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I meant to make a laudatory post last week to the effect that, where other than The New Yorker might you find a smart, funny, informative article on a literary figure as obscure as Alfred Lord Dunsany

I took that test when we applied to adopt! Picture was from the 30's: any idiot could tell that you were supposed to translate the stallion and the shirtless man in the picture into something sexual.

Mitchell is right on this precise point, though: as a classical music fan, I find its use in classical venues to be an outrage.

Ha. And as any New Yorker knows it's on, not in.

 

I have sort of given up on correcting friends from Great Britain and Ireland, people who have lived here for years, who persist in saying 'IN the lower east side'. :wacko:

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  • 3 weeks later...

Is the 1/5 cover really lovely and heart-warming, or am I just sentimental for when my hulking 14 year old soccer full back (nearly as tall as me, people) was a little sprite bouncing around dance classes at Martha Graham and the Third St Music Settlement?

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I just finished reading a piece on Meyer Sound's Constellation system, which "employs microphones, a digital-audio platform, and loudspeakers to sample the noise of a room, modify it, and send it back out in altered form."

 

The article starts at Oliveto restaurant which recently installed the system during a remodel: " on this night, though, I found myself able to tune out the noise and hear only what I wanted to hear. When someone at a nearby table began guffawing at his own jokes, I could still follow the remarks of the calm-voiced man sitting next to me. "

 

And then heads over the bridge to Soundbox which is put on the by SF Symphony and uses Contellation: "Joshua Gersen, who conducted that night, began the show with a demonstration of the Meyer setup. He clapped his hands; the sound resonated handsomely. Then he signalled for the power to be turned off. Suddenly, the clap was clipped and lifeless. The crowd gasped and applauded. "

 

The author likes the system for the most part but does has some reservations.

 

I couldn't help but think of mitchells' poor soul when the author mentions Meyer systems becoming fixtures in the classical world:

 

 

Even the storied Musikverein, in Vienna, one of the three or four finest concert halls ever built, makes occasional use of Meyer components: the Musikverein’s richly reverberant acoustic tends to wash out speech, and when performances require narration, as in, say, Prokofiev’s “Peter and the Wolf,” speakers bring greater clarity. In the plaza outside the New World Center, in Miami, where the New World Symphony is based, a Constellation array supplies the fullest, most lifelike outdoor sound I have encountered.
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