction #öffentlich #rede #einblick #anblick #weiß #white #work #arbeit #schaubild #linear #idee #konzept #überlegung #gedanke #hirn #gehirn #unterlegung #envelope #umschlag #kuvert #chrysalis #kokon #cocoon #private #privat #privateness #metapher #symbol #analogie #bilderzyklus #tapis #tapiz #tapistura #wandteppich #bildwirkerei #bildteppich #textilkunst #werkstatt #webatelier #küche #kitchen #carpet #teppich #rug #szene #scene #review #preview #heute #beobachtung #view #blick #hirn #gehirn
Die Rapp Gruppe entschied ihr Kompetenzfeld Gebäude mit Architekten, Tragswerksplaner, Gebäudetechniker und Industrieplaner in das aufstrebende Dreispitzareal umzusiedeln. Gewählt wurde das Transitlager, ein vom dänischen Architekten Bjarke Ingels in ein Wohn- und Geschäftshaus transformiertes, ehemaliges Zwischenlager für amerikanische Autos und Zigarren. Rapp plante und realisierte den Mieterausbau für 150 Arbeitsplätze als Open Space in den extrem langgestreckten 2. und 3. Obergeschossen.
Auf zweimal 114m Länge entstand eine Bürolandschaft mit grosszügigen, doppelgeschossigen Agoren, Sitznischen und gläserne Besprechungsboxen. Die Arbeitsplätze reihen sich entlang der durch die massiven Betonstützen rhythmisierte Fassadenflucht auf und profitieren von viel Tageslicht und Sicht auf den Freilager-Platz.
Der ursprüngliche Lagercharakter wird im lasierten Ortbeton und der offen geführten Haustechnikinstallationen spürbar. Einfache Grundmaterialien, wie die farblos behandelten Stahlgeländer und das geölte Seekiefer-Sperrholz, welches für verschiedene Einbauten und Abdeckungen eingesetzt wurde, setzen einzelne Akzente. Am Boden korrespondieren der sandfarbene textile Belag mit dem naturbelassenen Hartsteinholz-Belag der Agoren. Schwere Vorhänge, welche an klassische Wolltücher erinnern, dienen als temporäre Raumtrenner der zweigeschossigen Lufträumen. Die vollflächig mit Holzwolle-Akustikplatten belegten Decken, der Teppich und die schweren Vorhänge erzeugen eine sehr angenehme, gedämpfte Akustik. The Rapp Group decided to relocate its competence field Buildings with architects, structural engineers, building technicians and industrial planners to the up-and-coming Dreispitz area. The Transit Warehouse was chosen, a former interim storage facility for American cars and cigars transformed into a residential and commercial building by Danish architect Bjarke Ingels. Rapp planned and realised the tenant fit-out for 150 workplaces as open space on the extremely elongated 2nd and 3rd upper floors.
An office landscape with generous, two-storey agoras, seating niches and glass conference boxes was created over a length of two times 114m. The workplaces are lined up along the façade line, which is rhythmically structured by the massive concrete columns, and benefit from a lot of daylight and a view of the open-air warehouse square.
The original warehouse character can be felt in the glazed in-situ concrete and the open building services installations. Simple basic materials, such as the colourlessly treated steel railings and the oiled maritime pine plywood used for various fixtures and coverings, set individual accents. On the floor, the sand-coloured textile covering corresponds with the natural hardwood flooring of the agors. Heavy curtains, reminiscent of classic woollen cloths, serve as temporary room dividers for the two-storey air spaces. The ceilings, which are fully covered with wood wool acoustic panels, the carpet and the heavy curtains create very pleasant, muted acoustics.
world-architects.com
On a Balmy Summer Night before the performance :
The Acharnians by Aristophanes ~
[ Explored ]26 Jul.2015 #142
And thinking that :
" No man is rich enough to buy back his past ... " Oscar Wilde
~ The Theatre of Epidaurus was built in the 4th century BC ,by Polykleitos the Younger, according to the Phytagorean System-and is the best surving theatre from ancient Greece.It has amazing acoustics and sits in a canyon surrounded by pine trees.Love the view of the nearby mountains and the chirping sound of the nocturnal crickets that accompany the chorus ... ~
* “How many ages hence
Shall this our lofty scene be acted over In states unborn and accents yet unknown ... "
To You my very Special Flickr Friends :
www.youtube.com/watch?v=2CVO9Vd067U
Can't wait to visit your recent work before I go again ~ You know that Flickr has granted a respite to me,my friends ... lol
♥ Love to You All & Many Thanks for all your visits & your kind comments ♥
One of the delights of Bologna is discovering the many 'hidden' courtyards and little secluded gardens. I chanced upon one of them on my visit to the utterly wonderful International Music Museum and Library. Friar Giambattista Martini (1706-1784), the founder of this great collection and one of the first theorists of counterpoint, was himself not a foremost composer, although he did write lots of music. His strength lies in his great knowledge of the history of music and his inspired collecting of everything pertaining to that great art. The museum contains a wonderful gallery of paintings of composers and musicians, of manuscripts, scores and printed musical books, and lots of instruments.
The palazzo now the home to that collection has a long and complicated history and its decorations are quite marvelous and fit well with music. The second courtyard - the main photo - is utterly handsome with its plantation of bananas against a great frescoed landscape - much in need of restoration - by Luigi Busatti (1763-1821). Note the cymbal striker in the background. That reminded me of Psalm 150, of course. And hence it seemed appropriate to include as an inset a photo of the frontispiece - in the museum - of Marin Mersenne's (1588-1648) Harmonie universelle, contentant la thèorie et la pratique de la musique (1636). Mersenne is often called the 'Father of Acoustics', and besides being a well-known mathematician he also wrote on the harmonics of vibrating strings. Think Guitars and Pianos and Violins and the likes. Mersenne, a Minim friar, knew the Bible well, and on that frontispiece referred to Psalm 70, 22, to underwrite his Universal Harmony. The secluded garden is surely and image of that ideal.
Another one from the family album. Dr Clarion's legendary acoustics lectures were dreaded by generations of hung over students.
Oh, and as a late edit, take a look here. I saw this film a long time ago and this scene stayed with me.
We're Here: Silent Pictures
142/366
Symphony Hall
Boston, Massachusetts
Malcolm Lowe, Concertmaster of the Boston Symphony Orchestra, rehearsing before the concert on Saturday, November 21, 2015, featuring:
Andris Nelsons, conductor (and BSO music director)
Isabelle Faust, violin
Tanglewood Festival Chorus
J.S. BACH Komm, Jesu, komm! and Es ist genug
BERG Violin Concerto
SHOSTAKOVICH Symphony No. 5
The performance of Shostakovich 5 was recorded for a future release on Deutsche Gramophone.
I'm fortunate to have a world-class orchestra and concert hall just an hour's drive from my home. I've read that Symphony Hall is among the top concert halls in the world for acoustics, though I'm reminded of a quote I also read from the renowned German conductor Wilhelm Furtwängler who, when asked about the concert hall with the best acoustics, replied along the lines of "the one with the best performances."
View from the first row of the first balcony, using the railing as a tripod. This is a re-process of a color version I posted back in November. The color version was of interest at the time because the three exposed sections of the magnificent and recently renovated Aeolian-Skinner organ, Opus 1134, were illuminated preconcert and during intermission in blue, white, and red---in recognition of the Paris terrorist attacks that took place the previous week. (The BSO has a very strong French tradition.)
One. of the best acoustics that I have ever heard in a concert hall. The architecture is outstanding in every way, as is the performance of the Lahti Symphony Orchestra who are based here.
If you want to know how I processed this image, see some detailed outtakes, a bigger version and what my philosophy is behind this type of processing then head over to my blogpost here and for more in depth details I can recommend reading the book From Basics to Fine Art - B&W photography- architecture and beyond that you can see here , written by me and co-author Julia Anna Gospodarou.
My images are processed to be printed large. A collection of my work can be seen as large format prints at the Rotella galleries in NYC and Las Vegas.
This is my first photo since 6 months since I've been occupied lately with workshops, mentorships and writing books.This photo was taken in New York City on a very early morning at the Vision Explorers workshop. It's a tilt-shift shot consisting of 3 horizontally shifted images making up for a 3:1 panoramic shot. Each shot taken with the Formatt-Hitech IRND filters, totalling 16 stops per image and each image with a long exposure time of around 6 minutes.
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Thanks to Laurent Martres for pointing out this magical place in his book Photographing the Southwest: Vol. 1, Southern Utah. His books should be considered essential gear on any trip into the Four Corners states. This slot is in Long Canyon on the Burr Trail but is easily missed. Inside, the acoustics are excellent. Sing or take an instrument in here for an inspiring experience.
Icons of Sound: Cappella Romana in a virtual Hagia Sophia -
Cherubic Hymn in Mode 1
Stanford's Center for Computer Research in Music and Acoustics and the Art & Art History Department
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photo:
Hagia Sophia
Ayasofya, Fatih, Istanbul
Αγία Σοφία (Κωνσταντινούπολη)
en.wikipedia.org/wiki/Hagia_Sophia
www.sacred-destinations.com/turkey/istanbul-hagia-sophia
www.byzantium1200.com/hagia.html
www.smithsonianmag.com/travel/a-monumental-struggle-to-pr...
www.doaks.org/library-archives/icfa/moving-image-collecti...