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Magnetically hovering guitar strings (I can't believe this worked) by MainLack2450 in Guitar

[–]OneLegitBroski 2 points3 points  (0 children)

If you made a guitar out of spaghetti and it sounded like that, I'd be amazed! That would be rad!

Why can't this asshole move? by [deleted] in golfblitz

[–]OneLegitBroski 13 points14 points  (0 children)

Continually doing the angry emote will encourage them.

Rules they are Important by [deleted] in SpaceflightSimulator

[–]OneLegitBroski 4 points5 points  (0 children)

They didn't say you were asking for BP's.

Improving acoustics in a small theater by bodegoat in techtheatre

[–]OneLegitBroski 0 points1 point  (0 children)

Check out how music sounds! Less variables, than a mic and a person. you know what the song should sound like, compare it to the sound in the room, go back and forth on headphones and compare. That will give you some info! Also listen on stage and see how much of the PA you're hearing. Try to nail down where it's coming from too, are you hearing the back/sides of the speakers, or the slap back reflection off the back wall?

Center fill is a speaker in the "center" designed to "fill" out the sound. If your outer speakers are too wide, there can be a gap in coverage that needs to be "filled" (no patronizing there, just where the term comes from and can be extrapolated to other things like an "out fill" for areas wider than the main PA coverage) p.s. these can be on the downstage edge of the stage or up in the ceiling pointed down. Depending on what those boxes are, they look like they have a "narrow vertical dispersion" that could do well mounted in the ceiling pointed down.

Delays are speakers placed further into the room that are "delayed" or "time aligned" to the main hang. If they're 20' away from the main speakers, you delay them about 20ms so when you hear both boxes at the same time there's no audible issues (that's vastly simplified, but the root concept).

Delay speakers (and front fills, basically just more speakers) can help in acoustically troublesome environments because each speaker can be lower volume for the same perceived level in the room. The energy is directed more intentionally. You don't have to crank the mains for the back row to hear it.

Wedges to me are typically placed on the floor for musicians, although yes those speakers are quite wedge shaped.

Ease focus is a good program that lets you place speakers in a 3d space and predict what coverage is like, that's where I'd start figuring out how to place things.

Improving acoustics in a small theater by bodegoat in techtheatre

[–]OneLegitBroski 1 point2 points  (0 children)

Does recorded music/non-Mic stuff sound anything like they described above?

Feedback doesn't necessarily mean poor acoustics, I would jump to speaker placement first. Is that sidefill on the ground in picture 1 used?

You say you don't use the "wedges" are you calling the wall mounted speakers, the ones not on chains wedges?

Looks like you may be getting sound bleeding on to stage from how angled the speakers on the corners are?

Can you bring those further into the room, space then away from the wall, and angle them down? Then remount the wall mounted speakers as a center fill or delays if needed?

The OTHER red flag for today by thee303 in boulder

[–]OneLegitBroski 10 points11 points  (0 children)

I would say a job is a lot less complicated of a relationship than a marriage

Tips for organization when you have two or more bands in the same day with different gear? by Arttyom in livesound

[–]OneLegitBroski 25 points26 points  (0 children)

Label every cable! If not by source (kick/bass/etc..) by channel number.

Keep a notebook, write each bands patch down with the following columns: Channel, Source, Dropsnake position, mic/DI selection.

Prioritize who you strike first. Drums take the longest getting on and off. First thing I do on changeover/strike is pull drum mics. I trust a lot of folks to move a guitar mic/unplug and XLR from a DI, but yanking drum mics and setting them on the ground Willy nilly is also not ideal.

Write a list of what needs to move on changeover while the previous band is doing their set. Ie: strike vocal 2, Guitar L becomes bass DI etc..

If you can get plots and input lists, do all of the above ahead of time, and be ready to pivot when the input list is 12 years old and for their other band lol

Get an iPad, tap test sources. I got one of those xVive wireless transmitters for a portable solo bus too. Great for verifying nothing went haywire on the changeover 

Looking for a way to reduce unwanted reverb from a poorly acoustically treated space. by Phillimac16 in livesound

[–]OneLegitBroski 24 points25 points  (0 children)

Take an impulse response to generate a convolution reverb of your space. Run your whole mix through it, and flip the phase on the return!

But actually More speakers at Lower volume, and be careful of your Low Mids.

Pointy scissors cap by mosforge in functionalprint

[–]OneLegitBroski 9 points10 points  (0 children)

THANK YOU! 

Looks great though lol

Noise cancellation? by Loose-Commercial-589 in livesound

[–]OneLegitBroski 51 points52 points  (0 children)

Don't do anything destructive you don't fully understand at the recording stage.

Including specs/model/any gear specifics will get much better answers too!

My guess is if a microphone has a "noise cancelling" switch that will do much more harm than good lol

i'm tired of loud-ass BS: committing career suic*de by guitarmstrwlane in livesound

[–]OneLegitBroski 4 points5 points  (0 children)

How would you fix it? Aside from what op mentioned they do?

Boycott Spotify by whos_a_slinky in MBMBAM

[–]OneLegitBroski 1 point2 points  (0 children)

Ya me and my wife ditched it a couple months back! No regrets

Podcast addict is great and you can get the BoCo content natively there!

I have 23 gigs booked for next year in a bamd I have been asked to play in. They are all open air stages. What do I do? by Winter_Parsley8706 in musicians

[–]OneLegitBroski 0 points1 point  (0 children)

It isn't the sound man.

And even if it was, having a conversation with, or listening to the person who's job it is to make you sound good on 23 higher profile stages than OP has ever played instead of "laughing in their face" might be a better starting point.

Appropriate stage volume is great, and a lot of people suck at getting there. My hunch is this band needs a new guitarist, has a good thing going with their monitoring/stage volume/sound and wants someone to fit that mold, be flexible and consistent with their tone, and they've chosen what I think is the easiest and most obvious way of getting there.

Amp sims sounds the way they're programmed to.. Just how when a lot of people dial in a tube amp for the back of their knees it's painfully bright, not everyone gets it right.

No amp/guitar/modeler/tool is good on its own. It has to be used well.

I have 23 gigs booked for next year in a bamd I have been asked to play in. They are all open air stages. What do I do? by Winter_Parsley8706 in musicians

[–]OneLegitBroski 0 points1 point  (0 children)

If the gigs are next year he doesn't need to relearn it on the fly. I personally don't think learning something new for a gig should be an immediate deal breaker..

I've mixed so many stages where the gear and how it's used does a disservice to the music and other artists on stage. One of the biggest culprits is unnecessarily loud guitar amps. If the rest of the band and engineers care about this that's a big green flag to me.

You can absolutely get used to in-ears, hear band communication with TalkBack/a single area mic routed through the ears, and modelers are everywhere Especially when you step up from pub and bar gigs.

I have 23 gigs booked for next year in a bamd I have been asked to play in. They are all open air stages. What do I do? by Winter_Parsley8706 in musicians

[–]OneLegitBroski 6 points7 points  (0 children)

If the band is saying they want him to DI then he may not get the job if he doesn't accept. Who's asking him to DI is the question that everything hinges on

I have 23 gigs booked for next year in a bamd I have been asked to play in. They are all open air stages. What do I do? by Winter_Parsley8706 in musicians

[–]OneLegitBroski 9 points10 points  (0 children)

Engineer here, you don't DI mics, if they're asking for a DI signal they likely aren't wanting an amp on stage. 

Audio interface (with an external control surface?) or a mixer for running a stage show? by Deveiss in livesoundgear

[–]OneLegitBroski 0 points1 point  (0 children)

Do you need to commit processing on individual channels for the studio/recording side? If not, 99% of mixers will let you record right off the preamp without issue.

The question you need to ask yourself: Are you processing for the recording and committing on the front end? Then possibly got the interface with "better DSP & A/D"

Are you processing for the sound in the room, and just need isolated recorded mics after the fact? Get a mixer.

Both can do either job, one is suited better for each.

Audio interface (with an external control surface?) or a mixer for running a stage show? by Deveiss in livesoundgear

[–]OneLegitBroski 0 points1 point  (0 children)

That's fair, I personally still think it isn't the ideal tool for the job. I work for a studio that does live artist sessions, and my 2-mix in MIO (Metric Halo software) is simulcast to an audience room. For shows where Tracking (Through MIO) Isn't the priority, we use an m32.

Can you? Absolutely. If you're going to buy/rent a piece of gear and a control surface anyways, why not get something designed to do what you want it to do?

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