I had yet another proof of how the environment affects the performance, and how everything should fit in order to provide a pleasing experience.

We went to a concert on 23 October. The duo was good. The room — a Catholic church in a post-modern style, with flat surfaces, sharp colours and direct images — seemed a promising choice.

The architecture came as a double-edged sword. Reverberation was difficult: flat surfaces, almost infinite early reflections, and what should have been a rhythmic, staccato vibe became a melted impression of what the musicians meant. If you have never performed for an audience, it can be hard to realise that what you hear is not what the players are sending.

Is it negligence of the architects? I don’t know. What I realised is that it takes some guts to outsmart the past and try to reinvent the wheel.

As sound artists and engineers, it is our duty to make sure that every piece of the music experience fits.