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Travis In Austin

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Everything posted by Travis In Austin

  1. This is a monitor board, the only thing this guy is doing is making sure that the monitors that allow the performers to hear what they are playing/singing. It allows for EQ, the performer can prefer a certain sound. It can sound completely different than what is playing to the audience. It can mix the other performers instrument's into that monitor depending on what else that performer prefers in order to stay on beat, etc. Monitor boards are much more common now with many artists preferring in-ear monitors as opposed to the ones that sit on stage facing the performer. You could record off of this mixing board, but you wouldn't want to if you could record off of the mixing board at the front of the house (FOH). It has a limited, and very specific function, letting the musician/singer hear what they think will allow them to give their best performance. It is totally subjective to each performer or singer, and can change from song to song, and within a song, that is why there is a guy standing there to make adjustments.
  2. That is a pretty basic unit you have in there. It doesn't have anything to do with recording, it's main purpose and design is making So you go to your link on that board and this is what is says in the first paragraph: "The word is out. At last month’s Musikmesse/Prolight+Sound show in Frankfurt (see report), Solid State Logic, a leading manufacturer of studio consoles and processing tools, has launched “Live” — its first console designed for sound reinforcement applications. This is definitely big news, but hardly the first time a studio-oriented manufacturer has entered the live console market, with notable examples being the Avid VENUE and PreSonus StudioLive series" So mixing boards are typically made for studio/recording applications, or "sound reinforcement applications." "Sound reinforcement" means the giant PA system. It can be a permanent install in a building, with additional speakers brought in by the band, it call be all broughtin as with the case of a typical stadium show. Some places sound pretty good, others are notorious for how bad they sound, and there is everything in between. These mixing boards try to give a sound engineer the flexibility to come up with the best sound he/she can given what they have to work with. A recording console has a different set of parameters that are trying to be optimized for that application. For example, it doesn't need to be ruggedized like a live console does. Mixing is typically a post recording process. Individual tracks are recorded, and then mixed together. For a live recording, you want as pure and raw a signal as possible on media to go and mix at a later date, because that is going to be mixed for consumer audio. Unfortunately, what that is, can vary widely. If the mixing engineer is an audiophile, with audiophile studio monitors it is going to sound one way. If it is a studio with sub-standard monitors with limited frequency response it is going to sound different. If the guy is mixing it with headphones on, it is going to sound another way entirely. You could use the sound reinforcement mixer to record, but you wouldn't want to, it isn't designed mix different signals to capture sound. It is designed to make live presentations sound as good as possible within a particular venue, and with a specific speaker system. They can be permanently installed, like in a church, or music hall, but they are typically capable of being moved from one place to the next. They need to make a minister's sermon come through clear and crisp, a soprano's aria have emotion, and let a rock band ROCK. The reason sound engineers will record their own two track version on their laptop is to make their job easier at the next gig. They can play that back after everything is set up, with reference settings, and they know how they want it to sound. The band and come back and listen to how it sounds and give input about the mix (which they obviously cannot do during a live sound check). They don't have to start from scratch every time, they can look at the venue, see what is closest to what they already have on file, and start from there. Chris A has linked to some threads on some programs that allow you to re-equalize that recording back to something that may be entirely more pleasing for your room, your speakers, etc.
  3. How could this possibly happen? We had wild fires every two years in Malibu, 40 to 50mph winds (Santa Anna's) and not a lot you can do but contain it into a path, they would burn 30 or 40 miles away and burn all the way to the ocean.
  4. Man's got to know his limitations.
  5. That is what I thought when people were raving about it in February.Clint's was "The Dead Pool" which was talking about the game in the plot of the movie. "Now I know what you're thinking." "Did he fire six shots... or only 5?". "Do you feel Lucky... we'll do you punk". "Make my day"
  6. Pretty cool stuff for your son, thats great.
  7. That sounds pretty awesome, very cool
  8. The mixing board at a concert is typically not the source of a high quality live cd. A good live recording is going to go "raw" into a multi-track recorder. It is then mixed later on, where they will unfortunately use compression and limiting. That mixing board at a concert is there for one thing, to make the monitors sound the way that the muscians want them, and for the music to sound as good as possible for that venue and with that sound system. It mixing board has outputs so you can hook a recorder up to it, and decide what you specifically want to record, but is still mixing for a pa system. You take that same concert, and a multi-track recording of it, and mix it for "home speakers" it is going to sound much more what you are used to,
  9. There are two ways to avoid feedback with monitors going back at you. One is less sensitive microphones, that are highly directional and/or noise gates that detect feedback and shut it down. It is usually a combination of the two.
  10. I realize that, you said it came off the board, so that is long before the speakers. But they are mixing the sound to come out of those giant arrays, so it does matter if what they were recording is after level and eq adjustments for those speakers. So the string is this. Guitar, amp, microphone, cable to mixing board. Every microphone, vocals or instrument, same way. Lets say six mikes for drum kit, a bass and 2 guitars so 3 amps, one mike on each amp, and 3 vocal mikes. That's 12 inputs on back of mixing board. Then there are outputs. Outputs to the earphone jacks, outputs to the monitors/in-ear momitors on stage, and, most important, output to the amps and crossovers for the arrays. You can record from any output, and they are all before the speakers. If they recorded a monitor output for say the lead vocalist, would sound terrible, its all vocal and very little music. You could also output it without any mixing adjustments straight to a recorder. It would be unlistenable. The drums would drown everything out, the low end would be mud, the vocals probably lost in there. Or you adjust the levels of the vocals and instruments where you want them, per that speaker system, in that hall, and you record that uut of the board, again before the speakers, and it is going to sound much better than an iphone. If it was recorded after EQ was put in, again before the speakers, it will sound very, very different from home. They are boosting some sections, typically lower frequency to bring up bass, dipping here and there, to get the best sound out of those arrays. Compression is used in recording to make something appear to sound louder at the expense of dynamic range. In a live music setting you don't typically see compression used to do that, you just turn up the volume and make it louder, with no loss of DR. There is really only one exception to that, an outdoor music venue that is under tight noise restrictions, like Redrock in Denver. They will use compressiob to have louder sounding performance without getting fined. I guess your son could ask his friend if they were using compression in the board (compressors and limiters are typically seperate from board, and come between the board and the Amps/Crossovers) and if they were using compression why. I think the answer will probably be "no" but we had to eq it like crazy to maken it sound half way decent. We added 6db here, and 8 db here and and cut 12db there. Was there a lot of crowd noise between songs? Is there clapping and everything going on during what would be quiet sections? It could all sound forward for a completely different reason, his friend could have just recorded it "hot", like the equivalent of +9db or more, the whole thing will sound much, much louder than used to, but the DR will actually be greater if there is no peaking.
  11. Geez, that's a huge copyright violation if I ever heard one.JJK Why?
  12. That is what I thought when people were raving about it in February. Clint's was "The Dead Pool" which was talking about the game in the plot of the movie.
  13. I dont think it is compression. I think it is EQ for that set of speakers for that venue. For live music they are using compression and limiting for completely different reasons than in a recording studio. The processing is entirely different. For example, they use noise gates to avoid feedback, etc. How big was the pa system? Large concert arrays flown from ceiling? Giant stacks?
  14. For a bootleg, off the mixing board is going to be best. Many major bands allow recordings of their concerts, pepole bring elaborate microphone stands, etc. Grateful Dead is one example. However, even straight of the board is going to be inferior to what you typically think of as a well done "live" lp. Straight off the board is probably going to be 2 track mono. It is also going to be mixed according to the ears of the sound man standing in that hall or stadium from the pa system. It will have eq, and processing on it, and it will sound different on playback in a different location and through different speakers. Or, it is from the headphone output, so the mix is optomized for what that Engineers is trying to listen for in headphones. The typical iconic "live" albums you think of were done with completely different process. They would be recorded direct to a multi channel recorder, typically to a mobile truck behind the stage or outside the building. From those multi-track recordings the album would be mixed, and processed. Two that come to mind are Frampton Comes Alive, 24 track analog recorder, massive truck parked outside of Winterland. Live at the Filmore East was 16 track I believe. There is software that lets you play with digital live recordings that claim you can get improvement, but you are still working from a 2 track mix that was intended for a different playback then speakers at home.
  15. That article references a Bloomberg Report. The Bloomberg Report indicates that attorney's for Led Zeppelin declined comment. Settlement offers and negotiations are not admissible at the trial, so they are trying to get that out there to potential jurors. Here is the quote: "Peter Anderson, a lawyer for Page, Plant, and their record labels, declined to comment after the hearing." To me, it is unbelievable that plaintiff should get more than a token recognition for that series of about 10 notes. We are talking about a lengthy song. If anything, this joke of a case makes me realize that if there is a finding in favor of plaintiff, the damages should be proportional to the plaintiff's contribution toward the entirety on some kind of fractional basis. I don't know how the jury will be instructed on damages, I would think there would be plenty of precedent on how to figure it out from the sampling cases. There is a district court case on sampling out there that says that as few as three notes of a sample can be infringement that entitled the plaintiff to an award of damages and a credit. I do not recall how they awarded damages in that case or what the split was on future damages. I would think sampling is much different that actually performing a few similar notes. For sure different, but in some ways worse. Using a bass line from a track that was sampled, they either had to pay a large licensing fee, to lift an injunction, or they have to give a credit and pay royalties on all future sales. Different things being sampled have resulted in different results.
  16. Shoot, I was hoping they were going to give away a toaster.
  17. http://www.klipsch.com/news/klipsch-announces-exclusive-home-audio-partnership-in-deadpools-home-entertainment-release http://www.klipsch.com/deadpool http://www.klipsch.com/klipsch-deadpool-sweepstakes-official-rules Thank you
  18. That article references a Bloomberg Report. The Bloomberg Report indicates that attorney's for Led Zeppelin declined comment. Settlement offers and negotiations are not admissible at the trial, so they are trying to get that out there to potential jurors. Here is the quote:"Peter Anderson, a lawyer for Page, Plant, and their record labels, declined to comment after the hearing." To me, it is unbelievable that plaintiff should get more than a token recognition for that series of about 10 notes. We are talking about a lengthy song. If anything, this joke of a case makes me realize that if there is a finding in favor of plaintiff, the damages should be proportional to the plaintiff's contribution toward the entirety on some kind of fractional basis. I don't know how the jury will be instructed on damages, I would think there would be plenty of precedent on how to figure it out from the sampling cases. There is a district court case on sampling out there that says that as few as three notes of a sample can be infringement that entitled the plaintiff to an award of damages and a credit. I do not recall how they awarded damages in that case or what the split was on future damages.
  19. So maybe we should just limit Copyright to lyrics only? Anyone can use anybody elses melody (I don't know the music lingo, "tune" or "chord structue") but as long as you change the lyrics you are safe? Travis
  20. Awesome to see Klipsch out in front on that movie, have there been announcements by Klipsch yet on what they are doing.
  21. That article references a Bloomberg Report. The Bloomberg Report indicates that attorney's for Led Zeppelin declined comment. Settlement offers and negotiations are not admissible at the trial, so they are trying to get that out there to potential jurors. Here is the quote: "Peter Anderson, a lawyer for Page, Plant, and their record labels, declined to comment after the hearing."
  22. You helped me quit smoking 10 years ago. You bring up thenothwr side of the coin that is equally, if not more important. The irrational belief that smoking wont significantly impact you, or morbid obesity, or whatever.
  23. I think with HPV, as distinguished from long standing vaccines for other diseases, parents may want more input into their child getting an HPV vaccine: As of September 1, 2015, there had been 295 claims filed in the federal Vaccine Injury Compensation Program (VICP) for injuries and deaths following HPV vaccination, including 13 deaths and 282 serious injuries. Using the MedAlerts search engine, as of Sept. 30, 2015, there were a total of 37,474 vaccine reaction reports made to the federal Vaccine Adverse Events Reporting System (VAERS) associated with Gardasil vaccinations, including 209 deaths. There were a total of 3,119 vaccine adverse reaction reports made to VAERS associated with Cervarix vaccinations, including 16 deaths. (Merck’s Gardasil vaccine, which was the first HPV vaccine licensed in the U.S., has the majority of the HPV vaccine market in the U.S.). That is a direct quote from the National Vaccine Information Center http://www.nvic.org/Vaccines-and-Diseases/hpv.aspx
  24. The leading cause for cervical cancer in women and throat cancer in men is the lack of a HPV in one or more sexual partners. Ask the actor Michael Douglas whether he cares if children in this day and age should require parental consent prior to getting this particular vaccination. The lack of HPV?
  25. The National Vaccination Center also has information state by atate. Here is a link to their site describing the new California law which removes all exemptions for the required vaccinations. The twist in California is that a child A over 12 years of age can get vaccinated for STDs WITHOUT PARENTAL CONSENT. HPV is not a required vaccination in most states, or maybe any states. That is a real issue. http://www.nvic.org/Vaccine-Laws/state-vaccine-requirements/california.aspx
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