Dirty Digital [sic.]
 

Eeyore wrote:

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


What do you mean excuse? It is no such thing, just a good pragmatic
choice. Here is the spectrum of a trumpet giving it plenty on a high
'B'. There are two spectra, the blue one as-is and the green one A-weighted.

I can see why they chose A-weighting; can you?

http://81.174.169.10/odds/trumpet_with_a.gif

d

Dirty Digital [sic.]
 

Eeyore wrote:

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



Close-miking isn't anybody's thing unless they are doing sound
reinforcement and have feedback issues. In which case of course it is
probable that the source isn't that loud anyway.

d

Dirty Digital [sic.]
 

Eiron wrote:
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.

Corrections and technical details:

http://www.stereosociety.com/fireball.html

--
Eiron.

Dirty Digital [sic.]
 

Eeyore said:

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

Gun shots and the like.

MUSIC mics ?

Celine Dion.
--
Ken
Contribute to: www.audiophilewiki.org

Dirty Digital [sic.]
 

UnsteadyKen wrote:
Eeyore said:

Not average. Why are there mics out there with clipping
points of 145 dB ?
Gun shots and the like.
MUSIC mics ?

Celine Dion.

Not any more; it has been ruled that she contravenes the Geneva convention.

d

Dirty Digital [sic.]
 

Arny Krueger wrote:
"Eeyore" wrote in
message
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.

The UK limits are 85dbA for 8 hours per day,
with the exposure time halved for each 3dB increase.
Still too much, in my opinion.
http://www.opsi.gov.uk/si/si2005/20051643.htm

--
Eiron.

Dirty Digital [sic.]
 

I've been in some of the best studios in Detroit. One of them shared a
building with an auto body repair shop. Go figure.

LMFAO !

I know several recentish studios supervised by my 'mate' that have had whole
building EMC screens installed.

They really -necessary- these days?...
--
Tony Sayer

Dirty Digital [sic.]
 

tony sayer wrote:
I've been in some of the best studios in Detroit. One of them shared a
building with an auto body repair shop. Go figure.
LMFAO !

I know several recentish studios supervised by my 'mate' that have had whole
building EMC screens installed.

They really -necessary- these days?...

Can't think of any reason to do this other than being sited next door to
a megawatt AM transmitter. And then the right solution is to go
somewhere else.

d

Dirty Digital [sic.]
 

In article ,
Eeyore wrote:


"Dave Plowman (News)" wrote:

Eeyore wrote:
"Dave Plowman (News)" wrote:
Eeyore wrote:
WTF no-one chose a sensible sampling frequency and a half sensible
bit depth is forever beyond me.

20 bit and 60 kHz would have done nicely.

It was designed around the semi-pro video recorders of the day.

Not at all. Both Ampex and 3M had reel-to-reel digital recorders
with higher sampling rates.

Which part of 'semi-pro' did you miss?

What has 'semi-pro' got to do with decent music production ?

The requirement was for a reasonably easily transportable machine - that
didn't need its own truck complete with air con. ;-)
And U-Matic satisfied that.

--
*How many roads must a man travel down before he admits he is lost?

Dave Plowman London SW
To e-mail, change noise into sound.

Dirty Digital [sic.]
 

In article ,
Eeyore wrote:


"Dave Plowman (News)" wrote:

Eeyore wrote:
30-ish dB.

Good Lord ! You're WAY off the mark. 30dB is NOISY to me. I'm talking
about proper commercial high-end music recording facilities that have
cost MILLIONS to build.

You need to visit some top London studios I know. The silence is
deafening.

With the ventilation running?

Yes. They learnt how to fix that easily 30 years ago.

********. With respect. ;-)

--
*If you think nobody cares about you, try missing a couple of payments *

Dave Plowman London SW
To e-mail, change noise into sound.