From me too. I have nothing to contribute, save for the couple of knob-twiddlers* I know seem like decent chaps who do their best to make the acts sound as good as possible, but it's really interesting to listen in on people who know more about it.
Have we discussed the leads? Surely it's essential to the tonal balance and expressiveness of music that hugely expensive interconnects are used. Isn't that right, beesonthewhatnow ?
thats cos teh bass isnt loud enough
I imagine that, once you've put together a reasonable collection of tracks that exercise the PA nicely, you probably don't want to go to the trouble of continuing to seek out "good" tracks that do the same thing.
As long as it was 2.5mm cross section and had the right connectors on the ends (usually NL4 or EP5) then in theory yeah. The reality is that decent tour grade cable is designed to be easy to handle, be hard wearing, coil well etc so costs a lot more. But audio wise, yeah there would be no difference.
Presumably you could do it with some kind of frequency/tone generator? *grins, ducks and runs*
I usually make a point of saying hello to the soundperson when I go to smaller gigs and thanking them if they've done a good job because I know how thankless it is.thats cos teh bass isnt loud enough
Probably if you knew the current carrying capacity and resistance of said cable.I'd go for the vastly over engineered option and use welding cables some of which are rated at ten thousand amps and have no voltage drop (of any significant value) over really long distances.But then I know fuck all about audio cables but a reasonable amount about high current high voltage cables.
One day I'm gonna stand next to someone in an office and repeatedly tell them how shit their spreadsheet is.
Presumably the right leads are important to create the "soundscape"?
actually with live bands I find piano players get the lowest level of sound - so much action going on with the keys and so often completely inaudible
You'd almost certainly be right, at least 99% of the time, though.
First step is usually a tone sweep that you analyse with something like Smaart to ensure the phase relationship between subs and tops. Then pink noise to get towards a flat response. Then music to check
The main problem with stuff like cables is that they don't spend all that much of their life conducting electricity - mostly they're being rolled out/up, humped to and from some kind of storage, and being stored. You could use 25mm square copper busbars for the ultimate in electrical transmission, but they'd be a complete PITA to rig, derig and store.
It's a trade off. Thicker cables would be better for certain things. But they are heavy. So almost impossible to handle, plus all that extra weight = higher trucking costs.
It's a trade off. Thicker cables would be better for certain things. But they are heavy. So almost impossible to handle, plus all that extra weight = higher trucking costs.
The big ones are at the generators. Trying to carry 25 meters of 125A three phase cable is a right bastard
That sounds like it was created in Cardiff, altogether it's probably missing a few extra 'a's.
And they don't mention soundscape ONCE in the writeup on that webpage. It must be rubbish.
First step is usually a tone sweep that you analyse with something like Smaart to ensure the phase relationship between subs and tops. Then pink noise to get towards a flat response. Then music to check
Presumably the right leads are important to create the "soundscape"?
