RL>Hello Tom!
 RL>On 17 Dec 97, Tom Goodman wrote to Thomas Kraetschmer:
 RL> TG> your gigs, make sure you aren't gonna bounce your sound off live
 RL>walls and
 RL> TG> such. And too!  Remember that people in a room are also sound
 RL>absorbers.
 RL> TG> Setting sound in an empty room will not be enough when the room is 
t
 RL> TG> capacity. Good Luck TG
 RL>The type of show and weather also makes a big difference in
 RL>acoustics... are you doing a summer rock gig where the
 RL>audience will be shirtless or wearing T-shirts (little
 RL>absorption, very "live") or a winter opera where the
 RL>audience will be wearing wool and fur coats (may as well
 RL>play in a mattress factory).
 RL>FWIW, I think an acoustically live venue is the hardest to
 RL>mix for because of the reflections, but requires less power
 RL>to get the same percieved volume (not to be confused with
 RL>actual SPL) as an acoustically dead venue.
          I agree, but the premadonnas onstage really don't know their own 
sound most of the time.  It takes a good sound engineers ear to mix them well 
and output quality.  few of them know of the values of good monster cable.
        I agree with your last para.  I think one of the worst case scenarios 
was the Crystal Cathedral in Garden Grove.  This thing was going to be used 
for Philharmonic type Concerts, but the reverb continued for up to 18 hard 
seconds and diminishing for another 15.
The place was as live as anything in history.  (All Glass & Steel Structure!) 
 Charlie Webbers did it first.  Did their best, then fled in exasperation.  
They finally settled on local mini-speaker boxes attached to the back of the 
benches.  It is still just passable.
           When you have the chance, try to catch them on TV.  You will note 
a perfect application of good miks for local pick up. That's what I like to 
call "ranging a mik".  :-)  In this, the sound man has the option to limit 
the pick-upp range of a mik through his mixer board, then transfer the 
desired sound to the output amp.
        Selecting a good (not expensive or cheap) mik can magnify good sound 
and help to kill off the bad areas.
        I recall a singer I was working, who had afairly common voice.  But, 
in watching his spectrum, I saw he had a good possibly triple tembor voice in 
which the center tembor was really schmucky.
So, I went for the sliders and built up on the good vibes and diminishedthe 
schmuck.  He sounded great after that.  His voice beganto almost ring a 
little. (Texture not tinny.) 
        But, most of all, we neverhad to go more than 60 percent capacity on 
the final amp.  GREAT head room and all freqs covered!:-)
TTFN
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