>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
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