So, what are your options? Without question, your drum kit is the loudest instrument in your jam room, across most genres. The impact sound and the airborne sound have to be dampened suitably to achieve sound transmission loss out of your jam room. Impact sound is that which travels through structures coupled to the sound sources, i.
Effective decoupling over the entire spectrum of music requires significant investment and construction acumen to prevent sound from leaving your jam room. Since that is not our goal here, the decoupling we pursue is more to dampen the impact noise over as much of the musical frequency spectrum so as to attenuate the amount of energy leaving the room. Now decoupling is no easy task, because an effective system when it comes to a drum kit involves a mass-spring M-S arrangement which needs significantly heavy mass, to be customized to an ideal weight range inclusive of the kit and drummer to allow for vibrational energy to be dampened effectively by a suitable spring system.
Further, the arrangement calls for a low resonant frequency. Any under-compression or over-compression of the spring in the M-S decoupling system renders ineffective the degree of its ability to dampen impact noise properly and vibrations pass through onto the surface that the system is placed on.
But the airborne sound will be dampened a bit by the carpets and high frequency impact noise should be attenuated, which is still a plus for a tier of low to no investment solutions. Another affordable solution to help quieten your practice pad when it comes to your drum kit, is mattresses on the floor around the kit. Also, placing your instrument amplifiers on them help dampen them fro being coupled to the floor as well.
Problem 2 : The bass, keyboard and guitar amps, and your windows! Most of the problems from these sound sources can be tackled with the following solutions. Now where air can pass through, sound can propagate. Thin rubber strips or nitrile foam or neoprene rubber strips, whichever suits your budget adhered firmly to sit snugly between the window pane and its frame provide a tight fit all around the year that ensure that air passages are sealed.
This will help in ensuring that some notable transmission loss is achieved in the mid and high frequency range as the sound travels through the windows. To help maximize any transmission loss of sound through windows in the mid and high frequency range, heavy or at least thick curtains on your windows can help absorb some sound before it leaves the room through your windows.
Effective sealing of airways in between the windows and the use of heavy curtains can absorb and attenuate transmission of mid and high frequency sound energy out of our jam room. A room equipped with multiple sound sources needs acoustical dampening on the walls and ceiling.
This ensures that the resonant and reflective nature of the room when excited by so much sound energy does not act as an amplifier to the sound levels being generated there! Acoustic absorption devices in your jam room are essential to keeping your jam room sounding pleasant and audible for each instrumentalist without having to be too loud to hear himself or each other.
Acoustic panels usually represent mid to high frequency absorption devices that when ideally located in a jam room can help contain the sound energy and at the same time allow for music from every instrument to be heard clearly. The primary goal with acoustic panels in a jam room is to negate the reflective nature of the walls and the ceiling to create a tight sounding room which allows for musicians to hear themselves accurately without the room smearing their collective listening experience, and also create an environment which does not fatigue their ears.
Acoustic panels can not only be a functional boon to your room, but also an aesthetically professional one. You may have to trade off with a room which has uneven absorption across the frequency range when compared to the performance of panels, and it might be a little dead and zap you of energy in the conversational frequency range, but it is better than a bare wall. The packing foam I used in my jam room, back in , about sq ft cost me Rs. The vocals and almost all the guitars were tracked in this room.
Also, a band I played bass with tracked a live session in this jam room with a brilliant mix and mastering engineer who played guitars on the track as well. The room has been treated with packing foam, carpets, mattresses and three layers of curtains on the windows. The decrease in sound energy leaving the jam room was more apparent in the mids and highs, but evening walkers outside still heard the band practicing cause they could hear the kick, the bass, and the resonant head of the snare and toms.
Serenade No. 11 for winds in E flat major, K. 375
Just imagine: You play the clarinet and you would like to play some music with the girl next door who is playing the flute. You take her book, and with the two of you together you start to play the first melody on page one. How long do you think your performance will last? I guess: not longer than a second or three If a flute player sees the note C and plays it, you will indeed hear the note C, for flute is a non-transposing instrument. But if a B-flat clarinet player sees the note C and plays it, you actually don't hear a real C, but a B-flat.
The pitch of the note sounds a whole note lower than notated. As long as the clarinet player plays alone, or together with other B-flat instruments, it doesn't matter, but when a clarinet player wants to play along with a non transposing instrument, like a flute, a piano, a keyboard, a violin, or other C-instruments, than he should copy down his music on a separate sheet of paper and transpose it into another key, for only then it will fit together, only then will it sound well together with the other instruments.
How to do this exactly we will learn below.
- E-Government ed E-Democracy. Risposte concrete alla crisi globale (Italian Edition).
- Energy Justice in a Changing Climate: Social Equity and Low-Carbon Energy (Just Sustainabilities)!
- The Question of Torture: The Bush Administrations War on Terror.
- Tales To Chill Your Blood;
So: Don't do that! If you do, you will find out it really is not difficult. How to find out whether your instrument is a transposing instrument or not. Play a C on your instrument and compare the sound of it with a C played on a piano. If you discover that the note which was notated as a C for your instrument happens to be a B-flat on the piano, then you know your instrument is a B-flat instrument.
Is the C you played on your instrument an A on the piano? Then you have an A-instrument. You still can't find out? Ask your music teacher, or another person who plays the same instrument you do. You now know to which key you have to transpose?
We need to transpose the violin melody to make it possible to play it on our E-flat instrument. So, take a sheet of music paper, a pencil and an eraser, then we can start.
Click here to print blank staff paper. You can't just copy out the flat, for we're going to write in another key, so we also need different flats or sharps than we had in our original music. The first question we'll have to ask ourself is: Which key signature do we need? In the example above we see one flat, this will become two sharps for an E-flat-instrument. So write on your sheet of staff paper a G-clef, the two sharps f-sharp and c-sharp and the time signature.
Therefore you look at the table below. Search on the left column for the sharps or flats as you find them in the original music, then you will find the key signature you need on the right for your E-flat instrument. Write down three sharps: F-sharp C-sharp and G-sharp.
One flat in the original music? Write down two sharps: F-sharp and C-sharp.
Two flats in the original music? Write down one sharp: F-sharp. Three flats in the original music? Write down one flat: B-flat. Five flats in the original music? Write down two flats: B-flat, E-flat. Six flats in the original music? Write down three flats: B-flat, E-flat, A-flat. Seven flats in the original music? Write down four flats: B-flat, E-flat, A-flat, D-flat. One sharp in the original music? Write down four sharps F-sharp, C-sharp, G-sharp, D-sharp.
Two sharps in the original music? Three sharps in the original music? Four sharps in the original music? You can check this with the table above. Step 2 - Copy down the notes in the right pitch. Take a look at your paper, what do we have? Just the clef, the key signature and the time signature. So now it's time for the second step: we're going to fill in the notes. When we think like that we realise that when we play a C and hear an E-flat, we know our instrument is playing a note two semi-tones lower than the written music. What would happen if we would write two notes below the C; an A, could that perhaps sound like a C?
So that's what we are going to do. Write out all the notes of our example melody, but in another pitch: exactly two notes three semi-tones below the printed music.