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Doublereed Archive - Posting 000039.txt from 2006/07
From: "Lim Sze Ai, Esther" <elsa15@-----.sg>
Subj: RE: [DR-L] On rehearsal room acoustics...
Date: Tue, 18 Jul 2006 02:23:51 -0400
Hi List...
Thank you all so much for your replies and feedback, it's definitely added
some more points for me to think about and to include in my thesis...
I've seen this technology before in Singapore (I'm not sure if it is the
same one at Wenger), but it was being used by a high school for their band
rehearsal room.
Herb - I like to rehearse in a 'dead' space too... :D It's kind of like self
torture, don't you think? :p
Esther
-----Original Message-----
From: Lindberg, John [mailto:john.lindberg@-----.edu]
Sent: Tuesday, July 11, 2006 2:44 AM
To: doublereed@-----.org
Subject: RE: [DR-L] On rehearsal room acoustics...
There is a technology marketed by Wenger Corporation where a practice or
rehearsal room can be tuned to different acoustic environments. It costs
roughly $20,000 (US) for a practice room.
I am chair of a music department where we have had this technology put into
our band/orchestra and choir rooms, so that the student ensembles can learn
to adjust to live acoustics--or dry acoustics.
John Lindberg
Chair, Department of Music (and bassoonist)
Minnesota State University, Mankato
-----Original Message-----
From: oboist2@-----.au]
Sent: Sunday, July 09, 2006 5:38 PM
To: doublereed@-----.org
Subject: Re: [DR-L] On rehearsal room acoustics...
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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