Open and dense forest canopies create distinct sound atmospheres

Evidence

In the more open sunny areas we hear more frequently the joy of birdsong, the trill of crickets or locusts, and the scurrying of small feet through the grass, making these places regions of laughter and music in which a thousand light colors and shades, often shifted by the wind in the leaves, dance before us. But in the dark shadows of the great coniferous forests a silence falls, in which even the note of a thrush high in the treetops is only a muted echo, emphasizing the quiet. — Vinson Brown, Reading the Woods, 154

Categorization

• XREF: connects to: Background noise may prevent us from hearing an otherwise audible forest sound — Gordon Hempton, John Grossmann, One Square Inch of Silence- One Man’s…, 1010; Gothic cathedral acoustics may echo the reverberation of primeval evergreen forests — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 83; A critical distance exists where reverberant sound begins to dominate the direct field (+7 more)

Broader Connections

• Background noise may prevent us from hearing an otherwise audible forest sound #complicates (0.82) — Gordon Hempton, John Grossmann, One Square Inch of Silence- One Man’s…, 1010
• Gothic cathedral acoustics may echo the reverberation of primeval evergreen forests #corroborates (0.80) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 83
• The octave-shifted echo likely arose from Bragg-like periodic spacing of plantation trees #exemplifies (0.75) — Eric J. Heller, Why You Hear What You Hear- An…, 2648
• A critical distance exists where reverberant sound begins to dominate the direct field #expands (0.72)
• Low absorption levels increase reverberant field level by sustaining sound energy #expands (0.72) — David Howard, Jamie Angus, coustics and Psychoacoustics, 1795