From: someone@anywheret.net   
      
   "JimD"  wrote in message news:2017101123395036293-email@nowherecom...   
      
   > Or, you could just turn all the other crap that is running interferrence   
   > down.   
      
   Yes, of course, if that's all it is...and using 1/3rd octave band EQ to give   
   each sound source it's own 'niche' would enhance the sound even more.   
      
   > I've been in bands with real upright basses. They sound almost exactly   
   > like a real upright bass when you're standing next to one being played.   
   > Funny, huh ?   That a bass would sound like a bass ?     Well, they do. No   
   > amps, no eq, just wood and strings.   
      
   When you're in the near field, you'll hear it, and totally acoustically - no   
   electronics at all...but outside of that, it'll take amplification, and   
   ideally, some way to at least help to direct the energy to where it's   
   intended to go.   
      
   > But then guess what ?   Put that onstage with some loud drums and guitars   
   > and it isn't even hearable anymore. Forget hearing all the richness of   
   > tone, you can't hear it at all.  Take the drums and guitars away, and like   
   > magic there it is again.   
      
   That's why good soundwork is Critical.   
      
   > I think it is doable. Just not with 114.5 db of drums filling the air.   
      
   Making the level too loud RUINS everything.   
      
   > Have you ever listened to music that wasn't just rock guys jamming ?   
      
   Sure, but just because it's a rock & roll jam doesn't mean the mean the   
   sound levels have to be STUPID!!!   
      
   > I was listening to some of the music from the Godfather movies tonight.   
   > And in places you can actually hear the basses and cellos playing .... try   
   > it.   
      
   A symphony orchestra is entirely different - LOTS of Dynamic Volume levels   
   i.e. NO COMPRESSION...and not only that, just because the piccolo solo is a   
   bit on the 'soft' side doesn't mean cranking the volume (on a recording of   
   course) would be a good idea because if it's followed by something more   
   powerful, i.e fortissimo, particularly with the  entire orchestra blasting   
   in at full throttle ;)   
      
   > We're recording a lot now. In recording you can't get an instrument or   
   > vocal to stand out by just continually turning that part up.   
      
   That's why EQ is used to Define each sound source, so it can be clearly and   
   easily heard without overcranking...works the same way Live too.   
      
   > Eventually the recorder maxes out.  Then, if you're smart, a light will go   
   > on over your head and you'll realize that maybe, just maybe, you need to   
   > turn something else down. Make some sonic space for the thing you want to   
   > emphasize.   
      
   Idiots believe that cranking up too loud is always the answer when in   
   reality, using EQ to Define each sound source will accomplish far more   
   without hearing damage and Crappy sound to boot.   
      
   > This is a hard concept for live players.  Seriously. It really is.   
      
   Because they're Stupid Idiots with no knowledge of acoustics...same thing as   
   Stupid Idiots who don't know how to drive getting behind the wheel anyway.   
      
   > On typical bar band stages, the only way to be heard is to overpower the   
   > other players, as you're never gonna get them to lay back and let others   
   > stand out.   
      
   That's why I won't waste my time with them.   
      
   Played a gig Friday night...after two miserable days of driving, some 200+   
   miles each day, so I was really wiped out by gig time - I wanted to call in   
   to say I wouldn't be able to make it but I know  the show must go on so I   
   was there...even remember some of it ;) - volume levels were good except for   
   a few times when the guitar player cranked up...but he said my effects   
   sounded really good, that's after at first indicating that they might not be   
   such a good idea because of Idiots who don't know how to use the gain   
   controls on them and blow everyone away when they switch the  effect on. I'd   
   toldl them about my involvement in the  electroacoustics field and it just   
   doesn't seem to register with them for some reason...but eventually they do   
   literally get to hear that I actually do know how to operate level controls,   
   even if they don't ;)   
      
   > Pro guys, they can and do know how to back off the volume.   
      
   Of course...and I'll crank up only to a certain level in order to hear   
   myself. I will NOT be part of any volume war...if after some slight cranking   
   to be heard, Idiots want to crank up more, I'll turn my amp towards me to   
   use it as a monitor and adjust the  volume just so I can hear myself, and no   
   more, no matter how loud the Idiots get...and if the audience can't hear me,   
   who cares? At least I can and if they want to hear me too, they can ask the   
   Idiots to crank down...and that's already happened a few times.   
      
   > But that's because they have bills to pay and stuff.   
      
   Not to mention hearing to protect!   
      
   > When mr or ms star feels you're too loud compared to them, they'll let you   
   > know real quick you can either turn down, or look for a new job.   
      
   That's only more ego problem Crap, the very cause of the whole mess in the   
   first place...and I don't care who the prima donna rock star is - if they   
   literally don't know how to play (and/or sing) with others, I'm not   
   interested in getting involved - been there far toooooooo many times   
   before!!!   
      
   > Good luck searching for good sound.   
      
   But it's definitely worth the effort!   
      
   > I was thinking about buying some eq's.  But, been there before, used them   
   > a while them sold em.   I'd rather spend my money on lights.   
      
   Jim   
      
   But were they 1/3rd octave band EQs?   
      
   Ouisie   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)