Welcome to Sound Space Design

Creative Acoustics for Architecture, Music and Theatre

Testimonials

“Singing in the Koerner Hall was one of the nicest experiences of my career... Standing on stage was such a joy and I rejoice that this beautiful hall will be filled with great music for years and years to come. Bravo to Sound Space Design and AMPC for achieving that marvelous goal of creating a sensational acoustic. “ — Bravo and thank you. Frederica von Stade

The reason that I always loved to sing was that sense of sharing the wonderful texts and melodies of great songs. Every aspect of that process was not only possible but EASY in this beautiful and intimate hall. Bravo to Sound Space Design and AMPC for achieving that marvelous goal of creating a sensational acoustic. — Bravo and thank you. Frederica von Stade on Koerner Hall

....the audible reality is spectacular......It is the aural equivalent of seeing a video screen in colour after having spent several hours watching something in black-and-white. — John Terauds, Musical Toronto on Jeanne Lamon Hall | Tafelmusik, Trinity-St Paul's

If a hall is the orchestra’s instrument, Tafelmusik has just traded the violin that your mom bought you for an Amati, if not a Stradivarius. — Robert Harris, The Globe and Mail on Jeanne Lamon Hall | Tafelmusik, Trinity-St Paul's

“It’s a beautiful space for music, in every way.” — Robert Everett-Green, The Globe and Mail, Canada on Koerner Hall.

It’s very inspiring, as a conductor, to have the “best instrument” in which to work. Acoustically it’s exceptional, with great clarity and a very intimate sound, and the size of the house makes for a connection between the stage and the audience, and the stage and the pit—it’s all very human. — Emmanuel Villaume, Musical Director, Dallas Opera discussing Winspear Opera House, Opera Magazine

“Since playing together in the new Hall, the students’ standards have risen like a soufllé!” — Malcolm Singer, Director of Music, Yehudi Menuhin School

"Acoustically Beautiful, Visually Stunning" — Jon Kimura Parker on Koerner Hall

“Judging from opening night Tuesday, Canada's largest city has a new opera house with a near-perfect balance of clarity and spaciousness, and an impressively even response from low frequencies to high overtones.” — Scott Cantrell, Dallas Morning News on Four Seasons Centre for the Performing Arts

“Its shoebox shape has a functional beauty that reminded me of our R. Fraser Elliot Hall and, as one might expect, the acoustics are glorious: detailed, warm, rich and transparent” — Alexander Neef, General Director, Canadian Opera Company, on La Maison Symphonique de Montréal.

“There is no aspect of this hall that I wish could be any other way.” — Peter Oundjian, Music Director, Toronto Symphony Orchestra, discussing Koerner Hall

I would like to express what an amazing experience it was to watch a moving performance in an aesthetically breathtaking architectural/design masterpiece while .. listening to quality music through a sterling sound system that is complimented by exceptional acoustics. — Ally Gunduz, British Consulate General, Istanbul

“…the sound for the Dallas Opera's first full production in the (Winspear Opera) house, Verdi's Otello, answered every dream and then some.” — Scott Cantrell, Dallas Morning News

“A few things are settled. Wagner's Ring is the most monumental undertaking in opera, and the astonishing new Four Seasons Centre is probably the best place in North America to hear and see it.” — Arthur Kaptanis, Montreal Gazette

The reasons Bob Essert is a pleasure with whom to work is that he combines superb acoustic expertise with an ability to work in a creative and collaborative manner. It means he listens and responds until a design of mutual satisfaction is achieved. The projects on which we have worked with Bob are a testimony to this successful process. — Jack Diamond, Diamond Schmitt Architects, 26 Sept 2011

“In many ways, the biggest star was the orchestra, which produced waves of gorgeous sound that, thanks to the (Four Seasons) center’s acoustician, Robert Essert, you could feel right down to your bones.” — Tim Smith, Baltimore Sun

"The Temple of Tone" — The Globe and Mail, Canada on Koerner Hall

Entering the theatre was like entering a living, breathing work of art. The minute I heard the first sound of the percussionist from Ludovico Einaudi’s Ensemble, I knew that I was going to experience the best sound an acoustics system the world had to offer. — Ally Gunduz, British Consulate General, Istanbul

No matter how good-looking the hall, its raison d’être comes down to acoustics, and Koerner Hall comes up trumps. — Paula Citron, September 2009

“In the 12 years of Zehetmair’s tenure, Zehetmair has elevated the (Northern) Sinfonia from a middling municipal band based in the town hall to an international-calibre chamber orchestra housed in one of the most acoustically perfect and visually striking concert halls in Europe. To crown it all, in 2013 the ensemble was designated ‘Royal’”. — Alfred Hickling, The Guardian at Sage Gateshead