Early reflections from nearby surfaces give performers essential auditory feedback

Evidence

There is evidence to show that, in order to maintain good ensemble comfortably, the musicians should receive the sound from other musicians within about 20 ms of the sound being produced. This means that ideally there should be a reflecting or diffusing surface within 10 ms (3.44 m or 11.5 ft) of the performer; the time is divided by 2 to allow for sound going to the reflecting surface and back. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1939 (#expands, via linked claim)

In one prestigious hall, the reason musicians used to complain that they couldn’t hear each other and so hated playing there was traced to the problem of late early reflections. As a postscript, it is interesting to note that the orchestra enclosure in shoebox halls often did the right things. However, in modern multipurpose facilities, it is often a challenge to provide the necessary acoustic foldback while allowing space for scenery and machinery and the like. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1942 (#complicates, via linked claim)

Categorization

• XREF: connects to: Ensemble playing depends on performers receiving reflections within roughly 20 milliseconds; Musicians need acoustic reflections within 20 ms for comfortable ensemble playing — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1939; Late early reflections can ruin performers’ ability to hear each other and maintain ensemble — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1942 (+1 more)

Broader Connections

• Musicians need acoustic reflections within 20 ms for comfortable ensemble playing #expands (0.90) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1939
• Ensemble playing depends on performers receiving reflections within roughly 20 milliseconds #expands (0.85)
• Late early reflections can ruin performers’ ability to hear each other and maintain ensemble #complicates (0.80) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 1942