On Thu, 30 Apr 2009 09:18:15 +0300, "Iain Churches"
wrote:

None of the Quad designs are suitable for pro monitoring use. Only place
I know that tried was the ABC studios at Teddington, many many years ago.
Under the control of a 'musician' rather than professional.

"Professionals" consistently do terrible things to my music. In fact,
when amplification is involved, *I* frequently do terrible things to
my music - it's all to easy to let levels run away with themselves.

My constant plea to sound professionals is "turn it down" whether it's
overall level at a live gig or monitor levels at a recording.

"Laurence Payne" wrote in message
...
On Thu, 30 Apr 2009 09:18:15 +0300, "Iain Churches"
wrote:

None of the Quad designs are suitable for pro monitoring use. Only place
I know that tried was the ABC studios at Teddington, many many years
ago.
Under the control of a 'musician' rather than professional.

"Professionals" consistently do terrible things to my music.

Laurence. What do you mean exactly by "your" music?
Is this music you have written or performed, or recordings
you have bought as a consumer?

It is almost impossible to please everyone.

Sadly, in pop music, the majority rules, and mastering
fashion has reached the its current state due to the silent
approval by the vast majority of ther public, and the
lethargy of those who might appreciate something better:-)

In fact,
when amplification is involved, *I* frequently do terrible things to
my music - it's all to easy to let levels run away with themselves.

I am unsure if you lean listening levels or mixing/mastering levels

My constant plea to sound professionals is "turn it down" whether it's
overall level at a live gig or monitor levels at a recording.

I agree about live gigs, and in many cinemas also.
Do you attent many recording sessions?

Iain

On Tue, 5 May 2009 10:36:03 +0300, "Iain Churches"
wrote:

"Professionals" consistently do terrible things to my music.

Laurence. What do you mean exactly by "your" music?
Is this music you have written or performed, or recordings
you have bought as a consumer?


Sometimes written. Mostly performed. In live performance,
"professional" sound operators are frequently clueless with anything
except rock music, and sometimes even then. Sad, but true, even at
good-class venues and theatres, I don't do pub gigs :-)

Recording engineers are usually better. But they aren't always
listening for what I know is in the music. Sometimes their angle on
it is illuminating. Sometimes not.

"Laurence Payne" wrote in message
...
On Tue, 5 May 2009 10:36:03 +0300, "Iain Churches"
wrote:

"Professionals" consistently do terrible things to my music.

Laurence. What do you mean exactly by "your" music?
Is this music you have written or performed, or recordings
you have bought as a consumer?


Sometimes written. Mostly performed. In live performance,
"professional" sound operators are frequently clueless with anything
except rock music, and sometimes even then. Sad, but true, even at
good-class venues and theatres, I don't do pub gigs :-)

You need to strike up a relationship with a good concert
mixer - someone who is interested in your kind of music.
He will charge no more than someone not so good/
interested/talented. Not so many venues these days seem
to have house staff, so taking your own mixer, who knows
your sound, your material and is sympathetic towards your
objectives would be greatly to your advantage.

Recording engineers are usually better. But they aren't always
listening for what I know is in the music. Sometimes their angle on
it is illuminating. Sometimes not.

This is an area where chemistry is so important.

I can recall many sessions with singer songwriters
who thought they were the bee's knees. Frequently it
turned out that the studio assistant could sing and
play their songs better than they could!


Do you produce your own material? Having a producer
to work with a good engineer gives another subjective
brain, pair of ears, and source of ideas. Pre-rpduction
is so important.


Iain

You know it ain't easy (John Lennon)

On Tue, 5 May 2009 14:31:40 +0300, "Iain Churches"
wrote:

Sometimes written. Mostly performed. In live performance,
"professional" sound operators are frequently clueless with anything
except rock music, and sometimes even then. Sad, but true, even at
good-class venues and theatres, I don't do pub gigs :-)

You need to strike up a relationship with a good concert
mixer - someone who is interested in your kind of music.

Yes, in an ideal world.... :-)

"Laurence Payne" wrote in message
...
On Tue, 5 May 2009 14:31:40 +0300, "Iain Churches"
wrote:

Sometimes written. Mostly performed. In live performance,
"professional" sound operators are frequently clueless with anything
except rock music, and sometimes even then. Sad, but true, even at
good-class venues and theatres, I don't do pub gigs :-)

You need to strike up a relationship with a good concert
mixer - someone who is interested in your kind of music.

Yes, in an ideal world.... :-)


Hi Laurence

Make the effort:-)
Such a person can greatly enhance the
audience's perception of your performance.


Iain

You know it ain't easy (John Lennon)

"Iain Churches" wrote in message
...

"Laurence Payne" wrote in message

My constant plea to sound professionals is "turn it down" whether it's
overall level at a live gig or monitor levels at a recording.

I agree about live gigs, and in many cinemas also.

Cinema sound levels are, in theory at least, set by the studio, not the
cinema. A cinema's sound system is calibrated to a particular SPL, so if the
film is played at the recommended setting of the volume control then the SPL
heard in the cinema should be the same as that heard by the sound mixers
during dubbing.

David.

"David Looser" wrote in message
...
"Iain Churches" wrote in message
...

"Laurence Payne" wrote in message

My constant plea to sound professionals is "turn it down" whether it's
overall level at a live gig or monitor levels at a recording.

I agree about live gigs, and in many cinemas also.

Cinema sound levels are, in theory at least, set by the studio, not the
cinema. A cinema's sound system is calibrated to a particular SPL, so if
the film is played at the recommended setting of the volume control then
the SPL heard in the cinema should be the same as that heard by the sound
mixers during dubbing.


Having done quite a lot of music editing/mixing for corporate
film/video productions, I was invited to take part in a
film mixing course for SDDS (Sony Digital DynamicSound)
The fixed control room levels were pretty scary!

The arrangement of channels was similar to 70mm mag.
For SDDS. Digital sound information was recorded on
the outer edges of the 35mm film print. There were up to
8 independent channels of sound: 5 at the front, 2 surround
channels and a sub-bass channel.

The format weas discontinued, I have long since mis-laid
the course diploma but I do still have the huge blue-glazed
coffee mug with SDDS in gold leaf on the side:-))

Iain

In article ,
Iain Churches wrote:
The format weas discontinued, I have long since mis-laid
the course diploma but I do still have the huge blue-glazed
coffee mug with SDDS in gold leaf on the side:-))

Do you have a Blue Peter badge too, Iain?

--
*Many hamsters only blink one eye at a time *

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

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
The format weas discontinued, I have long since mis-laid
the course diploma but I do still have the huge blue-glazed
coffee mug with SDDS in gold leaf on the side:-))

Do you have a Blue Peter badge too, Iain?

The SDDS course was greatly oversubscribed. I
was happy to have been chosen to take part in it.


Iain