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- Jul 16, 2014
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Playing inside a room is optimal. That being said, not all rooms are equally optimal. I think the idea behind playing inside is to make the most of reflected sound. Oh, I know that recording studios and concert halls seem to be all about sound dampening. They have lots of egg crate baffles or other sound absorbing elements to create as acoustically "dead" a space as possible. I've never quite understood that, especially in the case of the concert hall.
My choice for playing is a fairly "live" room. I like hard surfaces that bounce the sound back. Not so much as to be echoey, but enough to sound open and alive. If I clap my hands, and hear a 2nd clap, that's too much. But, if my one clap lingers just a bit before it's gone, that's just right. If I clap, and hear an immediate cut off of sound, then silence, that's too "dead" for me.
Off course, playing outside can be improved by a bandshell, or similar backstop that offers reflected sound. But, it's never as good as well balanced, live, room.
My choice for playing is a fairly "live" room. I like hard surfaces that bounce the sound back. Not so much as to be echoey, but enough to sound open and alive. If I clap my hands, and hear a 2nd clap, that's too much. But, if my one clap lingers just a bit before it's gone, that's just right. If I clap, and hear an immediate cut off of sound, then silence, that's too "dead" for me.
Off course, playing outside can be improved by a bandshell, or similar backstop that offers reflected sound. But, it's never as good as well balanced, live, room.