Posts by robbery
Last ←Newer Page 1 2 3 4 5 Older→ First
-
No, I rather think that after 30 or so years at it, he's lost a bit of hearing and over-compensates for it, at everyone else's expense. Common problem.
There's a few issues that can lead to unpleasantly loud mixes.
if it was at the kings arms then the mixer position is too far down the back of the room. the mixer mixers for his position and everyone in front of him gets increasingly loud amounts of volume. If its an engineer that likes to mix it loud then that compounds the problem.Also there's loud as in building rumbling and there's loud as in cutting.
you can have a big mix without taking the tops of everyone's heads off by being really careful with the harsh frequencies (treble end, 3.5 khtz 6 khtz, 2 k etc) and carefully pushing the bass to make a pumpy punchy trouser flapping sound. the bottom end tends to hurt less than an over powering top end.the other 2 key factors in loud sound are band onstage sound and room size. The smaller the room the bigger the effect of the bands sound and the less control the sound engineer has over it.
The kings arms is a medium size room so screeching guitar amps have less effect but still if someone was creaming their amp with treble it could cause problems for the engineer. he would then have to raise the est of the band volume to meet the volume of the one loudest instrument in order to make a balanced mix (or he could ask the guitarist to turn down or point his amp across stage)you're probably right though. a bit of hearing damage is not unusual for someone known for loud mixes on loud bands.
Really though you shouldn't be going to live concerts without hearing protection these days. you can get a great set of ear plugs that aren't those dayglow yellow ones at the rock shop. I think they're called E.A.R and they're skintoned and last for years, don't muffle the sound (ie all frequencies reduced at the same level) and reduce the volume depending on how loud it is, ie less likely to make you shout at lower volumes. They cost a bit though ($60!!) but you can keep in you pocket for years, I've had mine for 8 now.
sales pitch over. -
Russell, I think he's talking about you ;)
Thanks stephen, you've unsubtled me
-
Yes, and after that they could strap themselves to the nearest pig and fly to the next rave...
what's the emoticon for irony?
All those years in the closet but now he can be who he wants to be ....
hopefully you're a good friend of simon's cos that's some pretty personal jabs to make to a respected stranger.
my question was regarding the need for mind altering substances to appreciate the finer points of 15 mins of drum machines and roaring synth lines -
Myself I listen to so called club / electronic music at home, in the car etc, not in any way exclusively but whenever the mood takes me.
straight?
-
I guess my point is they were essentially pre-paid performance royalties.....
not quite how it works. if they're designed to be played in arenas then their target market is arenas, ie not on your laptop with itunes.
I'm wondering how many people actually bought these records for home listening as much of that music only makes sense when you're tripping anyway, its dead boring straight.if the target market isn't putting in returns for performances then you aren't getting any cash flow.
The big london clubs are putting in their performance sheets though so in the big league I guess it works, -
Why don't you sort those economics out before crippling my hardware, criminalising my software and snooping around my Internet?
why don't you do it?
I'm not here to fix things, just to make you feel guilty -
No you don't get this at all do you:
why would you think that?
can't you tell when someones taking the piss?
I thought you'd get it when I suggested drug dealers declare their income to the ird but then you may well have been the only one not getting rich off the back of horny stoned youth. -
As usual you miss the point
I think I made my point, you obviously got it.
I know what point you were trying to make but you're theorising that consumption in the name of fun excuses obligation to recompense,
the people who had the obligation to recompense in this case were the drug dealers using the rave as a platform to sell their products. (and please don't try and tell me they were all good sorts who didn't make anything on their illegal imports)now what I would have liked to have seen was the dealers making full account of all their sales on the night, submitting a report of income to apra (along with a set list of what was played on the night so funds could be channeled to the applicable artists)who would then request 2% of total take in performance royalties (since you weren't doing an entrance fee) and of course said dealers would also do the right thing by submit 19.5% tax to IRD on their income, or whatever rate was applicable for their yearly income.
too much to ask for?
-
put together a playlist online based on the Flying Nun catalogue for example, have it burned on to a CD with a nice piccie and delivered to a friend ?
Interesting idea. access to a massive library of music, you comp it up like you would a mix tape and send it to a friend.
I agree with the pricing of online downloads. they do not in any way represent the cost of presenting them, and a large part of this is the huge cut the 'retailer' takes.
At present they're taking 40% of the income (roughly a 65% markup as compared to a shop retailer who takes 75% markup)
an online retailer does not have a high street shop to pay rent on, shelves, and stock to manage, they do not pay for stock and then have take a loss on it when it doesn't sell (all download sales are effectively sale or return (SOR), infact some artists and labels have to pay a fee to be stocked)Granted our local download retailer Amplifer.co.nz specialises in nz only content so its not raking in the dosh, but it still takes that 40% cut.
Itunes or any of the other world wide stores on the other hand......
-
well so long as the dealers made money, that's the main thing