Separate names with a comma.
Discussion in 'Trumpet Discussion' started by Edvard22, Sep 2, 2011.
Something to keep in mind about small practice rooms... You don't want to develop a "practice room sound". That is, your goal isn't to sound good in a tiny room, the goal is to sound good in a big concert hall. A trumpet should actually sound a bit edgy and annoying in a room that is too small. Just be aware that the room is the problem and don't try to change your playing too much, or when you actually go to play in that big concert hall your sound will be small and dull.
Another thing to be aware of is that if you play into a wall from too close you will tend to hear a lot of air in your sound that wouldn't be heard if you were 15 feet away from that wall. That may be the "crackly" sound you're noticing.
You could also just need to spend more time doing quiet long tones and clarke studies
Absolutely, the room has an effect on you. I would go so far as to say that the room can even become an extension of your instrument. Large, reverberant rooms will sound much different that small "dead" rooms, and playing outside will be different still.
It has a great deal to do with what you hear when you play, and what you hear can have a big influence on how you play. Especially how you think you sound. Rooms of different sizes with different acoustical properties will alter your perception of what you hear coming out of the horn.
You can use playing different environments as a learning opportunity, really. It teaches you different ways of listening to yourself, as well as teaching you how to tolerate your surroundings. If you're patient, that is....
I used to hate practicing in small practice rooms because it sounded like garbage, but now I enjoy it after I started listening to myself and started really trying to work on my tone....
Yes it makes a differance. On the rare occasion my wife and dog are out of town I come out of my small practice room to the living area that is about 40' long with 9 foot cielings and hardwood floors. I wear myself out playing songs I like to hear. Tonight is one of those nights so I brought out my crappiest horn, the E.A. Couturier, and it even sounded good.
About 30 years ago I played at the top of Mt. Franklin outside El Paso Texas... I was sitting on a ledge aiming the horn across the valley and screaming arpeggios as loud as I could play... I could hardly hear a thing. UNTIL a 10 or so seconds later when the sound reflected back in my face. It sounded great!
I was playing my arpeggios with myself on a 10 second reverb delay. I'd play a high C, then then the sound came back I'd rip up to the High F... and then when that came back I'd do the A.
It was very cool. I can't imagine what the people in the valley heard.
Yep, the room has a big impact on how you sound... but I'll bet it was not as good as you think it was, just better than you expected it to be. If you suck at home you probably suck everywhere. You just suck less than the rest of them. How do you sound in a practice room at school? Try practicing much softer at home when practicing clarke & scales.
I found the room can make a difference, there is one room I have to play in from time to time and it gave me a dead sound. Try to find the best place to play in the room. Get used to the room and recognize the difference in sound, try no to let it deter you from practicing.
When I first moved to Germany I had a small apartment and a very forgiving landlady, but I learned if it sounded good there, it would sound good anywhere!
Wouldn't it be interesting if we could make a room that resembled the inside of a great violin. The amplification should be amazing.
Perhaps the sentence about Christians should never marry be extended to brass players or simply musicians should never marry. That way you can practice everywhere in the home day and night.