Re: Wiring for the stage


"JoeSpareBedroom" <dishborealis@xxxxxxxxx> wrote in message
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"Frederic Gelinas" <frederic_gelinas@xxxxxxxxxxx> wrote in message
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JoeSpareBedroom wrote:

All of this raises some questions for me. The lowest bass note
wavelengths are 30-ish feet long. Not sure about the length for notes
on the upper half of the A & D strings, but I suspect it's longer
than 8", the distance from the mike to the speaker cones. So, what is
gained by sticking a mike there? Pick up the sound of the finger
attack?

Correct me if I am wrong, but the wavelength has no implication when
micing. Following your logic, the mic capsule bing only 1/4 inch in
diameter, it would only pick very high frequecies. Thats wrong. A mic
is reacting to air pressure changes.
A good mic will pick all the audible frequencies.


And yet, my sound *is* different when, during sounds checks, I walk off
the stage to the back of a club. Granted, some of this is due to the room
itself. But still....




It still raises a question for me: why does the guy even have an amp
onstage if everybody has IEM? Doesn't IEM meant to carry less stuff?
Frederic Gelinas


I wondered that, too, but decided to keep the initial post a simple one. I
explain it to myself thusly:

1) Although I own some very nice headphones, and they produce an excellent
illusion of bass, there's no way they could do this at a volume level that
would compete with a drum set 5 feet away, unless I turned them up so loud
that they'd make my ears bleed. It's physically impossible for in-ear
monitors to be THAT different.

so...

2) Have an amp on stage.
When we ran IEM's we ran primarily the vocals through them, with just a
tiny bit of instruments for balance. Good IEM's, properly fitted, will
considerably attenuate the outside sound, usually better than headphones,
allowing for levels in the ear to be actually lower than the level on stage.


.

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