From: Rowland McDonnell on
Adrian Tuddenham <adrian(a)poppyrecords.invalid.invalid> wrote:

> Rowland McDonnell <real-address-in-sig(a)flur.bltigibbet.invalid> wrote:
>
> > Adrian Tuddenham <adrian(a)poppyrecords.invalid.invalid> wrote:
> >
> > [snip]
> >
> > > I can remember a reply in Hi-Fi news many years ago by HMV to a reader
> > > who had criticised one of their L.P.s for lack of low bass. They
> > > explained at length how every channel on the mixing desk was lined-up
> > > before the recording sessions every day to ensure that it was within a
> > > gnat's whisker of flat to 20c/s ...and how the recording characteristic
> > > was carefully aligned with top quality measuring equipment to be within
> > > a fraction of a decibel of the RIAA characteristic.
> > >
> > > Then they spoiled it by saying that, of course, where there was heavy
> > > low bass, it had to be cut so as to get the full length of recording on
> > > the disc. In other words: all the bass was there except when there was
> > > any bass - then there wasn't!
> >
> > Typical management double-talk excuses...
> >
> > I know a sound engineer (well, haven't seen him in years) who has (more
> > than once) received complaints that there was too much gain being used
> > to boost the soloists(s) in the jazz band. Thing is, every time that's
> > happened, the gain was turned down to zero - it's only some of thee
> > singers and solo flautists etc, who needed it, not the brass and sax
> > players (well, they wouldn't), but would the complainers believe it?
> > Nope, he's had several jazz buffs hopping mad at him ruining the
> > performance until he let 'em up to look at the mixing desk and told them
> > to go away and stop messing about, or words to that effect.
>
> I have encountered a similar situation, this time I was one of the
> complainants. The sound man was so fed up with being harrangued by so
> many punters that he finally switched the desk off completely - the
> sound was still too loud!

It happens quite often. I'd not blame the sound man once he'd told me
it wasn't his fault - I know how loud unassisted instruments can get. I
have duff left ear which reminds me of a brass section in a wind band
any time the SPL gets a bit too high and it breaks up, sortathing.
('twas the brass section that did the damage, or so I think).

> The offending band comprised a hurdy-gurdy, Breton bagpipes and, worst
> of all, a Breton Bombarde.

Hmm! Interesting - just read about them. Coo. It doesn't half sound
like a device which ought to be played with a bag air feed rather that
direct blowing - I wonder if the noisy bagpipes we know today turned up
by combining the old bagpipe ideas with new sounding parts like
something related to them Bombard things.

> The most trouble was caused by this last
> instrument, which should really only be played in the open air.

So I've gathered from what I've just read. Proper stuff!

> In the
> acoustics of Wadebridge Town Hall it generated ear-splitting
> 'hot-spots'.

I once had the experience of hearing three proper Scottish pipers
playing together on proper Scottish pipes. You know, the ones that were
intended to be played solo at the head of an army marching into battle
with the aim of scaring the enemy witless?

Them? Yeah?

Okay. Now try three of the buggers, in one tiny two-room pub[1].

Argh is that my brains oozing out of my ears, no it's just the ear-wax
melting due to the external energy input.

I think the musicians rather liked the fact it seemed as if the building
would fall down under the assault from their pipes.

Rowland.

[1] The short explanation is: Scottish landlady with a birthday and
some kind friends who weren't quite as thoughtful as they'd thought. Of
course the pipers were all wearing the full formal piper's rig in
tartan. They take up a lot of room size-wise, not just noise-wise; not
so apparent until you get 'em indoors.


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