!!TOP!! Download Chineke Mo By Resonance
Cassi Sturgul
The process of restoration by Bridgewood & Neitzert over the next 9 months was like a long and painful surgery.
The neck of the instrument and fingerboard were removed, along with the entire front of the instrument's body, so that the internal structure could be revealed. It was important that repairs to the wood were precise and sympathetic to the age of the material, otherwise the sound quality and resonance of this superior instrument would be lost.
Leo Beranek, an American acoustics engineer who had undertaken measurements of all of the world's leading concert halls, had identified that the interior treatment of the auditorium was absorbing too much sound.[22] By 1962 the authorities, after prolonged experiment, had become convinced that no improvement in the hall's reverberation could be achieved by any further treatment of its surfaces. Longer reverberation would require modification to the main structure, reducing the seating capacity and the provision of a new ceiling. This was considered too costly, particularly as any hypothetical gain in 'warmth' or 'resonance' might well be by the sacrifice of other positive qualities for which the Hall was generally esteemed, for example, its clarity, its comparative uniformity of acoustic response and its freedom from echo.[23]
It was known that the ancient Greeks had developed the technique of using vases built into their auditoria which added resonance to strengthen tone or improve its quality, though the effect was very weak. The Building Research Station developed an electronic method of lengthening the reverberation time by a system called 'assisted resonance' in which some of the acoustical energy lost to the surfaces of the hall was replaced by acoustical energy supplied by a loudspeaker. Each microphone and its associated loudspeaker was limited to the one frequency by placing the microphone inside a Helmholtz resonator fitted into the ceiling in a range of sizes which resonated over a wide range of the low frequencies which critics and musicians thought did not adequately reverberate in the hall. 172 channels were used to cover a frequency range of 58 Hz to 700 Hz, increasing reverberation time from 1.4 to 2.5 s in the 125 Hz octave band.[24] However, the system never fully solved the problem, and as it aged it became unreliable, occasionally emitting odd sounds during performances. It was switched off in 1998, which returned the acoustics to their poor state, so bad that they make performers who play in it "lose the will to live", according to Sir Simon Rattle.[25]
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