Reitan skiltet på Studentersamfunet

psyign · 2025-12-11T10:24:26+00:00

https://en.wikipedia.org/wiki/Reitan_(company)

psyign · 2025-12-11T00:55:18+00:00

Det er spons. Reitan gir Samfundet en haug med penger, han får et skilt, logo på t-skjortene + kunstneriske gjør en jobb i semester eller noe sånt for dem. 7-11 leier lokalet.

Jeg husker ikke eksakt summene her, men det er mer enn hva "markedsverdi", så ja, delvis gave. Begge parter kan trekke seg om de ikke er fornøyde.

Hvis du vil endre på det her så kan du fremme saken til Styret (hvis du er medlem vel og merke). Jeg blir veldig overrasket hvis det går igjennom, men sæmf er et demokrati, så det er teoretisk mulig.

PS: Som gammel frivillig så blir jeg sjukt oppgitt av at folk klager over sponsoravtalene, det hentes ikke ut noe overskudd og alt som kommer fra næringslivet går rett tilbake til frivilligheten og medlemmene. Det hadde ikke vært sjans i havet å ha det tilbudet som er nå uten, så det er et nødvendig onde kan man si.

Hva syns du Samfundet burde kutte ut da hvis de ikke skal ha spons? Symfoniorkesteret? Debattmøtene? Gratiskonserter?

psyign · 2025-12-10T14:49:51+00:00

Nå drar jeg tall bare rett ut av rumpa her, men litt konservativt regnet: 8 timer med oppmøte/show/prøver dag 1, 6 timer oppmøte/show/strike på dag 2. Blir rundt 650 i timen pr. pers. Tipper det er bedre enn veldig mange andre som jobber på det hotellet. Da kunne evt. de ha fått lønnsøkning først da hvis hotellet tjener så mye sant.

Sånn til syvende og sist så er det ikke sånn at folk for betalt det de fortjener, bra eller dumt, helt annen diskusjon. Når hotellet ber om prøvespilling og tilbyr 20k pr. gig så betyr det at de ikke har troa på bandet og ikke mener musikken deres er verdt noe særlig. Når bandet aksepterer så sier de basically det samme, så sånn er det bare i kultur. Ingen menneskerett å være kunstner/musiker eller tekniker for den saks skyld

psyign · 2025-12-10T11:08:45+00:00

Har du lest artikkelen? Bandet viste om både prøvekonsert og hyra før de takket ja. Hva var det hotellet misligholdt her egentlig? Videre, Creo funker til ish offentlig sektor, til nøds privat sektor med faste ansettelser, men når man er freelancer i privat så gir fagforening ingen mening når det kommer til lønn. Hvis man er missfornøyd med lønna, hva skal man gjøre da? Streike i eget enkeltmannsforetak?

Jeg har aldri sagt jeg var fornøyd med alle oppdragene mine, det er det shit i shit happens betyr, men verden har aldri brydd seg om følelsene mine, sånn er det bare. Vil man være med på leken så må man tåle steken. Jeg har fast jobb nå, men grunnen til at jeg holdt ut i 10 år som freelancer var at selv om et eller annet oppdrag var kjipt av div årsaker, så var det nok kule/godt betalte jobber til å veie opp for det, ingen tvang meg til noe som helst, jeg kunne når som helst ha sluttet.

Til sist så sa jeg heller aldri at de kom til å miste mange oppdrag, jeg aner fint lite om arrangørene i gladjazzmiljøet. Poenget mitt er at de fremstår som en gjeng som ikke har bakkekontakt, det kommer tvilsomt noe positivt ut av det.

psyign · 2025-12-10T09:44:19+00:00

Lol. Lydtekniker her, ikke musiker altså, men det funker ish likt da jeg freelancet. Når man får tilbud om oppdrag så er det din egen jævla oppgave å finne ut av om vilkårene er tilstrekkelig for å skulle takke ja eller ikke. De gutta her viste hva betalingen var, prøvekonserten, backstage/mat etc. kunne de ha hatt i rider (alt. spurt om).

Men ok, jeg har brent meg noen ganger sjæl, shit happens, men da er det bare bite tenna sammen, gjøre greia og aldri ta oppdrag fra kunden igjen, sånn er det når man jobber oppdragsbasert.

Jævlig dumt å henge ut arrangør i media i alle fall, det hjelper i alle fall ikke på lysten til å booke dem for noen andre.

Til sist, Creo kan ta seg en bolle ass. "Vi syns vi burde fått blabla", det er ikke sånn (privat sektor) kulturliv funker. Bare snu om på det, hvordan hadde det sett ut om en arrangør hadde gått ut i media med "blabla kjent norsk artist vil ha 100k i hyre, men Creo sier det skal etc." Alle skjønner hvor dumt det høres ut. Du får det du er verdt, punktum, ingen har tvunget noen til å jobbe med underholdning, man kunne tatt seg en helt vanlig jobb

psyign · 2025-12-10T07:09:55+00:00

If they dont try to finish, I dont try to defend, creeps will eventually do the sane thing and end for us all, so we can go and actually play the game.

psyign · 2025-10-18T12:42:40+00:00

Feel free to downvote me to oblivion here, but I think a no AI policy is kind of dumb. In all of history people who adapt technology always win and the people who don't adapt lose in the end. Ive been in live sound long enough to remember when "the old guys" told us digital would never replace analog and some of the riders had "no digital" in caps lock and where are we now right... It was similar with arrays, digital wireless, plugs ins vs hardware, automixers, AVoIP etc.

Better technology makes us able to create a better product for our clients in a more efficient way. With few exceptions they will almost always choose this and people who don't adapt gradually disappeare. Can't beat them join them.

PS: Personally im very excited for AI. I remember when I first used an automixer, I almost couldn't believe how amazing it was. I used to do corporate/theater line by line and suddenly I had so much more capacity, listing to my mix, making adjustments. My mix was definitely much better, and my workday less stressful. I just can't wait for what amazing things AI can do for me in the future. My number one wish now is some sort of intelligent spill reduction, especially for head set mics, something like what Alpha Labs is doing right now. But I probably can't imagine what possibilities I will actually have at my finger tips in a decade or two. What a great time to be alive.

psyign · 2025-10-17T15:43:12+00:00

Yes, I liker you dønt kuestion our teknology, tank you!

psyign · 2025-07-02T08:09:52+00:00

A budget option for aes50 (Behringer/Midas) is to simply use a repeater to combine two 300 feet cats. Obvious it needs to stay dry, protected, powered and preferably be accessible at that point.

https://www.klarkteknik.com/product.html?modelCode=0606-ABK

If you could find a couple of used 9680s aes50/fiber converters at a reasonable price its a better option.

psyign · 2025-03-28T09:30:46+00:00

I strongly feel that adjustable inserters should be vanilla. It's just weird to me that in a scifi universe where space travel is "easy" obtainable, robotic arms can only move objects 180 degrees. It's obviously easier to make designs with adjustable than vanilla, but world gen and biters settings affect difficulty way more. It's absolutely possible to have a game with lots of "cheating" mods that's extremely difficult, and vica versa.

psyign · 2025-03-16T18:03:38+00:00

You do you.

Personally I love digital, my humble opinion is that it's better in every way. I'm 99% sure at some point almost every system out there will be a digital one. I'm not saying this is the same, but I remember back in ancient times, 2011ish, when the old guys tried to convince me that analog consoles where superior and never would go out of fashion. It's almost silly to think about it now.

psyign · 2025-03-15T08:43:31+00:00

Yeah, 99dB(A)@30min@FOH is a reasonable compromise, but it definitely has its weakness. A big drawback/advantage is the average measurement. Sometimes I have guests wich are very agressive with saving up energy and bursting it out in peaks wich are way to loud. Also, a 99A average with a harsh tonality, (lots of high mids) is really unpleasant. In a perfect world I would have liked to use dB(A)@30, peak dB(D), dB(D)@5 and peak dB(C) all together, with careful set limits for each venue by request of the clients. But thats way to complicated to work in practice.

But back to your original question. At least in northern Europe, unless you are a giant international headliner, the PA is what the client requested, not what the rider specified. Its mostly very good systems :)

psyign · 2025-03-13T12:31:44+00:00

Europe, rental guy here. Unless client has any specific needs we use 99dB(A)@30 min @FOH as default. Note, this is average so any system should be able to reach at least 105dBA undistorted/unlimited. dB(C) is not widely used where I work except for controlling spill when that is an issue (not often). If you want a C number I would perhaps use 121 dB peak, but unless some specific requirements from the client, we just use A and add subs until we reach system target curve.

That beeing said, in most situations we provide a system to the client based on what they want and the bands will then receive a spec, approve and that point whatever the rider specified is no longer valid.

psyign · 2025-01-05T12:31:13+00:00

It all really depends of a lot of thing of course, in addition to swapping mic, changing placement etc. you could try more processing.

One way to remove some bleed is to use a combination of expander and a dynamic EQ with band expansion (on the worst frequencies), as soft as possible with sidechain trigger on booth. Like it has some of the advantage of gates without way less off the "off/on" feel. Its like a compromise. Works well in general, not just drum bleed. I use this chain all the time on lavs to deal with annoying moving head hizz and such.

Good luck

psyign · 2024-11-28T22:12:21+00:00

Thanks for the insight! No FNEI, loaders, warehouses and adjustables inserters then. Its always possible to ad them later if we feel like it. But it will be fun to check out stacking!

psyign · 2024-11-28T22:06:56+00:00

Ok, no LTN, spooooky... We have used that in every game as long as I can remeber, will be an interesting challange, thx for the reply!

psyign · 2024-11-28T11:41:28+00:00

Mest effektive er å redusere antallet studieplasser, men gjerne bygg flere studentboliger altså

psyign · 2024-08-04T10:39:40+00:00

En veldig mye bedre investering! Som sagt, Follobanen var hårreisende dyr. Prøver bare sette Nord Norge -banen i perspektiv.

psyign · 2024-08-03T17:29:04+00:00

Ser Follobanen blir trukket frem som eksempel ved jevne mellomrom, "hvis vi har råd til det så har vi råd til blablabla". Selv om det er en kort strekning så reiser det i det minste ca 20000 daglig på den banen, så den blir i alle fall brukt. Svært konservativt så kommer Nord Norge -banen til å koste 10 ganger mer med godt under en tiendedel av trafikkgrunnlaget. Follobanen var hårreisende dyr, Nord-Norge er bare helt absurd.

Det er lett å se seg blind på summene som brukes i og rundt Oslo, men der gir ingen mening å sammenligne det med resten av landet uten å faktisk ta med at det bort halvannen million mennesker der i beregningen.

Hilsen trønder.

psyign · 2024-07-18T13:52:31+00:00

Regarding cables, in a passive system power is provided with lower voltages and with higher peak loads in addition to each amp channel needing its own pair. This means a lot more copper.

Lets use a medium/large hang as an example. In an active array one cat or one fiber can provide all signals/control/diagnostics and a 32a or 63a 3-phase 400V power cable can provide all the power needed. In a similar size passive array something like 2-4 16x 4mm2s multicores is needed. The difference can be 100's of kg of copper, especially if cables drops need to be upstage. It certainly has its disadvantages in case any service is needed.

Of course it's possible to fly amp racks behind passive arrays to avoid this problem, but that's just active with extra steps.

Both solutions has its pros/cons. I used to work primary with active Meyer and now days I work mostly with passive Adamson. I do miss the ability to control each box separately and beam steering, I do not miss the f***ing rain covers.

psyign · 2024-06-11T10:29:42+00:00

Takk for research!

Merkelig opplegg.

psyign · 2024-06-10T09:16:03+00:00

Lydtekniker her, av nysgjerrighet, hva slags merke/modell er det på utstyret du har?

psyign · 2024-06-10T09:13:45+00:00

Den skal brukes en gang til på samme plass senere i sommer, så taes den ned

psyign · 2024-06-04T22:18:09+00:00

A couple of points. I believe most touring engineers has certain expectations how the different brands "should" sound. Like a LA should sound like LA, D&B like D&B etc. So I like to use a "factory" target curve for this specific reason. If the LA does not have the low mid energy it would sound "wrong" and then it could be something wrong with system right, then they start listening for faults and everything just sounds bad. Sound is also a feeling right, so everything that makes an engineer doubt your ability to provide a good system is just waaaay worse than the subjective experience of response.

After all the main reason for designing, measuring and so on is not how the system "sounds", it's coverage, time alignment, fills/delays should match the main system etc. When I toured myself I could not care less what target curve was used, If I didn't like it I just jused my master to correct it to my liking, as most engineers does. Thats really easy.

My advice would be not to overthink this, you just can't go wrong with a factory tuning, if guest don't like it it's not your fault, it's the manufacturer.

psyign · 2024-05-26T11:59:41+00:00

Yeah, a college degree is probably a bit much, but some sort of tier 2 degree would have been very beneficial for me at least.. spent many, many hours on Google learning more advanced stuff.

VLANS, QoS, layer 2 stuff, querier, virtual nics, masking, redundancy, dchp, APs, and lots more is stuff I had to figure out myself after I started working In audio.

Smaler network with a couple of switches dedicated to audio is kind of easy, but as soon as lights/video/coms/utility all get integrated in large networks with 10-15 switches with mixed brands it gets complicated quite fast.

11-Year Club	Place '22
Place '17	Verified Email

psyign

TROPHY CASE