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Doublereed Archive - Posting 000012.txt from 2006/07

From: oboist2@-----.au
Subj: Re: [DR-L] On rehearsal room acoustics...
Date: Sun, 09 Jul 2006 18:38:53 -0400

Thats quite interesting. Testing a new reed, or when reedmaking poses
a different set of problems and I like to test them in a "lively" room when
judging response with various articulations, and a more neutral room when
adjusting for tone colour etc. It would be nice to have a room you could
adjust to suit your activities and requirements, but think of the cost!!!!
Like you - I tend to move things around or go to a different room in my
apartment (probably much to my adjoining neighbours dismay)

Geoff Pearce
Oboe, Sydney

>-- Original Message --
>Reply-To: doublereed@-----.org
>Date: Sun, 09 Jul 2006 15:06:06 -0700
>From: herb fawcett <herbgosia@-----.net>
>To: <doublereed@-----.org>
>Subject: Re: [DR-L] On rehearsal room acoustics...
>
>
>That is a reasonable theory, and if you are used to playing in one venue,
>you can translate the differences from studio to hall.
>
>I have a very dead studio, and when I make bassoon reeds, it is difficult
>for me to have any idea of what I will face in the hall. If I were in the
>"one rehearsal and concert" phase of my career it would pose huge problems.
>As it is now, I can usually correct the problem between rehearsals. It is
>not as easy for me to adjust a reed on stage as it appears to be for
>oboists.
>As to the studio, I keep moving stuff around and getting rid of stuff, in
>the hope that I may get an impedance comparable to most halls.
>
>Herb
>
>
>On 7/9/06 3:48 AM, "Geoff Pearce" <oboist2@-----.au> wrote:
>
>> Personally i like my rehearsal room as flat and as dead as I can make
>it.
>> This encourages me to project my sound, and making it fuller. If I had
>a
>> concert coming up which required a very soft attack and a lot of quiet
>> playing, I would work in a bare room with a very vibrant acoustic, for
>the
>> opposite reason.
>>
>> Geoff Pearce
>> X oboe, Sydney Australia
>>
>> -------Original Message-------
>>
>> From: Harold emert
>> Date: 9/07/2006 8:40:36 PM
>> To: doublereed@-----.sg
>> Subject: [DR-L] On rehearsal room acoustics...
>>
>> Hi Esther:
>> Yours is an important query which reminds me of the IDRS conference at
>> Greensboro,NC where we encountered one fantastic practice room with a
>> Computerized device which converted it into anything from a small studio
>to
>> The equivalent of Carnegie Hall.The prices at that time for this room
was
>> Terribly expensive .Wondering if this magical device has come down in
price
>> Since then?
>> On a more-economical scale,recall persons experimenting with empy egg
>> Cartons, curtains,carpets,etc
>>
>> Best wishes and good luck ,
>>
>> Harold Emert
>> Rio-Brazil
>> ----- Original Message -----
>> From: "Lim Sze Ai, Esther" <elsa15@-----.sg>
>> To: <doublereed@-----.org>
>> Sent: Sunday, July 09, 2006 6:25 AM
>> Subject: [DR-L] On rehearsal room acoustics...
>>
>>
>>> Hi List...
>>>
>>> I'm in the midst of doing a research thesis as part of my band directing
>>> course, and my topic happens to focus on acoustics of rehearsal rooms.
>>>
>>> I need the help of you guys - have any of you, when rehearsing a band/
>>> orchestra in a room (at high school level), and have done changes in
order
>>
>>> to solve the problem of the room acoustics being 'dead' or 'wet'? Would
>> You
>>> please email me at elsa15@-----.sg, as I'm very interested to know
>>> what you have done, and what the difference was like after the change.
>>>
>>> If anyone out there has information or pointers they would like to share
>>> with regards to acoustics in rehearsal rooms in high schools, please
feel
>>> free to email me privately...
>>>
>>> Thanx in advance!
>>>
>>> Esther
>>>
>>>
>>>
>>
>>
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>>
>
>
>
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