From: someone@anywheret.net   
      
   "JimD"  wrote in message news:2018090913241163323-email@nowherecom...   
      
   > This volume thing has brought up two big issues.  One is the scabability.   
   > The other is brand sensitivity, or the power of suggestion.   
      
   Scaling sound is far from simple due to all the variables involved and the   
   logarithmic nature of response to it.   
   Which only makes psychoacoustic response all that much more of an issue,   
   where even suggestion plays a part in the Psychology of Sensation.   
      
   The speaker company I worked for once made some custom   
   6"*9" automotive speakers, 34 oz ceramic magnet, 1 1/2" aluminum form voice   
   coil, foam edge cone, coaxial mount dual piezo tweeters, one of which had an   
   'acoustic lens' that theoretically would produce a nice hemispherical   
   radiation pattern for great coverage - all mostly an expensive pile of   
   Crap...but they sure looked impressive, and cost expensive...so 'naturally',   
   they must also sound great...NOT ;)   
      
   > Some purists see how a band should sound as some musicians in a room with   
   > small little amps, acoustic drums and maybe a mic.  Fine.  Now, how do you   
   > take that little " perfect " setup and make it loud enough to play bigger   
   > rooms ?   
      
   And sound *similar*, yes, somewhat, to sound the same as before, not likely.   
      
   > Can you just replace the little 12 watt Princton amp with a Marshal half   
   > stack ?   
      
   No way! Of course, using the right equipment, it's still possible to get   
   some good sound anyway but most bands don't even bother with an SPL meter!   
      
   > And the drums, just pound harder ?   
      
   That won't do it.   
      
   > This is an example of the issue of scalability, or taking a process and   
   > trying to make it work on different scales, or levels of output / work.   
      
   It's all nonlinear so that takes a LOT of work because  it's NOT like   
   scaling up a recipe ;)   
      
   > Some process scale, some don't.  Factories know all about this, they live   
   > with this issue every day.  Any business does.   
      
   But businesses, like in the speaker industry, must deal with nonlinear   
   scaling...very involved.   
      
   > Non pro musicians seem an exception.   
      
   Not anymore! Nowadays, Tragically, there's nothing  'exceptional' about   
   Stupidity!!!   
      
   > They don't understand scalability at all.   
      
   They don't seem to understand much of anything else either.   
      
   > They want to do what I suggested, just make the amps bigger and louder.   
   > Why that doesn't work is because the musicians have to stand next to the,   
   > now far too loud to be anywhere near, bigger amps. It's not a scalable   
   > process.   
      
   That's mostly a function of the inverse square law.   
      
   > Another way has to be found.  On a pro level that's easy, the " way " is   
   > get a nice big pa for the audience to hear, and leave the stage amps where   
   > they were volume wise.   
      
   Yep, it takes TWO sound systems, the FOH system powerful enough to reach,   
   Not Deafen the entire audience, aimed Away from the stage and the stage   
   monitor system.   
      
   > That way the sound can be made loud enough to a big venue, and yet not   
   > deafen the players.   
      
   > On a pro level it's easy.   
      
   That's why ANYthing less than a Pro Attitude isn't worth bothering   
   with...because there's NO PLACE for anything less than PRO, in other words,   
   Serious!!!   
      
   > On a bar / amature level, not so easy, as those guys want to do what   
   > doesn't work, just make the stage louder.  Get bigger amps / play the   
   > drums harder.  They don't trust the pa to do the work.   
      
   That's what Immaturity does.   
   ------------   
      
   > Power of Sugggestion.  Why do recording studios all seem to need to have   
   > various vintage gear lying around ?    Expensive name preamps ?   
   > Expensive name brand mics ?   Hint, it's not because they sound better,   
   > it's because the musicians that come in, and pay the bills believe they   
   > do.   
      
   There's some great vintage gear around and since it works, and it's not   
   needing to be moved around why not have it on hand?   
   -----   
      
   > Some band people, on a non pro level, seem to often get so concerned that   
   > the pa FOH sound is " right " that they spend all their time worring over   
   > that and not doing their own job well.   
      
   That's just plain Stupid, but what else is new?   
      
   > Because, well, their little crappy amp sounds " perfect " to their ears,   
   > and there's not way that mic-ing it and sending it thru big pa cabs isn't   
   > gonna ruin that " perfection ".     Because, well, perfect is already   
   > there, and no mic will capture that as perfect as it is. And no FOH pa   
   > will sound just like that perfect little amp in a bedroom.   
      
   Or it could sound better, but they won't hear it.   
      
   > So instead of playing the songs, learning the words, putting on a good   
   > show, they obcess over whether the FOH sound is perfect.   
      
   Do they at least play recordings of their material so they can go out into   
   the audience section and actually listen to how the FOH system sounds? The   
   'sound checks' I've seen have been either nonexistent, or a joke.   
      
   > It's not, it never will be.  Live halls aren't recording studios.  Pa   
   > systems are a necessary tool if you want to play rooms bigger than a   
   > living room.  And what works in a living room isn't scalable to big rooms.   
   > Isn't, never will be.   
      
      
   Jim   
      
   In theory at least, it might be able to be approached, but that'll take LOTS   
   of Work, and Knowledge!   
      
   Ouisie   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)