[SML] Glazing of Control Booths

[Alex Donkle]

Just my experience, but when I've mixed using headphones I've found
dynamics significantly harder to judge than mixing with speakers.
Headphones of any kind tend to compress the sound, which can be great
for finding errors while sound editing, but difficult to deal with
while mixing.

That said, there's also been a few major bands that have toured with a
separate control-booth truck with studio monitors and video cameras,
so the A1 mixes the concert from the truck outside the venue.

Alex

On Thu, Jul 30, 2015 at 9:22 AM, Richard Niederberg via Stagecraft
<stagecraft at theatrical.net> wrote:
> Dear Chip.
> That is partially correct. When I worked on the Sensurround system for the
> movie 'Earthquake', we made audience members feel the 'quake' in their gut,
> using subsonic sound. The A1 still regulates the intensity from the FOH
> position.
> /s/ Richard
> _________
>
> On Thu, Jul 30, 2015 at 9:47 AM, Chip Wood via Stagecraft
> <stagecraft at theatrical.net> wrote:
>>
>> Richard, Richard, Richard- you said it yourself "sub-sonic".  Who cares if
>> the mics can't pick it up, neither can the ears.  For a freq that low you
>> feel the vib in your tush, not your ears.
>>
>> Chip 1
>> On 7/30/2015 4:09 PM, Richard Niederberg via Stagecraft wrote:
>>>
>>> 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
>>>
>>
>>
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>
>
>
>
> --
> /s/ Richard
> _________
>
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