Tuned front duplexes

[Ron Nossaman]

>So, to me, at least, the question is unanswered. What constitutes
>'projection' anyway? 

That would be an arbitrary perceived volume at X distance, X being
projection, but not otherwise quantified by any specific proximity
measurement. I hope that clears it up some. Now I'm not much on large hall
acoustics, being more of a dimly lit small airless enclosure kind of guy,
but doesn't low frequency sound carry farther than higher frequencies?
Isn't a harmonic spectrum with lots of low frequency partials going to
"project" farther back into the cheap seats than something with a lot of
high frequency noise - like for instance clangy trebles or those front
duplex noises that enhance projection? Can't I hear the bass line from
Spike's stereo, through the house walls, while he's still three blocks
away, but can't hear his high range stuff until he opens the car door in
the driveway? No wonder the most common phrase I hear regarding piano tone
is "But just listen to that bass"! Well yea, that's bone conductance. So I
wonder why even harder hammers and more painful trebles still don't get to
that back row.


> Should the seat in front of the keys be the worst
>seat in the house? If so, how can we expect the artist to create wonderful,
>dynamic music when it all sounds like garbage at the piano? Or should we be
>working on remote keyboards so the poor thing can be played from the tenth
>row back?
>
>Del

Yes, absolutely. The piano should be played from the tenth row, where the
artist can hear what he's doing, and the audience should be required to
stand around it, as closely as possible on the stage. Then we'll see what
kind of tone building revolution that produces. Meanwhile, I got dibs on
the ear plug concession.

Ron N