I view it the same way I view good hand tools. I rely on a flashlight,
so I buy something that's gonna work well for me. Same as buying a good
quality hand plane or chisel instead of an el-cheapo. Everyone has their
own economies :-)
There is all kinds of evidence around my house which will show that I
subscribe to that way of thinking.
I just never gave any thought to the fact that a flashlight could be
engineered to the point where they could ask $375.00 for one...with a
As a reformed audiophile, I have seen people's sphincters getting
reamed by the likes of MonsterCable. 'Interconnects' for audio
equipment for a few hundred dollars which sounded the same in
blind-fold situations as their 20 dollar competition....even with a gun
to the head OR the threat of being shown a nude picture of Bea Arthur!
I always thought a flashlight was just that. Now I'm finding out that
some flashlights will show the molecular structure of moose-snot in the
middle of the night! (<-----that is a Canadian thing..try not to read
too much into that..*G*)
In all seriousness, I did NOT need another thing to add to my list of
'wants', which tend to evolve into 'needs'.
$ 200.00 tops! Not a penny more!.. unless the $ 375.00 unit goes on
sale at ...$ 275.00???... 300 and that's final!!!
(I need my farking head checked..I actually want one of
those....*shakes head in disbelief*)
Hey, there is high technology engineered into every one of those Monster
The technology is in the insulation!
How else could they make that teeny tiny cable look so big between the ends?
Bigger cable works better than door bell wire but Monster is selling a
"Look" not any significant improvement in signal quality.
As a former touring sound guy with buddies employed by Mark Levinson /
Madrigal (well, formerly sin JBL came along...) and Sennheiser, looking
at stats and lab measurements, I can also try to berate Dr. Bose all day
long. As pro gear goes, "No highs, no lows, must be Bose!" <G>
1.) NOTHING works and is as durable and all-day comfortable as their
pilot's ANR headsets. Nada! Pilots who actually try them in flight
still willingly plunk down $900+ bucks for them. "Bose Killers" come
and go with the seasons in flying magazines.
2.) I still haven't found anything that sounds as good to a
non-audiophile, with similar performance in a similar package, as those
overpriced Wave table radio / cd players. Is the bass muddy? Yeah.
Can you vary the tone? No. But so many LIKE them!
I know more people who are simply "music lovers", who don't know what
SPL or THD or "Q" mean (and don't want to), who absolutely love the
sound and the size of those things. I've got to admit that they're
plenty listenable in the right room with an Ipod or CD, and it's the
size of a clock radio. My wife has one particular CD, a Krishna Das w/
Walter Becker "chanting" disc that actually sounds incredibly clear and
full on it, while playing rather loud. The spec reader in me didn't
_want_ to like it, but I do. <G>
As you know: Well known phenomenon in the studio control room - listen long
enough over a set of speakers and, aurally speaking, anything sounds "good".
What the silly audiophile industry (fueled by those of a remarkable
condescending nature in pursuit of what they are being duped into imagining
is the ultimate (at the moment) of "recorded sound", and perpetuated by
marketing geniuses who wouldn't know a hertz from a rental car) has NEVER
taken into account is the simple fact that:
ANYONE who wasn't in that SPECIFIC control room, and listening to the
subject mix over that SPECIFIC set of speakers, has absolutely NO earthly
idea of what ANY recording is intended to sound like!
I guarantee that that is a _infu*&kingarguable FACT that can be put in their
respective pipes and smoked 'til Roger Nichols and Steely Dan can't be
uttered in the same breath.
There ... I feel better already. ;)
All this recording stuff brings back memories. I used to be a recording
techie and produced voice only programs.
My favorite story is about some JBL monitors I installed in my studio. They
were the AM radio ones so they had no high end. Which was fine for me
because I was recording voice only material.
I would put on some music now and then. People would walk into the studio
and immediately exclaim that these were wonderful speakers that had a
crystal clear high end. And nothing I said would sway them from that
position. I would show them the frequency response test chart that came with
the speakers when I bought them. I would scream, "See, there is no high end.
These are AM monitor speakers. Which means that they have the same
frequency range as an AM radio."
Nothing I said mattered. They were unimpressed with the chart. It sounded
clear, so they created a nice high end for something that had no high end. A
total psycho-acoustic effect.
As you well know, and despite the best efforts of acoustic engineers, all
rooms have areas (sometimes quite small, so small that the simple turn of
your head will bring it into play) where a particular frequency combines, or
cancels, to create a standing wave "node". If you happen to be in that node
(position), then what you hear therein is often startlingly not even close
to the original.
IOW, there are areas in a room where highs that aren't in the original may
indeed be accentuated, or the bass or mids attenuated, to the point of
fooling the ear.
IME, and in keeping with Murphy ... particularly in a strange control room,
there are generally one or two of these nodes _right_ where the mix engineer
sits to mix, and just waiting to bite him in the butt. DAMHIKT. ;)
Don't you just love those guys who are trying to fit a 30 Hz wave (38
feet long) into
7-foot car? (Even a 1/4 wave is still almost 10 feet long.)
A goofball, in his riced-out Civic was beside me at the lights a few
days ago, windows up (it's cold) must been some loud in there as *MY*
review mirror was vibrating.
As he looked around, he saw me looking at him and he had such a vacuous
look, that I burst out laughing. When the light turned green, he
retaliated by accelerating away making all kinds of racket...and I blew
his doors off....with my van.
I guess it wasn't his day.
Mythbusters disproved the existence of The Brown Note.
Think about that, and this:
Negotiating night after night to place the console in a spot where those
standing wave and comb filtered areas are favorably used to create the
best possible product for the audience. Remember...
1.) You've never been in the room before, so you have little time to try
to locate them. By the time power can be applied, it's too late to
move. Your main tool is an Anvil briefcase you can have dropped on the
floor and listen to the returns and decay as you move around.
2.) The house management might not be so thrilled at your solution.
3.) Last night was a wonderful sounding 5000 seat theater, tonight is a
brick and glass university "field house" designed for basketball and
indoor football practice, and tomorrow is a former bowling alley,
department store, airplane hanger, you name it. <G>
It's all even more interesting if you flew into town this morning in a
My sincerest sympathies ... I hope you've been able to recover and, except
for the wooddorker part, lead a normal life?
Like a good little musikian/recording engineer, in the earlier days I
supplemented my income with live sound gigs. Not stadium size events like
you, but a few well known traveling acts in the larger local clubs and at
festivals, so I can definitely feel your pain, to a limited extent.
For the most part I hated it! ... particularly when the drunk fans/lead
singer's GF/Lead guitar players GF, etc, could actually get to you at the
mixing console ... my hats off to you and you have my undying respect and
The latter because you might actually need therapy later in life to deal
with the PTD!
If the speaker put out meaningful soundpressure at 8K, and had enemic
LF output, the illusion of 'highs' would be there.
Next question would be who/how the charts were created. Was it a
composite including off-axis response as well?
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