<div dir="ltr">Dear Chip.<div>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.<div>/s/ Richard</div><div>_________</div></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Jul 30, 2015 at 9:47 AM, Chip Wood via Stagecraft <span dir="ltr"><<a href="mailto:stagecraft@theatrical.net" target="_blank">stagecraft@theatrical.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">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.<br>
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Chip 1<span class="im HOEnZb"><br>
On 7/30/2015 4:09 PM, Richard Niederberg via Stagecraft wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
Dear Alex,<br>
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?<br>
/s/ Richard<br>
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</div></div></blockquote></div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature">/s/ Richard<br>_________</div>
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