TubaForum.net

I’m 100% sure you can’t.

MiBrassFS wrote: ↑Sat Dec 21, 2024 4:29 pm I’m 100% sure you can’t.

perfect response (to a transparent troll).

.

One of the churches I’ll be tooting in this week offers an 11 second delay. It’s a really big place with a very long nave and lots of very hard reflective surfaces. All I have to do is sit there and do nothing for 11 seconds to hear myself. Of course, I do have to actively listen, known what I’m listening for, and what to do about what I hear. I can then adjust attacks, decay, note lengths, and pitch, depending on where I’m assigned in a given chord.

Or I can just quack my stuff out and dream of sugar cookies and egg nog, which I do enjoy this time of year.

Hey...I don't think all that much of you, but I don't consider you a "nobody", and - see? - you just admitted that you can.

.

Single reflection vs total reverberation time. In this place, a gothic revival cathedral and largest ‘round these parts, there is an 11 second delay before the reverberation stops for any given sound. It requires attention be paid to things like timing and tempos by conductors. That 11 seconds can be a help or a hindrance.

.

Well, I can say this, if they counted on their fingers or tapped their toes, it would be good enough in the context of music performance. No one, to be sure, will whip a chart to reference. I think this a frame of reference and context impasse.

Since we seem to be arguing about reverberation in big spaces rather than talking about 6/4 tubas, perhaps we can all listen to this together, calm down and smile. This is one guy with one trombone and a tape recorder back in 1976. Headphones are recommended. You are allowed to speculate on how much better this might have been if Stuart Dempster had done it on a CC York-o-Phone.

My comments - which seemed to have triggered all the others - weren't referring to reverberation at all. They were referring to listening to how I sound with the entire orchestra in the entire performance space vs. listening to how I'm lining with the trombone section and/or the basses (timing/style/tuning/phrasing) right there in my little corner of the performance space.

sidebar - reverberation: (not my topic)
Most American venues don't feature very much of it at all. I'm fairly grateful that this is the case, and occasionally find it a bit difficult to sort things out when there's a tremendous amount of it (in regards to duration). When I encounter a tremendous amount of it, I find myself backing off of the quantity of sound production - simply so that my own reverberating sound dies away sooner to a low level, and doesn't hang over as badly into subsequent musical events.

On the front end of this subtopic, I admitted that I might not have expressed my thoughts very clearly, but/and past history hints towards intentional misinterpretation for the purpose of being argumentative.

trolling:
When I sense that a small group of people log on to here just to see if they can find ways to start arguments, that's when I begin to shift into trolling mode. If something's going to be stupid, it might as well also be funny, yes?

MikeS wrote: ↑Sun Dec 22, 2024 8:02 am Since we seem to be arguing about reverberation in big spaces rather than talking about 6/4 tubas, perhaps we can all listen to this together, calm down and smile. This is one guy with one trombone and a tape recorder back in 1976. Headphones are recommended. You are allowed to speculate on how much better this might have been if Stuart Dempster had done it on a CC York-o-Phone.

Totally off topic, but back when I played electric violin with a rock band, I had an Echoplex. Every night at some point during the gig, the rest of the band would leave the stage and I would do a several minutes solo "playing along with myself" with that. There isn't much natural reverb in most bars.

.

...

.

.

.

Not recent days -- that was in the later 1970s. Talking Heads, that era. The guy who started the group had visions of making it big, and the band was good, but his originals were all about his abusive childhood and it wasn't going to go anywhere. When he started giving about 90% of the proceeds to the sound guy who was "indispensable" I left for more pecuniarily rewarding pastures. I also was not fond of working from 10PM to 3 AM and getting home as it was getting light out.

Owned a 6/4 BBb. The sound was dark and full under the bell. But once you’re in a section of tubas in a large room, any tuba will sound huge. I now play EEb 4-valve compensator and it’s all the tuba I need. I’ve supported an entire 50 piece band by myself with it just fine. Let the room do the work.