That's hardly practical. I'd suggest a system of winches, pulleys and ropes to tension the floorboards. It'd probably need to have something fairly large to fix it to, and the ropes would need to go through a hole in the wall to get at the ends of the boards, but you can't make an omelette without breaking eggs.
I think I need to deal with fixing the leaky roof and replacing the damaged ceiling before I start making major acoustic mods to the floor.
I think the ideal would be an untuned floor (no peak), or a room in which different parts respond to different frequencies (all get boosted, just not from one place).
Hey, is designing concert halls still a black art these days? Last I heard, there was a whole heck of a lot of knowledge of what mathematically ought to work based on the science of acoustics, but halls designed by the numbers still usually had sound problems and needed to be modified by some massively experienced expert who usually couldn't completely explain why his design sounded better. Has the math finally caught up, or are concert halls still a little mysterious?
I mean, considering how recent some of our understanding of guitar and violin soundboards is (in the latter case making sense of why generations of practice are correct, in the former case leading to some new designs like off-center soundholes) ...
maybe you could solve both problems at the same time by mechanisms that divert roof leaks into buckets on the floor till it is in tune and then deflects extra water outside.
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I think the ideal would be an untuned floor (no peak), or a room in which different parts respond to different frequencies (all get boosted, just not from one place).
Hey, is designing concert halls still a black art these days? Last I heard, there was a whole heck of a lot of knowledge of what mathematically ought to work based on the science of acoustics, but halls designed by the numbers still usually had sound problems and needed to be modified by some massively experienced expert who usually couldn't completely explain why his design sounded better. Has the math finally caught up, or are concert halls still a little mysterious?
I mean, considering how recent some of our understanding of guitar and violin soundboards is (in the latter case making sense of why generations of practice are correct, in the former case leading to some new designs like off-center soundholes) ...
(no subject)