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So, what have we learned?
Old 1 week ago | Show parent
  #31
Lives for gear
 
1 Review written
🎧 5 years
Quote:
Originally Posted by jnorman ➡️
Studer - now I want my own spy satellite...
[email protected]#%% maps already has photos of everything and everybody.
Old 1 week ago | Show parent
  #32
Lives for gear
 
nightchef's Avatar
 
🎧 15 years
Quote:
Originally Posted by studer58 ➡️
I'm interested in how that first 10-15 mins on the close mic sounded, before the singer moved back. Did it sound too close and detailed, compared with the 'optimum leakage' of the majority of the take ?
I think he actually did it from the start of the real take--I don't notice much difference between the beginning and end of his track. Apparently he moved back between the soundcheck and the performance. It was on me to notice that and adjust, but I was obsessing over the piano sound, which was a mess (digital upright piano -- I had never recorded one before, and hope never to again) and didn't notice that he'd backed away until partway through. It worked out for the best, anyway.
Old 1 week ago | Show parent
  #33
Lives for gear
Quote:
Originally Posted by 2manyrocks ➡️
[email protected]#%% maps already has photos of everything and everybody.
Sally: You can't blame yourself for this. Drones are unreliable. Sometimes things go wrong. [. . .]
Sally: There's been a pattern of insubordinate behavior recently.
Jack Harper: Yeah. I feel bad about that.
- Melissa Leo & Tom Cruise, Oblivion. 2013
I've got a heavy gage metal roof and window blinds - but little protection of metadata. So, I assume the [Big Tech] Tet can guess what I'm up to: making music and goin' jessie!


Are we gonna die? No! . . . Maybe!

Ray H.


BTW: Who should do the lead for @ Jim Williams The Movie? I'm leaning toward Tom Hanks, but George Clooney might work. Both bring very quotable deliveries with a Schoeps MK 41 boomed just out of frame. But then, doesn't Jim lean more towards Sennheiser?
Old 1 week ago | Show parent
  #34
Lives for gear
 
kludgeaudio's Avatar
 
Quote:
Originally Posted by deedeeyeah ➡️
think neodym magnets, switching amps, arraying of subs, extentension of fr towards the lowest octave, dsp not only for alignment but also on the input and mixing side, immersive sound systems (pls note the term is getting used in a different way in live sr than in other areas of our business), spl limits in many places (!) etc. and you get a pretty good idea on what's been happening in the last 20 years...
I was thinking more dsp in general and line arrays specifically, although I am personally annoyed by everyone wanting to toss a line array into every room without actually thinking about why.

But yeah... neodymium magnets mean better compression drivers and longer excursion woofers.... I can't even think about how much better the low end is on arrayed subs compared with old W-bins... then we get the fancy new drivers like the K-Array and Alcons Audio systems which allow even more pinpoint pattern control...

It sure beats a stack of A-7s plugged into Phase Linears for control.
--scott
Old 1 week ago | Show parent
  #35
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by kludgeaudio ➡️
I spend my life trying to get people to care about rooms.

Why is the lecture hall in the biology department a better place to record a string quartet than the music department theatre? Because somebody gave a damn when they built it, 80 years ago.
--scott
Good acoustics are often more of an accident than a design.
I have spent sleepless nights over clients who have refused to record anywhere but the worst possible venue imagineable.
Old 1 week ago | Show parent
  #36
Lives for gear
 
tourtelot's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by kludgeaudio ➡️
I can't even think about how much better the low end is on arrayed subs compared with old W-bins...
Ooooooh. W-bins! And Perkins (JBL) bins! I loved everything about those stacks except putting them up and taking them down.

I worked for a while at Weisberg Sound in NYC. Jack Weisberg, a genius. His PA sounded better than anything else out there. But, and there is always a "but", the low end cabinets were horn loaded 4x15s with twelve foot (!) fiberglass horns. The whole system was horn loaded including these 2x Altec (air raid siren) compression drivers that were absolutely wonderful hi-mids. His stacks were a mofo to put up and every stagehand on the East Coast hated it when a Weisberg Sound package came into their theater.

Daryl Hall and John Oates sounded SO good through this system. Peaches and Cream and, yes, The Village People. I was the lucky one chosen to mix FOH for that tour and there are many more stories from that time than there is space on the forum. I was not part of the Grateful Dead at Watkins Glenn that Jack's system and it's doppleganger system from Phoenix Sound did.

The break-away came when Jo Ravitch and I tried to pry the grill off a Clair S4 box at some concert. As I recall, the tech took a big phillips screwdriver to the screws (so we didn't break the grill I'm certain) and showed us "the guts". We were hooked and off we went to Lititz PA to join the next best thing.

Jo still works for Clair, system tech for their largest shows including The Stones and U2.

D.
Old 1 week ago | Show parent
  #37
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by kludgeaudio ➡️
I was thinking more dsp in general and line arrays specifically, although I am personally annoyed by everyone wanting to toss a line array into every room without actually thinking about why.

But yeah... neodymium magnets mean better compression drivers and longer excursion woofers.... I can't even think about how much better the low end is on arrayed subs compared with old W-bins... then we get the fancy new drivers like the K-Array and Alcons Audio systems which allow even more pinpoint pattern control...

It sure beats a stack of A-7s plugged into Phase Linears for control.
--scott

Quote:
Originally Posted by tourtelot ➡️
Ooooooh. W-bins! And Perkins (JBL) bins! I loved everything about those stacks except putting them up and taking them down.

I worked for a while at Weisberg Sound in NYC. Jack Weisberg, a genius. His PA sounded better than anything else out there. But, and there is always a "but", the low end cabinets were horn loaded 4x15s with twelve foot (!) fiberglass horns. The whole system was horn loaded including these 2x Altec (air raid siren) compression drivers that were absolutely wonderful hi-mids. His stacks were a mofo to put up and every stagehand on the East Coast hated it when a Weisberg Sound package came into their theater.

Daryl Hall and John Oates sounded SO good through this system. Peaches and Cream and, yes, The Village People. I was the lucky one chosen to mix FOH for that tour and there are many more stories from that time than there is space on the forum. I was not part of the Grateful Dead at Watkins Glenn that Jack's system and it's doppleganger system from Phoenix Sound did.

The break-away came when Jo Ravitch and I tried to pry the grill off a Clair S4 box at some concert. As I recall, the tech took a big phillips screwdriver to the screws (so we didn't break the grill I'm certain) and showed us "the guts". We were hooked and off we went to Lititz PA to join the next best thing.

Jo still works for Clair, system tech for their largest shows including The Stones and U2.

D.
speaking of dsp controlled, modern subwoofers and clair: their (relatively) new sub from the 'cohesion' series is powered by a powersoft amp with built-in dsp, has a built-in measurement mic and runs on 1ohm (sic!) - and it is amongst if not 'the' most capable subs (with a reasonable foorprint) i ever got use (on a multitude of occasions) - too bad they are all in the warehouse (see pic) rather than on tour...

https://clairglobal.com/wp-content/u...tion-Sheet.pdf

...so what i have leaned?

that one can NEVER have enough subs! :-)
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So, what have we learned?-20201110_132745.jpg  
Old 1 week ago | Show parent
  #38
Gear Maniac
Quote:
Originally Posted by deedeeyeah ➡️
speaking of dsp controlled, modern subwoofers and clair: their (relatively) new sub from the 'cohesion' series is powered by a powersoft amp with built-in dsp, has a built-in measurement mic and runs on 1ohm (sic!) - and it is amongst if not 'the' most capable subs (with a reasonable foorprint) i ever got use (on a multitude of occasions) - too bad they are all in the warehouse (see pic) rather than on tour...

https://clairglobal.com/wp-content/u...tion-Sheet.pdf

...so what i have leaned?

that one can NEVER have enough subs! :-)
Golly.
Old 1 week ago
  #39
Lives for gear
 
hbphotoav's Avatar
 
🎧 10 years
All I can say is... serious gearlust after those Clair boxes... Whoa.

And, were it not for a pair of A7-500 cabinets (with the original "Altec Lansing" decals on the side) reclaimed from a defunct theater in a small town in Texas in 1974, then hotrodded by the Waco Heart'o'Texas Music's resident solder sniffer George Blackshear, who replaced the worn out 15s with Gauss 15Ls, and loaded the 500s with voicecoil-aligned Peavey 44XT compression drivers (not as easily blown as the Altec diaphragms by young DJ/PA dudes new to the business), biamped with a hand-built HoT Music 500Hz electronic crossover and topped with a pair of voicecoil-aligned 808-8A with mini multicell horns and the aluminum HiFi diaphragm (from the Altec soffit monitors series) through a passive crossover, for a 3-way Biamped High Fidelity PA (Peavey Stereo 260, soon replaced with a CS400 power amp on the Low End, and a Sansui AU999 50WPCh for the High Side) that would blow any Kustom/Gibson/Standell/Peavey/Vox/Shure/EV/Fender column array system right into the tall grass... I just might have remained "just" a photographer, who liked motorcycles and the rock and roll music. Fortunately... it was a match made in Heaven. When not rocking a high school gym, or doing an outdoor church gig ("Jesus Music" was big, at the time) the system was also a killer home stereo in my room. Chicks dug it. One such chick is, by the bye, still my wife.

Thanks be to God, and Altec.

Cheers.
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