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I gave a recital several years ago at The University of New Orleans. I immediately noticed the acoustic qualities of the hall and the positive effect on my playing. It seemed like the response of the instrument was different… much easier to produce a note. Maybe like a back pressure of sorts. The hall is somewhat unique in that the ceiling tapers down in the back as the single tier of seats slopes upward. It was a wonderful “playing” room.
I always figured the physical design of that room must be the contributing factor. Earlier this year, I cleaned out a small garden room beside my house. Since my wife took a night shift/sleeping days and my 17 year old studies at night, playing in the house is tricky. After 15 years of using this out building as a work shop-guess room-storage shed, I decided to do a little playing out there… holy smoke! I immediately notice the favorable conditions again! Now I have practiced in just about every room in my house. Great wood floors, plaster walls, high ceilings, not bad at all for tuba playing. Now I go out to my 12X20 concrete floor, sheetrock walls, 8 ft ceiling guest room and “whoa baby” I immediately think- I gotta record right here! Same feeling of ease of playing. It does not seem to be about natural reverb or decay of sound. It seems to be some kind of pressure. I do understand that good acoustic conditions can move us into a better mental mind set resulting in improved playing, but in these few experiences I am speaking of, it seems to be more physical than mental. I know we have some acoustic experts on this board. Maybe there is some recipe for improving practice areas than can come from discussing this. HAPPY NEW YEAR!

There's definitely something to this! I know that practicing anywhere that is NOT my basement (low, drop ceiling, carpet, sofas, irregular shape) seems a ton more rewarding. My favorite spot is the 2-story entrance way in my house. Unfortunately, that is the least favorite of all the other occupants.

I find that the higher the ceiling, the better. I'm sure that a low ceiling must affect the column of vibrating air coming out of the bell. I'm just not sure how far out from the bell do you have to get before the effect is minimal. Solid (non-carpet) floor also seems to be a plus.

Also anxious to hear some analysis...

I find I enjoy turning the tuba so the bell is parallel to the ground to enjoy a more "concert hall" like response.

Random thought: some of the best recording studios I have been in have suspended floors, especially from drum rooms. The environment surrounding the musical source is always important.

Not to downplay any of your speculations about acoustics, but I'm wondering if you just feel more free and relaxed while playing in a place where you don't feel you're disturbing anyone. This has certainly been my experience.

When I play in the bedroom where I store most of my horns I hate the tone I get most of the time. I prefer to play in our great room where my Martin sounds buttery and warm. The vibrations are nice and full. Pedal tones are much more satisfying as well. I generally could care less about quiet time for others in my house since I pay my share of the mortgage... Not to mention all of the workout music I endur when I'm just trying to relax.

circusboy wrote:Not to downplay any of your speculations about acoustics, but I'm wondering if you just feel more free and relaxed while playing in a place where you don't feel you're disturbing anyone. This has certainly been my experience.

Very true! Also, once I percieve that I'm getting good acoustical feedback, my attitude and work ethic seem to jump up a few notches!