[SML] Glazing of Control Booths

[Richard Niederberg]

Dear Alex,
And how do you handle a <8 hz subsonic rumble that you want to introduce
subtly for a realistic earthquake or helicopter effect that creeps up on
the audience, if the microphones can't faithfully pick up accurately at
that frequency?
/s/ Richard
_________

On Thu, Jul 30, 2015 at 6:00 AM, Alex French via Stagecraft <
stagecraft at theatrical.net> wrote:

> On Thu, Jul 30, 2015 at 12:20 AM, Chip Wood via Stagecraft <
> stagecraft at theatrical.net> wrote:
>
>> ...
>
> Place a full sized, nicely dressed, mannikin seated in the best sound seat
>> in the house.  Place very good binaural ear mics in him/her. Feed their
>> output to a set of very good earphones on the sound op enclosed behind
>> glass.
>> ...
>> What's not to like??
>>
>
> I remember discussions on Theatre Sound where knowledgeable individuals
> had done roughly this (maybe minus the mannikin), with some success.  I
> believe they were generally trying to compensate when they had no option
> for a decent mix position.  It sounded like they did get results that they
> liked more than their alternatives (probably *just* being in a crappy booth
> location).
>
> To really be seamless (which isn't necessarily the same as "good enough to
> make this a good idea"), I see a few specific technical challenges that you
> glossed over-
>
> The mics and headphones need to be not just "very good", but also sound
> like ears.  All those little flaps and folds (and the rest of your head...
> and the rest of your body... are important) affect things.  And they need
> to be mobile... if the operator cocks their head, the microphones should
> adjust similarly.  That part isn't actually too crazy sounding today, but I
> don't think there's an off-the-shelf robust option.
>
> Alex French
>
>
>
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-- 
/s/ Richard
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