The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
The Outside World Getting In Virtual Instrument Plugins
Old 20th December 2017
  #1
Gear Nut
 
Moke's Avatar
 

Thread Starter
The Outside World Getting In

OK,... so, the remote recording thing can produce some oddities. I was dogged by one this weekend.
Scene,... late 1800's Mercantile store front, and attached storage warehouse.
The store front is now the lobby/foyer,and the warehouse, and intiamte concet space for pehaps 50 people.
The warehouse is two story brick, and by Cal seismic retrofitting requirements, has had that done (steel support posts that tie masonry walls to foundation/earth).
I saw the post, and, knew exactly what it was, and, then completely went oblivious.
Rather than use a mic stand, in this tiny space, I clamped directly to the beam, well overhead, and, out of sight. I attached my binaural head to the clamp, on a stanchion, and, then clamped my CM3 array to that stanchion as well.
I also had a small baffled omni pair on-stage, at within the "U" of the Quartet.

Evening went off without issue, or, so it appeared.

I get home,.. the on-stage baffled omni pair sounds magical (save for the noisy air conditioner system),...processing commences, and raw tracks are cut, for a listen.

So, I then start to proces the binaural recording, and pretty much just use the tracking list from the on-stage recording to cut the tracks. I really didn't give it a proper listen, except to make sure the track marker were properly placed.

I cut the binaural tracks. I then load them into my portable R09HR, for playback, as my wife wanted to go to this same area of that town, and go ice skating in an outdoor rink, the following morning.
So, I go, and, sit under a tree on a bench, and have a listen to the binaural recording,... It sounds alright, except that damn AC system.


OK,.... So, I get home, and, after dinner, I settle into my headphone rig, and, give the binaural tracks a serious deep listen,... and I hear this drastic low rumbling that I had totally missed. What? I just listened in the park, and didn't hear that. WTF am I hearing?
I'm left anxious, and wondering what that might be,... and then it hits me.

The skate rink was just outside the city hall building, which is at the top of a hill; the venue is straight below it, one block down.
Directly behind the City Hall building is, Interstate-15 freeway, which only runs from like Montana to San Diego. I-15 has a major stream of big rig semi trucks rolling down it, and, there is all knids of construction going on as well.
This semis were shaking the earth, and those vibrations were transmitting from the freeway, into that venues seismic wall, which i just happened to clamp my binaural head to, and the binaural head can't filter out that noise crap, like we can. The semis were shaking the heck out of that building.

The venue, and its seismic fitted wall, and, this ice skating rink are 1 block apart and share that common noise, the freeway. My only listen to the binaural recording to that point was just outside the city hall building, right next to this same noise source,...and well, it just didn't register to me as a noise problem.
The city hall building is tell, and broad, and blocks the high freq noise of cars and the likes, but that bass,....

Up next:
How a mile of earth hillside between a rap concert, and an acousitc venue, invaded a native american flute and strings concerto world premiere,.. in a concrete box within a concrete box, buried in a hillside bunker-like venue. Rap concert won (that is , until it met an HPF pass).

Last edited by Moke; 4th January 2018 at 10:49 PM..
Old 20th December 2017
  #2
Lives for gear
 
jnorman's Avatar
Moke, can’t you do some subtractive eq and get rid of it?
Old 20th December 2017
  #3
Gear Nut
 
Moke's Avatar
 

Thread Starter
The HPF pass did what was needed. I ran it at a cliff face HPF slope at 45hz, and, all of that went away.
The HVAC noise,... too broadband to try to remove; its mechanical equip't running and the sound of blowing air (not direct wind noise distortion).
I don't trust my ears for intimate EQ work beyond the glaring issues; call it corrective EQ, and typically just an HPF pass.
Old 20th December 2017
  #4
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Moke View Post
This semis were shaking the earth, and those vibrations were transmitting from the freeway, into that venues seismic wall, which i just happened to clamp my binaural head to, and the binaural head can't filter out that noise crap, like we can.
it's absolutely amazing how, in non-electronic real life, our brains can filter stuff out. But we need to know that's happening. Here's a funny example of what happens when you don't.

SPINNING RADAR ARRAYS
Old 21st December 2017
  #5
Lives for gear
Quote:
Originally Posted by Moke View Post
The HPF pass did what was needed. I ran it at a cliff face HPF slope at 45hz, and, all of that went away.
The HVAC noise,... too broadband to try to remove; its mechanical equip't running and the sound of blowing air (not direct wind noise distortion).
I don't trust my ears for intimate EQ work beyond the glaring issues; call it corrective EQ, and typically just an HPF pass.
The take home lesson from this is that you require good LF extended monitoring headphones on location, to alert you early to the existence of this stuff. Trouble is, the venue you're recording in also allows the LF crap to propagate within and and bounce around inside the walls, so you're recording inside an echo chamber for whatever external noise has been able to enter.

The good LF headphones won't prevent you recording the event, but will alert you to watch out for that stuff when you get home. I record in a church on a hilltop where freeway noise from below seems to be magnified and multiplied by the valley below, which acts like a giant parabolic reflector dish throwing it all upward with boosted gain ...towards the church ! Ye cannae change the laws of physics, Cap'n.......

It may even inform you regarding appropriate microphone choice on location, or whether (if possible) to engage some high pass filtering on your mic preamps.

CM3's (I use them a lot) seem especially sensitive to LF noise....Achilles Heel of the cheap lunch. In this case, swap 'em out for something more appropriate

Izotope Rx to the rescue
Old 21st December 2017
  #6
Gear Nut
 
Moke's Avatar
 

Thread Starter
The CM3 weren't really the issue. And I dont find them to be any more bass prone than other mics, save for Schoeps. Those, are bass prone. And, the CM3 pair were in their shocks (L.A. shock mounts). So they were slightly better isolated than the head.

I used to run with three pair of matched DPA's; 4028 sub-card compacts, 4022 card compacts, and 4060 mini omnis. My partner and I also ran a pair of 4011's, that were likely the first pair to hit the left coast, around late 89/90. I am a huge fanboy of, and, was well supported by Bruce Myers of DPA, as one of his special projects (so to speak). Bruce deeply supported what I was doing.
My involvement with DPA was really deep, and for a long while.
That all to say,... that I find the CM3 pair to be a very special set of mics.
But, due to the fact that they were clamped to the clamp that was attached to that vibrating monster wall,... I ran an HPF pass of similar slope, just to ensure no issues in the finished renderings.

And, I can now post pics. I wasn't abe to do so yesterday.
First pic: the angels of the quartet during rehearsal. The rear wall is of similar brick construction.
second pic: the clamped to the vibrating wall from hell rig. clamped at 8'+
Attached Thumbnails
The Outside World Getting In-dscn4316.jpg   The Outside World Getting In-dscn4320.jpg  
Old 22nd December 2017
  #7
Lives for gear
We can differ on the degree to which CM3's are prone to vibrational pickup, but you'll find much discussion of this 'property' of theirs in the dedicated CM3 thread in this forum.

There's some lack of clarity about whether it's structural-borne vibrations (from the freeway) transmitted into your arrays ....or simply acoustic (ie air-transmitted) LF garbage floating and bouncing around inside the walls of the room.

Shock mounts are intended to isolate the mic from vibrations typically coupled to a floor-stand, eg footfalls on a suspended timber floor etc....they'll do nothing to attentuate the airborne stuff. The spectrum of this vibrational noise is quite different to the LF garbage I'm referring to.

Would you care to post a spectral screenshot of the noise/vibrations which are causing you concern, as it might be possible to discern from these which type of 'noise' is the culprit in this instance ?
Old 22nd December 2017
  #8
Being so close to the back wall certainly will not help your low frequency pickup problems. Even if you were not attached to a pillar. It is a giant LF boundary, not to mention the comb filtering issues.
Old 22nd December 2017
  #9
Gear Nut
 
Moke's Avatar
 

Thread Starter
AN HPF pass took care of all the rumble ills.
The room isn't at fault here (except the damn air conditioner).
Have you ever heard a train roll by at a distance? or subway/semi? ... Where you could feel the road move, but, not so much hear it. Maybe had an overpass shake from their passing,... It is an iconic identifiable feeling (allow me that expression).
Well, in analyzing what I was hearing, it is plain and simple, just trucks passing by.
The occurences are random, and intermittent. For a room to go resonant would require a constant that was not present.

I have this rig as a control/compare copy, and it is quite revealing (see pic).
In front of the gent in white is my mini baffle, and DPA4060 pair-> DPA mma6000 rig. It is settled within the "U" of the ensemble, at the outer edge.

How did the CM3's become culprit in rumble experienced from a Sennheiser head?

Its getting late, and I've already fallen asleep on the couch once. Maybe I'm confused.
Attached Thumbnails
The Outside World Getting In-dscn4323.jpg  
Old 22nd December 2017
  #10
Gear Nut
 
Moke's Avatar
 

Thread Starter
Quote:
Originally Posted by rumleymusic View Post
Being so close to the back wall certainly will not help your low frequency pickup problems. Even if you were not attached to a pillar. It is a giant LF boundary, not to mention the comb filtering issues.
I could see comb filtering being an issue, with the binaural head. It didn't sound like I would have expected it to sound. It was very bright in the treble response. So, maybe some of the lows were being suppressed?
It not bad, the cello is well present. Its just a tad brighter than what my decades of work with it have revealed, in working with strings, and orchestras.
Old 23rd December 2017
  #11
Lives for gear
What shock mounts do you use ?
Its idiotic to direct mount to a earth bound structure
You need compliance and a good pair of cans
Old 23rd December 2017
  #12
Lives for gear
Quote:
Originally Posted by Moke View Post
I could see comb filtering being an issue, with the binaural head. It didn't sound like I would have expected it to sound. It was very bright in the treble response. So, maybe some of the lows were being suppressed?
It not bad, the cello is well present. Its just a tad brighter than what my decades of work with it have revealed, in working with strings, and orchestras.
As I (think ?) I understand it...you had a baffled close mic pair on or near the stage, and a CM3 and dummy head (close to one another) but more distant....and your final mix is a blend of the 3 pairs (or whichever mix of the 3 gave the best ratio of direct to room sound)...is that correct ?
Old 23rd December 2017
  #13
Lives for gear
 

Old 23rd December 2017
  #14
Gear Nut
 
Moke's Avatar
 

Thread Starter
Quote:
Originally Posted by Rolo 46 View Post
What shock mounts do you use ?
Its idiotic to direct mount to a earth bound structure
You need compliance and a good pair of cans
Thanks for the vote of confidence.
My decision was based on getting a room recording, and not just the close mic'd pair.
The room was packed full. I crammed myself into a tight corner, literally packed into a christmas tree. The house staff tolerated me in a sold out performance.
The reason I clamped to the post, there is literally nowhere to have a mic stand, other than where I did on stage.

I am not into the audience annoying trend of shade producing canopy arrays. in fact, I am far more inclined to run extremely low profile, with one recording from over the past weekend as an experiment in an invisible four channel rig at first row center of a choir concert. I did this stealth recording with the full knowledge and acceptance of the choir director.

Back to this room,...
I recorded for this musical society group for 10 years, but, in the main theater. They never wanted to have a recordist in the room, due to there not being any room to fit.
I ran three two channel recordings using the shadows of the room, and low profile presence. I had to take the new president of the musical society on a tour, to show hiim the three stereo rigs running. He was shocked.
Choice made to remain low profile, and not annoy the patronage.

The image shows the depth of the room from stage-lip (gent in white shirt, at right), and my rear wall rig.
There were patrons seating directly below my rig on either side of the post, and, on loose chairs in front of them.
The second images shows the ambient light, and the shadows that I hid in.
Attached Thumbnails
The Outside World Getting In-dscn4322.jpg   The Outside World Getting In-dscn4319.jpg  

Last edited by Moke; 23rd December 2017 at 02:35 AM..
Old 23rd December 2017
  #15
Gear Nut
 
Moke's Avatar
 

Thread Starter
Regarding shock mounts:
I have the shocks that came with the mics, as the upgraded set. I don't know the model number offhand.
Old 23rd December 2017
  #16
Gear Nut
 
Moke's Avatar
 

Thread Starter
Quote:
Originally Posted by studer58 View Post
As I (think ?) I understand it...you had a baffled close mic pair on or near the stage, and a CM3 and dummy head (close to one another) but more distant....and your final mix is a blend of the 3 pairs (or whichever mix of the 3 gave the best ratio of direct to room sound)...is that correct ?
I'm a long time two channel stereo specialist. Its only been in recent times that I've tried any mixing.
I will typically run at least two recordings, for different perspective, and to learn. Lately, its been three stereo recordings of each event, and a possible fourth as a rendering.
I don't go in with the intent to mix.
In the end, I'll take the synched tracks, and try a mix, usually at near 1:1 ratio, and see how they lay. If the overlay works, then yea! I listen, and try to dissect it to see if I can hear how the solo tracks intermix, and relate.
In this particular example, of the quartet, the CM3 pair sounded best about 2dB over the binaural head. The binaural tracks were a bit bright, so I brought them up just to a point of giving the mix a touch of sparkle, and then slightly back down, to not stand out.

This rumble was just an aborition, and unique to the circumstance. It was so deeply sub-sonic that it was easily removed with the HPF pass.
Old 23rd December 2017
  #17
Lives for gear
Maybe that's why these sort of devices have bass roll off engineered into them, as a switchable option ?
3Dio Free Space Pro II Binaural Microphone

If most of your final mix comes from the CM3 pair, you could try delaying the closer baffled mic pair by the number of msecs corresponding to the distance between the 2 pairs of mics (in this context the baffled pair is essentially a spot mic)....it might help them gel together better.
Old 23rd December 2017
  #18
Gear Nut
 
Moke's Avatar
 

Thread Starter
Thanks.
The on-stage baffled pair is from a different recorder that I had at the side of the stage. I have no intention of mixing it in with anything.
The Head, and the CM3 pair were into my DR70D four-tracker; a simple mix.

Back to weirdness getting in,...
I was recording in the mid-80's, at an acoustic Hot Tuna concert, at the CoachHouse in SJC, CA.
That venue is immediately next door to a major Cox Cable facility, with all kinds of dishes, and broadcast'y looking stuff.
The Hot Tuna concert went on fine, the show ended,... I scramble home for a listen, and,... sure enough, Hot Tuna, but with a faint background of what sounded like a Mexican radio station. I had two recorders going, but a single stereo pair as a source. Only one of the two recorders picked up on the RF interference, the downstream deck. So I assumed it to be RF leak into a patch cable.

Last edited by Moke; 23rd December 2017 at 03:43 AM.. Reason: my smallest finger is two keys wide. sorry.
Old 23rd December 2017
  #19
Lives for gear
 

Quote:
Originally Posted by Moke View Post
Thanks.
The on-stage baffled pair is from a different recorder that I had at the side of the stage. I have no intention of mixing it in with anything.
The Head, and the CM3 pair were into my DR70D four-tracker; a simple mix.

Back to weirdness getting in,...
I was recording in the mid-80's, at an acoustic Hot Tuna concert, at the CoachHouse in SJC, CA.
That venue is immediately next door to a major Cox Cable facility, with all kinds of dishes, and broadcast'y looking stuff.
The Hot Tuna concert went on fine, the show ended,... I scramble home for a listen, and,... sure enough, Hot Tuna, but with a faint background of what sounded like a Mexican radio station. I had two recorders going, but a single stereo pair as a source. Only one of the two recorders picked up on the RF interference, the downstream deck. So I assumed it to be RF leage into a patch cable.
You are a true warrior MoKe...




Don't feel bad. Once I had the number one dance song in Ecuador.
Old 23rd December 2017
  #20
Lives for gear
Quote:
Originally Posted by Moke View Post
I was recording in the mid-80's, at an acoustic
Ah, ok a concert-taper....gotcha
Old 23rd December 2017
  #21
Lives for gear
 
emrr's Avatar
Yeah, you don't have many options in that room.
Old 23rd December 2017
  #22
Gear Nut
 
Moke's Avatar
 

Thread Starter
Quote:
Originally Posted by studer58 View Post
Ah, ok a concert-taper....gotcha
hopefully not a bad thing?
yeah,... old cotton ears here has been around this whole round world (well, at least as far as I can drive; scared to death of flying). I've pushed record so damn many times,... its beyond a life force.

That head and I,... and its removeable mics (Thats why its so much better than other heads.) We go way way back together.

A head story,...
Walter Trout used to love to play to Gude Head, at this tiny biker bar in Huntington Beach, called Perqs. Walter called the head, Len Bias, the basketball player who exploded his heart while celebrating with too much marching powder on being drafted into the pro ranks.
Well, Walter saw Len Bias, in Gude, and would welcome special guest Len Bias, and then he'd try to melt Gude Head with intense solos that pretty much laid waste to the bar, piling everyone up as far as they could get away from his amp.
Too loud you say?
Then get the fack out!

The binaural recordings of those days are pretty special. A young Walter, just out of his mind, on fire.

I started into exploring baffled omnis around '85 or so, and, with the removable Senn bino mics, began deep explorations into what I called quasi-binaural, and what was later patented by a guy in Oregon, as Head Reference Transfer Function, or, HRTF.
So, if you value you techniques, hold them tightly, and don't be like me, and openly discuss your findings, just about anywhere.

talk about some outside noise getting in,... [rolls eyes smile]

I gotta share.
I tried to take a pic of me, just before I dropped down into the Impact Zone at this concert (the image will reveal).
You always wonder, should I take a pic of myself, and post it on the internet?
Well, the flash took care of that. I didn't use any sort of new fangled editing device to screw the pic up that bad. I suck that much with a camera. I'll have to try in natural light tomorrow.
So, me in my element in Oct. 1987.
Attached Thumbnails
The Outside World Getting In-dscn4347.jpg  

Last edited by Moke; 23rd December 2017 at 04:22 AM.. Reason: have I mentioned fat fingers?
Old 23rd December 2017
  #23
Lives for gear
Bootlegging concerts is not truly in my line of duty in leafy Gloucestershire
In the past I recorded small events out doors with a pair of boundary layer mics and a Sony Pro Walkman
If you were within the critical distance this could be very effective
However So California is obviously on another planet to this rustic.

Though I did record many hours of the Glasto Festival in Somerset
Mostly in the Pyramid or John Peel stages, always in the scaffold above the sound control
A simple MKH 30/50 rig worked very well , but needed obvious padding, and good suspensions in front of enormous Line Arrays with prodigious LF and transient kick
Roger
Old 23rd December 2017
  #24
Gear Nut
 
Moke's Avatar
 

Thread Starter
Bootlegging. After,... suggesting idiotic,...
Are you always so insulting?
Old 23rd December 2017
  #25
Lives for gear
Im sorry to have insulted your intelligence
This part of the Forum is about location recording, concert taper is a form unknown to me, Bootlegging I know of
Your concepts of field recording differ from the norm, its difficult to align professional standards to ad hoc solutions
I recorded many hours of music on spaced ECM 50s on HD 25 cans headband, but I always listened to the results and knew the failings on site, not afterward
To me good cans and good suspension and stands are essential to capture that elusive musical magic we all enjoy
Old 23rd December 2017
  #26
Gear Nut
 
Moke's Avatar
 

Thread Starter
IMO, the headphones in an acoustic concert hall mark you as a dork, and are a distraction to the patronage. They do nothing in the live moment to change anything, unless you like flipping filter switches at mid-song. The only time I use them is in an empty hall during rehearsal, or, at times where I'm stuffed into a corner cubby hole, or, the side wings.

Location recording? Thats what I've done for decades; does it matter if its in a closed set location, or, live music concert location?. In fact, my whole presence is battery operated, allowing me complete freedom to find that spot in the hall; not to mention totally clean power solution. Even in my day of recording to DSD (in 2005), when I ran AC gear in the field, I ran my rig with batteries, and an Exeltech pure sine wave invertor, just to ensure complete portablility to the best spot in the hall.
I understand location recording, very well. But in this GS forum, the closest sub-category is this Remote and Location recording forum. I've seen people talking about live music techniques, and thought that to be acceptable.

Unconventional concepts,... I think that is what Edison said to Blumlein upon seeing his two mic array, as opposed to the acoustic horn?
My techniques are long established and proven experiments, and, long proven standard two channel stereo techniques. How is this unconventional?
Old 24th December 2017
  #27
Lives for gear
Wearing cans at a recording is hardly the mark of a dork ,whatever that may mean to you
To me its a sign of professionalism, it doesn't need to be paraded ,but it is a ingredient for proficiency and quality
Our views diverge obviously on field recording.
Edison never met Blumlein, it would have ended it litigation as all of Edisons meetings and patents eventually did
Your vision is looser and and serendipitous, mine is tighter and relies on the magic of Blumleins numbers, not Edisons acoustic horn.
Happy Christmas to So Cal
Roger
Old 24th December 2017
  #28
Gear Nut
 
Moke's Avatar
 

Thread Starter
And in other oddities in recording techniques in the field,... a response to a christmas choir concert recording from a week ago, utilizing my Invisible technique; just received a moment ago, from the artistic director/conductor of the choir:

Mike,

​I finally got a chance to listen to these. We're in Ohio visiting family and so I only have my laptop and earbuds (and no Dragonfly DAC). Wow!! I agree with Jeff - this recording quality is phenomenal. It very much feels like I'm sitting​ in the audience at a live concert. The ambient sounds only add to the effect. After all, this isn't studio recording. I have never had a choral concert recording sound this live and "real." The depth and breadth of the sound is remarkable, and the nuance and detail is just breathtaking at times. Of course I gave you some challenges with the placement of the percussion (especially the stupid tambourine right in your face) but I knew that going in and had to sacrifice the recording some for the sake of the live experience. But even with that, it's just so, so good! Even Carol of the Bells - with everything coming from behind the mics - sounds fantastic.

I don't know if Jeff mentioned, but I was very disappointed with the audio that our videographer produced for our last concert, so much so that I couldn't post anything online. But I am very eager to share these recordings publicly (with your permission and proper attribution, of course.)

After listening through everything, I've been doing some cropping editing to get ready to post them, and I catch myself just listening instead of cropping. A thoroughly enjoyable experience. (And that's saying something, because usually I do NOT enjoy listening to my own concerts since I just focus in on the mistakes). But I find myself just enjoying all the wonderful sound. I don't think I've ever before had a recording put me right back in the moment as much as this is.

Thank you again for sharing these! You are welcome to come and record us in the future. (Our next concert is April 14...)

Merry Christmas!
Eric

Last edited by Moke; 24th December 2017 at 01:09 AM..
Old 24th December 2017
  #29
Lives for gear
 

Quote:
Originally Posted by Moke View Post
hopefully not a bad thing?
yeah,... old cotton ears here has been around this whole round world (well, at least as far as I can drive; scared to death of flying). I've pushed record so damn many times,... its beyond a life force.

That head and I,... and its removeable mics (Thats why its so much better than other heads.) We go way way back together.

A head story,...
Walter Trout used to love to play to Gude Head, at this tiny biker bar in Huntington Beach, called Perqs. Walter called the head, Len Bias, the basketball player who exploded his heart while celebrating with too much marching powder on being drafted into the pro ranks.
Well, Walter saw Len Bias, in Gude, and would welcome special guest Len Bias, and then he'd try to melt Gude Head with intense solos that pretty much laid waste to the bar, piling everyone up as far as they could get away from his amp.
Too loud you say?
Then get the fack out!

The binaural recordings of those days are pretty special. A young Walter, just out of his mind, on fire.

I started into exploring baffled omnis around '85 or so, and, with the removable Senn bino mics, began deep explorations into what I called quasi-binaural, and what was later patented by a guy in Oregon, as Head Reference Transfer Function, or, HRTF.
So, if you value you techniques, hold them tightly, and don't be like me, and openly discuss your findings, just about anywhere.

talk about some outside noise getting in,... [rolls eyes smile]

I gotta share.
I tried to take a pic of me, just before I dropped down into the Impact Zone at this concert (the image will reveal).
You always wonder, should I take a pic of myself, and post it on the internet?
Well, the flash took care of that. I didn't use any sort of new fangled editing device to screw the pic up that bad. I suck that much with a camera. I'll have to try in natural light tomorrow.
So, me in my element in Oct. 1987.
Incredible...you survived that head explosion!!.....

Old 24th December 2017
  #30
Lives for gear
 
Spectralwaves's Avatar
Quote:
Originally Posted by Moke View Post
hopefully not a bad thing?

I gotta share.
I tried to take a pic of me, just before I dropped down into the Impact Zone at this concert (the image will reveal).
You always wonder, should I take a pic of myself, and post it on the internet?
Well, the flash took care of that. I didn't use any sort of new fangled editing device to screw the pic up that bad. I suck that much with a camera. I'll have to try in natural light tomorrow.
So, me in my element in Oct. 1987.
I have to say that is a fantastic picture!

A very enigmatic almost biblical photograph,( that poise...!) Very atmospheric & I like the way the audience are all seeming to be in another dimension, colours bleached (almost like old 60s/70s super 8 films) & all leaning & focusing away from you ..really interesting, quite mystical crossed with sci-fi..thanks for sharing...

I enjoyed the tech reports too.
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump