Dirty Digital [sic.]
 

"Phil Allison" wrote in message


He bit you very hard in order for you to feel the need to
post such a public denial.

Actually, I was ROTFLMAO when I made that post.

So Terry, in his stupidity and arrogance solicited me
for KP.

** In doing so - he made you out to be a child ****er.

Allegations are cheap.

What Terry actually did is give the world evidence that he likes to collect
pictures of the same. He did that to himself, all by himself.

That's his problem.

Any fool can call anybody anything. If I had a nickel for every time
someone called me a pedophile, either directly or by implication...

But watching Terry call himself a collector of KP, now that is pretty rich.

Dirty Digital [sic.]
 

Nick Gorham wrote:

Eiron wrote:
Roger Thorpe wrote:
Eeyore wrote:

Yes you can when it's really good and it'll be 10-12 dBA. Not all
parts of cities are that noisy and it's amazing what clever construction
methods can do.

The biggest problem is keeping the noise of the air conditioning down
actually.


Strange that this should come up. Just yesterday I was listening to
Haitink's recording of Vaughan Williams no 3 (recorded in Abbey Road
No 1. in 1986 IIRC) the ventilation noise was quite noticeable, and on
Audacity seemed to be about -45 dB. What surprised me was that this
noise was maintained between movements and even between works.
Presumably the engineer drops some wild sound in the silences
deliberately. This seems to be good practice, to me the noise was not
troublesome, just 'ambience'. Had it faded in and out then I think it
would irritate.
Is that standard practice? and have they fixed the ventilation since?
Roger Thorpe


I was just listening to Fireball by Deep Purple. If you turn up the volume
you can just hear the noise of the Olympic Studios air conditioning
before Ian Paice starts drumming.

(ignoring the sound of things wizzing over heads)

I always wondered about that intro, I always assumed that it was a
star-delta motor starting up, at least thats what I sounded like to me,
but wikipedia seems to be claming its a Lesley starting up. What do the
panel think?

Don't have it I'm afraid. I could believe it's a Leslie though.

Graham

Dirty Digital [sic.]
 

Don Pearce wrote:

A dBA measurement is fair enough for this application as it reduces the
amount of background mush that might otherwise interfere.

I'm not much taken by that excuse.

We accept that horns are *LOUD* though ?

Graham

Dirty Digital [sic.]
 

Roger Thorpe wrote:

HVAC is only slightly closer to my field, the noise from ventilation
doesn't need to be high. The sound increases steeply with air speed (I
seem to recall the seventh power of the air velocity, but that seems far
too high) I suspect that it's only the specialist installers (as above)
that care about it though.

That's why studio a/c is ultra low air velocity and ultra wide ducts.

Graham

Dirty Digital [sic.]
 

Arny Krueger wrote:

The spectral weighting depends on the specific criteria, such as NC20. For
NC20, the SPL can be like 50 dB at 63 Hz.

Which is essentially inaudible. It's about 10 phons.

Graham

Dirty Digital [sic.]
 

Arny Krueger wrote:

"Eeyore" wrote

http://www.westwick.com/

They just recently finished a job (Neve install) in
Poland, and before that a LARGE installation in Singapore
(University theatre or somesuch?). They regularly do jobs
for 'name' musicians.

Musician's studios are generally vanity items. A few are actually very
productive, but then there are the rest...

The musician ones are really more like practice studios to work up ideas.

The other serious stuff is *commercial*.

Graham

Dirty Digital [sic.]
 

Nick Gorham wrote:
Eiron wrote:
Roger Thorpe wrote:

Eeyore wrote:

Yes you can when it's really good and it'll be 10-12 dBA. Not all
parts of
cities are that noisy and it's amazing what clever construction
methods can
do.

The biggest problem is keeping the noise of the air conditioning down
actually.

Graham

Strange that this should come up. Just yesterday I was listening to
Haitink's recording of Vaughan Williams no 3 (recorded in Abbey Road
No 1. in 1986 IIRC) the ventilation noise was quite noticeable, and
on Audacity seemed to be about -45 dB. What surprised me was that
this noise was maintained between movements and even between works.
Presumably the engineer drops some wild sound in the silences
deliberately. This seems to be good practice, to me the noise was not
troublesome, just 'ambience'. Had it faded in and out then I think it
would irritate.
Is that standard practice? and have they fixed the ventilation since?
Roger Thorpe


I was just listening to Fireball by Deep Purple. If you turn up the
volume
you can just hear the noise of the Olympic Studios air conditioning
before Ian Paice starts drumming.


(ignoring the sound of things wizzing over heads)

I always wondered about that intro, I always assumed that it was a
star-delta motor starting up, at least thats what I sounded like to me,
but wikipedia seems to be claming its a Lesley starting up. What do the
panel think?

From the 25th anniversary edition sleeve notes, p10:
.... Feb ... Olympic ... 23rd ...
"Fireball" was hammered out here over several takes, with the sound
of the studio air-conditioning being turned on (which Martin Birch
had taped earlier merely for a laugh!) added to give that whoosh at the
start of the song.

--
Eiron.

Dirty Digital [sic.]
 

Arny Krueger wrote:

"Don Pearce" wrote
Eeyore wrote:
David Looser wrote:
"Arny Krueger" wrote

130 dB takes an aircraft carrier launching jets, etc.
It also causes real pain (not just discomfort) and
temporary damage to the hearing. If continued for any
length of time (minutes) the damage is permanent.

It caused me no pain at all. A sense of awe for sure,
and a skin rash. And no, I didn't continue it for long.

The idea of 130dB (peak) causing direct pain is IMHO
associated with the noise of the majority of kinds of
things that are most likely to create 130dB ! In itself it doesn't hurt.


Interesting bit of research here - throws some bright
light on trumpet loudness too.

http://www.mne.psu.edu/psgdl/Pandya+Settles-JASA.pdf

"A fortissimo middle C and a mezzo-forte high G both
produce roughly a measured 100 dBA rms level at 1.23 m..."

Every time you double the number of trumpets, you add 3 dB.

2 trumpets - 103 dB
4 trumpets - 106 dB
8 trumpets - 109 dB

And that is at 4 feet. If you record 4 trumpets with one mic, the mic
might be 8 feet from the bells of the horns, which knocks off an easy 3-6
dB.

Close-miking isn't your thing then ?

Graham

Dirty Digital [sic.]
 

Arny Krueger wrote:

"Eeyore" wrote
Arny Krueger wrote:
"Eeyore" wrote

Many acoustic instruments can produce nearly 130dB close
up. Why do you think rock drummers go deaf first ?

Because of sustained loudness above 100 dB.

100dB average for a couple of hours a day, maybe a couple
of days a week does NOT make you go deaf.

Here are the OSHA standards, which many authorities say still permit ear
damage:

90 dbA for 8 hours,
95 dbA for 4 hours,
100 dbA for 2 hours,
105 dbA for 1 hour, or
115 dbA for 15 minutes.

And those are *daily* repeated limits. So a drummer on a LONG 2 hour set a
couple of times a week is well under.

Something else OSHA or HSE here doesn't tell you is that it's impulsive
noise that does the worst damage. Another reason drummers fare worse.

Graham

Dirty Digital [sic.]
 

Arny Krueger wrote:

"Eeyore" wrote in
message
Arny Krueger wrote:

"Eeyore" wrote

I'll bet you close miking a brass section wouldn't be
far off peaking in that area.

Been there, done that. It isn't *that* loud. Not 130 dB.

PEAK !

I understand.

See my recent post that references an ASA paper on the topic.

Not average. Why are there mics out there with clipping
points of 145 dB ?

Gun shots and the like.

MUSIC mics ?

Graham