Mary Flagler Cary Hall singularly adds to the brightly warm [recording] ambiance.”
Audiophile Audition, reviewing Joyce Yang’s piano album Collage, recorded at The DiMenna Center for Classical Music
Akustiks is a team of talented and successful acoustical professionals who have played central roles in the most striking acoustic design successes of recent years. Attention to detail and a flair for innovative thinking characterize the work of the Akustiks team. This ensures that a completed project not only meets but exceeds our client’s expectations, while our willingness to think “outside the box” creates opportunities for success that other designers might overlook. Backgrounds in music, acoustics, architecture and engineering provide a multi-disciplinary basis for our work. Coupled with this expertise is a focus on process: how we listen to our client and work with the design team to achieve the best results.
Akustiks was created to serve the needs of performing and visual arts organizations and educational institutions. Our primary clients include symphony orchestras, opera and dance companies, drama theaters, legitimate theater producers and presenters, museums, schools of music and the architects who serve these institutions. The professional staff brings decades of knowledge delivered with sensitivity, clarity, and candor. The entire Akustiks team, both in North and South America, is committed to excellence and total team involvement in every project. The firm’s focus is to create performance spaces that are wonderfully tuned instruments for listening to orchestral, operatic, and theatrical performances that dazzle and delight audiences.
Mary Flagler Cary Hall singularly adds to the brightly warm [recording] ambiance.”
Audiophile Audition, reviewing Joyce Yang’s piano album Collage, recorded at The DiMenna Center for Classical Music
It’s a transformation! If you can imagine singing in a closet full of clothes and then singing in the Sistine Chapel in Rome…that’s the difference!”
Christopher Seaman, Former Music Director, Rochester Philharmonic
…the orchestra and the theater both sounded transformed; the sound quality was the main topic of conversation.[Akustiks’] new shell…gave the orchestra a luster, balance, and bloom that was startling to regular concertgoers. The bass strings gained weight, the winds and violins a burnished luster…”
Milton Moore, critic, The Day, 2001 (New London, CT)
A resplendent marriage of sight and sonics…the hall possesses qualities found in only the best facilities: warmth, clarity and resonance…Sound envelops the ears as if you’re planted in the middle of the performance.”
Donald Rosenberg, Cleveland Plain-Dealer
…a hall where every sound is not only heard but felt… an acoustic gem and one of the most successful auditoriums built in a century.”
Michael Linton, The Wall Street Journal, September 12, 2006
…you could appreciate the two actors’ every whisper and facial expression from any part of the house.”
James S. Russell, Bloomberg, February 27, 2012
We have weeks that include ballet, rock ‘n roll, opera and everything in between.We now have a system that is capable of being used for any kind of show and that sounds great doing it.”
Tom Painter, State Theater, New Brunswick
We can play piano… finally! The best acoustics in Mexico!”
Maestro Enrique Bátiz (after conducting at the opening of Teatro del Bicentenario)
Teatro Mayor, one of the best acoustics in the world.”
Daniel Barenboim
It seemed last night as if a new era had dawned for the Toledo Symphony. The orchestra has never sounded better. Suspended above the stage were newly installed rectangular sound reflectors. Their effect on last night’s overall tone quality was wonderfully positive. Gone was the uneven projection and often tinny timbre. Last night the sound was firm, yet warm; rich, et sufficiently transparent. Individual voices could easily be distinguished within the wind and brass sections. Strings soared. As an added visual bonus, the reflectors, and the golden ambiance they lend to the stage lighting, are attractive as well.”
Steven Cornelius, Music Critic, The Blade, 2002, (Toledo, OH)