»References«

GAUTIER CAPUÇON

 Soloist

 

 

»Recently I played with the Deutsche Kammerphilharmonie Bremen in Rheingau Festival and there I got the chance to play on the Resonanzio Solo Podium. From the first notes I was very impressed how well and clear I could hear my cello while playing with the orchestra and I felt that the sound quality was very well supported by the podium. I was so pleased by the warmth of the cello that I thought every concerthall should have a Resonanzio … it would make the life of cello-players so much better !«

Diego Zecharies

Principal Bassplayer (Orchestra Sinfonica de Galicia) and Soloist

 

 

 

 

"...and you can allow yourself to play less because you know that you are audible all the time. It was beautiful!"

NIKLAS SCHMIDT

Soloist and Chambermusic Player

 


I have used the Resonanzio Cellopodium for my recordings of the Bach Suites and I am very thrilled about it! My playing is wonderfully supported by the soundpodium, and I am able to variate the sound even more. The wood of the podium is apparently connected to my cello, both are starting to resonante. Playing on the Resonanzio reminds me on the sound of the „goldene Saal“ of the Musikverein in Vienna.

GUIDO LARISCH

 Principal Cello, Freiburger Barockorchester

 

 

»I enjoy very much playing on the Resonanzio soundpodium! My cello has a much more singing sound on the podium compared to playing just on the ground. The result is not necessarily louder but much clearer and focused. I am still amazed how the soundpodiums work for the baroque-celli without pins! The plate obviously starts resonanting triggered by the soundwaves from the instrument.

While playing I am able to hear myself better, and my orchestra likes the presents of the cello/bass group. The flexible shapes and sizes of the soundpodiums enable us to use them in orchestra string-halfcircle without sticking out in heights and without taking to much space.«

MICHAEL NEUHAUS

 (Solo-Bassist, Heidelberger Sinfoniker)

 

 

»Our first experiences with the Resonanzio soundpodiums have been very exciting! Its not just, that the sound is projected into the room much better, you can hear yourself much better. I am thrilled! So is the audience and my colleagues!«

Stefan Preyer

(Solokontrabassist Kammerorchester Basel) 

 

 

»The Kammerorchester Basel has tested the Resonanzio soundpodiums, and we have made very good experiences with them. So we decided to buy them and are very happy with them. The sound of the Cello-Bass section becomes more transparent, and I feel more able to variate my playing, because I can perceive my own sound much better.

Our orchestra often plays standing up, and the cello-section becomes present by playing on the Resonanzio, visual and audible.

These sound-podiums should be a equipment in each concert-venue in the future!«

 

 

Joachim Stever

(Principal Bassplayer Staatsphilharmonie Rheinland Pfalz)

 

 

"A rich and transparent bass sound, the craftsmanship on the highest level, built with an elegant and exceptional design: in my view Resonanzio has created the ultimate Sound Podium!"

Louise Pühn

(Freelance harpplayer)

 

»Playing on the Resonanzio Harppodium for the first time was a surprising experience! The typical harp-sound with its enrichment of resonance was even enhanced, and at the same time the sound was clearer ans more transparent.

While playing I was able to variate the sound in a more flexible way. The self- perception of my own playing is much better, which is particular helpful in orchestras. Being able to put the musicstand very close to the podium, is a minor but crucial detail. I would love it, if every orchestra I am playing with, could provide a Resonanzio Harp-podium!«


Laura Bährle

(Soundengeneer)

 

 

»I came across the proto-types of the Resonanzio soundpodiums during two productions I have done for Radio Bremen: a concert of the Deutsche Kammerphilahrmonie Bremen, and a cello-piano production with cellist Alexey Stadler. I was very surprised of the sound impact of the resonance-plates. The basses were very present and well audible. In the overall orchestra-sound they got through very pleasently. The usual recording-tricks for balancing the sound for a good result were almost not nessecary. The bass-sound was very balanced. Also the cello-sound gained more clarity and distinction in the lower frequencies without any technical manipulation, just with natural resonance and without any disturbing „boomyness“. Apparently the Resonanzio- Soundpodiums provide a good articulation and clarity without boom-effects.«

 

 

Renate Wolter

(Soundengeneer and music production)

 

 

 

»After my recording sessions I got the impression, that the specific sound of each instrument becomes more open through playing on the soundpodiums.«

Lorenzo Coppola

(Principal Clarinet of Freiburg Baroque Orchestra, Professor for historic clarinet at Escola Superior de Musica de Catalunya, Barcelona, Spain)

 

»Recently I did a short test with my clarinette d'amour on the sound-podium of Resonanzio. I was really surprised how well I could hear myself! All the sudden I was able play with my sound in different ways and variate it, just like playing in a really good acoustic. I have no idea, how the sound was been projected in the room, but I felt very comfortable playing on this soundpodium!«

Members of the Philharmonic Orchestra Würzburg

 

 

Ivor Gellrich (principal bassplayer): „This is really a huge difference: playing the same opera without and with the podiums. I can hear myself better and particular the other players. This way it is much easier to play in a group. I dont need to force at all, the sound almost is created by itself. The sound is not necessarly louder, but much more transparent and clearer, particularly in the low register, where it often is so boomy.“


Deanna Talens (principal cello): „ I am thrilled by the Resonanzio sound podiums! Playing in a rather small orchestra pit, its hard to tell as a player, how well the cello sections is heard in the audience. With the podiums I get the feeling, that our sound gets a kick and has more substance, also because we can hear each other much better.“


Matthias Steinkrauss (principal cello): „ If I play on the new podiums, I can feel the support of the sound with my feet. Its much easier now to find a common intonation in the group, because we can hear each other much better. A real enhancement for our orchestra!“


Thomas Schäfer (percussionist): „All the sudden the pizzicato of our bass group was much sonorer. Then I realized that they were playing on the podiums.“