It would be great though. I think there's too little experimenting going on in the PA section. Mixing the show both through a fancy top-of-the-line PA and some megaphones could sound really interesting.
If by "interesting" you mean "bad", then I'm in total agreement, hahaha. It comes down to what frequencies you want to excite in the room, and where. This then gets into concepts like phase alignment. Ideally, you'd have one massive full-range speaker with a perfectly flat response from 20 Hz to 20 KHz projecting into a room with perfect acoustical response. Since that's not realistic, you do the best you can, and that means having any signal you want to be projected into the room go through the PA system. This is one reason I favor small guitar amps these days, they're MUCH more useful in a real situation, and a little amp with a mic on it is just as big as the PA system. Gigantic stacks are dinosaurs from the days when each member of the band had their own big amp, including the singer. In a pro audio situation you want low stage volume and mics on everything. For most people who jam with other musicians in a small room, your HRD is the perfect size. Really, that's about the most powerful amp you should ever need.
When I worked for KISS, they had like a hundred stacks all along the back of the stage... but they were all fakes. Every one of them was hollow, just a prop. The real amps were under the stage with the techs.
By interesting I do mean interesting wink. Of course such a setup wouldn't be possible or desireable everywhere. But I think that when it comes to sound "good" and "perfect with all frequencies perfectly audible" is not always the same thing (I hope that sentence made sense, english is not my native language after all). Actually I find the race towards "perfect" sound a bit boring. Especially Tom Waits could benefit from a more shitty sound sometimes. Imagine using the megaphones for his voice as an effect in one song. Could sound bad, could sound cool.
Yes, see, what you're describing is an effect. Alllll effects should be run through the PA system. Every single sound that you want to present to the audience should be run through the PA system. Tom sometimes sings through a bullhorn, but the bullhorn goes into his vocal mic and thence through the PA system.
Had his voice been run through that array of old bullhorns behind him, the result would have been howling feedback and little else.
There's some room for creativity in sound reproduction, but the audience didn't show up to watch some asshole turn knobs, they're there to see the artist on stage. As the sound engineer you have a job to do, and that job is to be invisible. When everything is working right, the audience doesn't think about the PA system, they just enjoy the performance. The technology should be transparent and unobtrusive.
Well, I don't know, I wasnt there. You probably know better.
Well... I did major in Sound Technology! Ask me about the Fletcher-Munson curve or the Nyquist-Shannon sampling theorem, nodes, antinodes, comb filter effect.
My head is stuffed FULL of useless information about audio...
The HRD is great by the way. And incredibly loud despite its size. Too bad about the linear pot for the master volume, the difference between to low and way too loud is about a millimeter. It's easily modded though.
Save up your bottle caps and put a Weber 12F150 speaker in there. You just think it sounds good now!
Haha, fake amps sounds so cheesy. What kind of amps did they use?
The fake amps were all Ampeg and Marshall, and they had real Ampegs and Marshalls at the cores of their rigs, but each player had a tech or two, and each of these techs had their own little room under the stage, and each of these rooms were stuffed full of high end signal processing racks. So many twinkling lights, each little room looked like the bridge of the USS Enterprise.
For this purpose I have borrowed a huge amount of money to turn into spray cans. Pictures will follow.
Jag hller helt klart med dig i att han borde ha mer fantasi nr det gller sin porr. Det r typ som om en person som gr mycket bra musik sjlv bara skulle lyssna p dansband. Det gr ju inte ihop.
Jag har inte hrt Juliette Lewis, s jag ska inte sga att jag inte tycker om henne. Men nd, har jag inget intresse av hennes musik heller. S kan det g.
Jag frstr inte den hr senaste bloggen. Afrikaner? Spray burkar? Va?
That both sucks and is a thrill.
Until then, my main priorities are packing, packing and packing. Good thing my ex is taking most of the heavy furniture.
Bad thing that I'm her main moving man.
Uh...Juliette Lewis som rockstjrna knns fel. Jag frstr inte den crushen.
Ja Ken Park sg jag med min dvarande pojkvn OCH syster. Lite obekvmt sdr. Den filmen r ju till och med grvre n Kids. Sexscener dr man fr se allt, nra p porrfilm. Jag undrar om sexscenerna r kta i den, det mste de nstan vara. Jag gissar att din vn ocks r ett fan av porrfilm d.
Uppdatering: EW! Han r tydligen scientolog. Nej, tack, han kan f sitta kvar i sin nde av baren. Fan d.
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Och det dar med konstigt... Ibland ar konstigt jobbigt, nar man inte fattar grejen. Som min syster och filmen. Jag tror hon ogillade att den var konstig for att hon inte forstod den. Jag tyckte den var jattebra for att jag kande igen mig i den, osv.
Vilken tur att du somnade! Jag r mycket njd med min insats, utan att veta vad den var.
A while ago I tried smoking pot just before i went to bed, but being a very occasional smoker I started tripping out from the way too strong superweed my...
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It is my honor to help others. Do not hesitate to ask me any questions!
Also, you should consider a Weber speaker for your amp, like a 12F150. You'll find that your amp sounds best if you set all the tone knobs at the ''5" position and turn the tone knob all the way up on your guitar. I usually turn the presence control all the way down, too.