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We didn't mention the atrocious sound in our review of Frost/Nixon because it was opening night and we were sure they'd fix it--on her way out, one woman shouted at a guy near a soundboard, "Fix the sound!" Unfortunately, he was a lighting technician. Throughout the evening, the play sounded like a shitty VoIP conference call--you really had to strain to hear around the tinny echoes. But we just noticed Michael Upchurch complaining about the same thing in his review of the Flight of the Conchords show. Acoustics are famously tricky in the Paramount--only the organ ever really sounds at home there--but what we heard sounded like bad tech.
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The Paramount is built, acoustically, horrible. There isn't much the audio engineer can do. If you're ever at a show where you are able to walk around a bit in the GA you will notice an extreme difference (especially in low frequency harmonics) as you go from left to right and front to back. As an engineer you want to make the audio sound as even as possible for the entire audience, which is really hard to do in the Paramount since you encounter so many phase issues and harmonic build-ups.
I would assume that this is due to the theater being built long before amplified sound was the common medium, rather than having everything unplugged and using the stage as a sort of loudspeaker.
Now, when you spend hundreds of thousands of dollars in research, hire world renowned architects and acousticians you can come up with amazing results, i.e. Benoroya Hall.
I've been to a lot of shows at the Paramount, and as I say, the acoustics are crazy. However, this is not that. This is bad amplified sound (tinny and echoic). It was much different from, say, the last Broadway show I saw there where they just pumped the volume and hoped for the best. If STG has invested in a new system and everything is going to sound like this, I'm a bit worried for them.
Wierd. I've not seen much there, but I saw Trey Anastsio perform there and the sound was fabulous. Obviously, it is possible, you just need the right talent and/or gear.
Now, the Moore -- the 2nd worst sound I ever heard was a Ween show there. I left. Apparently, the floor sounded fine, but the balcony was a disaster.
The award for worst sound goes to the gorge, which couldn't be bothered to put a delay line between the speakers by the stage, and those farther back, resulting in everyone behind the 2nd line of speakers hearing the sound, plus the sound echoed a 1/10th of a second late. Unbearable. Never again.
I would put Neumos up there with the worst sound. I've actually stopped going to shows there because of it. I went to an Animal Collective show there 2 years ago and actually had to plug my ears with my fingers to recognize the songs. It's just too loud for such a small room.
The sound at Neumo's now is better than it was two years ago (not saying much).
Also bad sound (surprisingly): the front of new Croc. Most of the room is great, but if you're up against the stage, you hear practically nothing.
I was at Neumo's last night for a show, and it is better--not as deafening and painful as it used to be. The most unpleasantly loud show I've ever seen was there--Helles Belles, the AC/DC female cover band. The high end was just cringe-inducing. Anyway, it's not as painful anymore, but the sound is still weird. Because the speakers are so far forward, it's hard to find a good place to stand. There is a sweet-spot in the middle of the floor, we found it once on a real slow night. Personally, I've taken to using the balcony--you can actually stand completely behind the speakers on the balcony, staring right down on the stage, and you can hear the stage-mix, which is frequently better since this is what the band is going off of trying to craft their sound.
I was there Monday night, and was really surprised to hear about the review of the sound. I didn't notice any problems up in the mezzanine.
i wanted to post this earlier, but i find it sooo incredibly ironic that the day this issue is brought up is the same day that this was offered up at the moore (free) at 5:00 tonight (i wanted to go, but didn't make it):
WHEN SOUND TAKES THE STAGE, the dynamics of acoustical design and it's impact on theatre design.
Take an audience's listening environment and the listening environment of the stage and examine the multi-purpose design of each. The architecture of the performance hall, it's size, shape and texture, creates the musical environment. To accommodate the style of music the architecture must be complementary and of optimum design. Learn about the type of experience you will have visually and audibly from every seat in the house, on and in-front of the stage. When sound takes the stage, appreciate the music venue design and ascribe musical value to the listening environment.
Acoustical Design presentations by
Dan Bruck, PhD –is President of BRC Acoustics & Technology Consulting and has provided acoustical design for a wide range of performance venues for more than 20 years. As a performing musician, Dan brings the unique perspective of the performer to his acoustical designs, integrating design elements to optimize the acoustical experience for both the performers on-stage and the listening audience.
Michael Yantis, PE – Principal of Acoustical Design Sparling. Michael leads Sparlings's acoustical design practice, sharing 30 years of experience with clients and employees alike. His expertise spans architectural acoustics, mechanical system noise and vibration control, and environmental noise assessments and his broad-reaching portfolio includes over 100 theatre projects.
Seattle Architecture Foundation connects people to the profound influence of design. The organization helps us discover our city and neighborhoods through active exploration. It's about the inspiration, education, and involvement needed to shape the city's future.
Jazz Underground is a Seattle based community jazz ensemble that performs music from the classic swing era to the most current big band repertoire. Beginning as an alumni band for Franklin High School that rehearsed in the basement practice rooms, resulting in the band's name, it now includes past musicians of Garfield High School and University of Washington, as well as others.
We experienced sound problems when we saw The Lion King at the Paramount, too. Granted, this was the preview city, but I was a little disappointed. We bought tickets for a Wicked show in September. I'm crossing my fingers that they get things figured out for that performance.