„Musikalische Welle“ – Music Wave 2019
Vom 30.05.2019 bis 02.06.2019 fand der internationale Gesangswettbewerb junger Sänger der „Musikalische Welle 2019“ im Landestheater , Neuss statt.
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Diesmal kamen die besten 50 Künstler aus 14 Ländern nach Neuss. Bulgarien, Lettland, Armenien, Georgien, Litauen, Ukraine, Polen, Moldawien, Rumänien, Israel, Russland, Tschechien, Aserbaidschan und Deutschland. Alle Teilnehmer wurden in vier Altersgruppen aufgeteilt: 6-9 , 10-13, 14-16, 17-35 Jahre.
Der Wettbewerb wurde in 2 Halbfinalen eingeteilt, wo jeder Teilnehmer 2 Songs aufführen konnte. Unsere Jury hat jeden Teilnehmer bewertet und nur die Besten, die Preisträger und Special – Price Gewinner durften auf der großen Gala-Bühne auftreten.
Ein großes Dankeschön geht an unsere einmalige internationale Jury : Nijole Berezina (Lettland), Elena Barsegova (Georgien), Natalia Koval (Ukraine), Oleg Lysij (Ukraine), Elena Pindzhojan (Russland), Asta Bogdanaviciene (Litauen), Michael Soul (Weißrussland), Yan Kostyrko (Ukraine) , Dmitrij Babaev (Aserbaidschan), Vladi Blayberg (Israel) und Igor Epstein (Deutschland und Vorsitzender unserer diesjährigen Jury). Es ist schade, dass die 4 Tage in Neuss so schnell vergingen. Alle, die sich verabschiedeten, versprachen, auf jeden Fall das nächste Mal wiederzukommen.
Wir sagen DANKE und freuen uns schon auf das nächstes Jahr „Musikalische Welle 2020“
Heartwood Soundstage is a live performance venue, a recording studio, a video production soundstage, a web music streaming portal, or all of the above at the same time. The four founders of Heartwood are successful, creative, diversely talented people bound by a common love of music… and frustrated by the terrible acoustics, logistics, and/or attitudes that compromise many performance venues. Heartwood incorporates the lessons learned from over 100 years of our accumulated experience staging, producing, recording, mixing, and performing music. We have striven to make a venue that showcases the nuance and the power of musical performance, connecting artist and audience in a shared transcendent experience that makes music such a joy in life.
Join us for our annual survey of culture through the lens of creative practice with artist presentations, conversations, workshops, and an exhibition — now accessible online around the world.
Now in its 6th year, Gray Area Festival expands beyond its focus on experiential exhibitions into an exploration of artists working in Radical Simulation — using immersive worldbuilding to reimagine adjacent possible presents through themes of embodiment, social justice, identity, decolonialism, and regenerative ecology. In this unique online festival, experience artist presentations from within virtual worlds, and engage with a global community bringing together diverse backgrounds and perspectives to creatively address the critical issues facing our rapidly evolving reality.
Listening
THE LISTENER EXPERIENCE
The Listening Room
Everyone who works at Heartwood Soundstage is involved in the creation and production of music. But we all began as listeners and lovers of music which became a life-defining passion that led directly to the construction of Heartwood. Our goal in the construction was simple to articulate but challenging to implement: to deliver the glorious rich detail of listening to chill-bump raising music we have experienced when a perfect mix is played back through the finest equipment in a perfectly tuned studio control room.
Expertly tuned acoustics: Quite simply, we designed and built (from the ground up) a room that would meet our high standards for a listening environment, using a studio control room sound field as our benchmark. The primary goal was to create a listening room with optimal reverb time (long enough to be warm, short enough to maintain clarity), with randomized (diffuse) reflections that deliver consistent, balanced frequency response listening regardless of location inside the room. In pursuit of this challenging goal, we modeled the room in software, estimated the proper mixture of sonic diffusers (located in the ceiling trusses above the stage and audience areas, with cylindrical wood diffusers at the back of the stage, and reflective panels on the side and back walls), absorbers (side and back walls, ceiling, and rear of the stage), and bass traps (ceiling, room corners), and tweaked with calibration microphones after the construction was completed. And there are no hard parallel surfaces to cause phase problems or acoustical standing waves. The result is a warm, even, acoustic ambience throughout the auditorium. As one astute visitor wrote about Heartwood, every spot is the sweet spot.
Great sound with no distractions: Heartwood is located away from high traffic routes and we invested a good deal of effort and money in soundproofing. The back wall consists of poured concrete block with an isolated layer of double drywall. The roof is made of structural insulated panels, which minimizes rainfall noise without requiring an additional isolation layer of drywall that would reduce ceiling height. The remainder of the Heartwood listening room is surrounded by double walls, built on isolated frames with as much as five layers of drywall and soundboard. Windows are double layers of thick plate glass angled down (or up on the high back wall windows) to reduce problematic reflections. Doors are solid core and press against thick weather stripping when closed. All floors are acoustically isolated from the slab. The result is an acoustically isolated listening environment that allows music to be experienced without extraneous noise distractions.
And as for chatty neighbors: the expectation at Heartwood is that the Soundstage is something akin to a sacred space for listening, not talking. Note that we have nothing against conversation at Heartwood, and in fact we created the Video Lounges for just that purpose. There you can visit with friends, have a drink, and still enjoy the concert in high definition and very high fidelity on a large screen TV, without distracting others.
State of the art equipment: We spared no expense outfitting Heartwood with the best sound reinforcement equipment available. We had a good head start as we began with a merger of two studios (Medusa and Mirror Image), resulting a great collection of microphones (Neumann, Sennheiser, AKG, Royer, Nordic Audio, and more) and microphone preamps (Focusrite, Avalon, Manley, Midas, and more) plus enough sound amplification equipment to do outdoor shows (as in fact Mirror Image did for two years at Gainesville’s Bo Diddley Plaza Free Friday series). Then, after an exhaustive search, we chose Danley Lab synergy horns, complemented by a Danley subwoofer, for our main PA. This is a fabulous sounding system with a big bottom and silky smooth high end that evenly covers the entire room. We mix with a Midas M32 mixer and an integrated stage monitor system that allows musicians to mix their own monitors (played back through QSC K-12 powered monitors). Yes, you’re right, the audience doesn’t hear the stage monitors (not much anyway), but this is relevant because musicians play much better, and with more passion if their listening experience is great.
Experienced sound engineers: Any sound person allowed to touch a fader at Heartwood has passed a rigorous background check, requiring not just years of experience mixing sound for demanding audiences, but also vetting by the CIA (Certification against Improper Adjustments, both of board settings and attitudes) and NSA (Nirvana Sound Appreciation).
Every seat is a great seat: Heartwood is an intimate listening environment. Not only does every seat have great sound, but also a close enough view to count singer nose hairs. The furthest distance from the stage to any seat is less than 25 feet. In short, you will experience an intimate, unmatched listening experience.