Ridigity isn't something you really look for when it comes to the properties of your speaker stands or the construction of your acoustic environment.
I used to build studios professionally and although I'm sure there are a range of methods employed I can talk through the approach we used to take and this will probably be relevant to most home user and professional studios.
Firstly what is the ideal acoustic environment, - an empty field with no walls and no wind ( and of course all the kit you could desire ) the reason for this is that the sound would escape and not return to you.
Most of us however listen to our music in rooms. This increases the amount of reverberation so it is up to us to taylor what reverberation we are happy with and what we are not.
If you are mixing music, the answer is you want all frequencies dulled equally - and this will be achieved both through having speakers with a flat frequency response and a room with a flat acoustic.
For home users it's not such a problem if your speakers have a boost around 3k as this generally sounds pleasing to the ear but you still want the bass to sound tight and the high frequencies to be precise.
When approaching both the highs and the lows there are two techniques, absorption and defraction. For the highs both work well as the frequency lengths are short. Try to break up the right angles in your room as this will discourage comb filtering - the process where a sound wave bounces back on its self and faulsely gives the impression of doubling up in volume, book cases are good at this..
For absorbing high frequencies, pillows, a few shitty art prints, anything to break up surfaces and add create permeable ardor bing surfaces with encourage the sound waves to slow down and bounce in random directions, thus reducing the chance of comb filtering.
When it comes the bass frequencies you're talking of waves up to an over 5 meters in length so rather that try and block them you have to focus on just moving them slightly. That's why sand or surfaces that aren't rigid work so well. When the longer and more powerful sound waves hot them they absorb the impact ever so slightly, move a little bit, and breakup the sound wave in the process..
Finally back to the blue tack we used to use some thing calked green glue which wasn't too dissimilar to add a semi solid rubbery layer for absorption between extra dense plaster board layers in studio walls so on my head that not too different to blue tack.
Ridigity isn't something you really look for when it comes to the properties of your speaker stands or the construction of your acoustic environment.
I used to build studios professionally and although I'm sure there are a range of methods employed I can talk through the approach we used to take and this will probably be relevant to most home user and professional studios.
Firstly what is the ideal acoustic environment, - an empty field with no walls and no wind ( and of course all the kit you could desire ) the reason for this is that the sound would escape and not return to you.
Most of us however listen to our music in rooms. This increases the amount of reverberation so it is up to us to taylor what reverberation we are happy with and what we are not.
If you are mixing music, the answer is you want all frequencies dulled equally - and this will be achieved both through having speakers with a flat frequency response and a room with a flat acoustic.
For home users it's not such a problem if your speakers have a boost around 3k as this generally sounds pleasing to the ear but you still want the bass to sound tight and the high frequencies to be precise.
When approaching both the highs and the lows there are two techniques, absorption and defraction. For the highs both work well as the frequency lengths are short. Try to break up the right angles in your room as this will discourage comb filtering - the process where a sound wave bounces back on its self and faulsely gives the impression of doubling up in volume, book cases are good at this..
For absorbing high frequencies, pillows, a few shitty art prints, anything to break up surfaces and add create permeable ardor bing surfaces with encourage the sound waves to slow down and bounce in random directions, thus reducing the chance of comb filtering.
When it comes the bass frequencies you're talking of waves up to an over 5 meters in length so rather that try and block them you have to focus on just moving them slightly. That's why sand or surfaces that aren't rigid work so well. When the longer and more powerful sound waves hot them they absorb the impact ever so slightly, move a little bit, and breakup the sound wave in the process..
Finally back to the blue tack we used to use some thing calked green glue which wasn't too dissimilar to add a semi solid rubbery layer for absorption between extra dense plaster board layers in studio walls so on my head that not too different to blue tack.