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Give us your top 5 'hairyest' moments! Effects Pedals, Units & Accessories
Old 5th December 2002
  #31
Lives for gear
 
jwh1192's Avatar
2 nights ago...

48 track live recording...

Headliner brings in FOH and Monitor desks and the opening acts use house PA rig...

I ask the monitor and FOH engineers for an input list, FOH says that I can copy his form his console once it is up. I say cool...

I copy it one for one an ask if this is how it is and he says yes...I ask the monitor engineer if it is one for one...he says yes...

I label my console and wait for line checks to start as we will not see the band for a sound check...press thing...

as the line check start all is not right...things are showing up all over the place or not at all...

my A-2 and I get very concerned and go out to FOH and ask to look in his doghouse...

1 = 41
2 =44
3 = 3
4 = 4

oh did I mention that 3 and 4 are the only channels that are one for one...

after some frantic patching all is well ...

not to mention the 2 opening acts that are in different consoles all together...

sounds good...1 out of 3 bands is worth recording...tape is cheap...

Another...

Several years ago...Las Vegas...

My A-2 (FOH and recording engineer with 20 years more experience than me...great guy) and I hump a buch of mic-pres and recording gear up into an electricial room on third floor of this club. Band comes in with their monitor rig and patches into house split...I rent tails for recording...things start happening and I am getting some line checks and A-2 is patching mic-pres and comps...I go down to talk to the FOH and monitor guys about input list and stage plots...when I get down there the FOH guy is having troubles...kick is not showing up on channel 1 but on something like channel 25...I am OK and the monitor guy is fine... FOH is freaking out and decides he is going to bring in his own sanke and he does (without a record split) ...My A-2 makes a call, as he is local) and we get another split in to try...we apease FOH to give us a shot at making this new split work for him and us...same thing...we are out of the mix, sort of speak...

2 mix and audience mikes...that was it...opening act..no problem , they were in house system that matched up fine...

Oh, did I mention this was a video shoot also....

In the end...the mass connector on the bands FOH/Monitor rig had different pinout than the house...both the same manufacturer and same 56 pair snake mass connectors...

Valuble lesson...bring splits that are before the traveling rig....but in this case it would not have worked as all their sub-snakes were mass connectors into their split...no way to wire around it without causing major grief for the traveling band...and it is all about the show after all...

Good thing for us, the band really wasn't on that night anyway...

Sorry for the long post

peace john
Old 6th December 2002
  #32
Super Moderator
 
Remoteness's Avatar
Kooster,

I remember hearing a story about the time Record Plant was recording the Rolling Stones and some pissed off fan, who was thrown out of the concert, got revengeful and cut the audio snake in half. I forget if it was you, Presto or another associate that told me the story, either way, it's a location recording engineer's nightmare!

Can you let us about it? Do you have any other hairy stories to share with us?
Old 6th December 2002
  #33
One with big hooves
 
Jay Kahrs's Avatar
After some thinking I can one one stressful gig. I was doing FOH at a benefit with 13 bands in 7 hours. No assistant, a semi-competant stage manager and no stage plots for any of the bands. I was glad when that one was over. The next one is probably stressful for someone else, it wasn't my gig. A band I did a full length for about two years ago was recording a live album at a club a few nights ago. I still talk to the bass player once in a while and I had just seen the band and met the engineer who was doing the live date a few weeks ago. On Thursday afternoon I get a call from the bass player asking if they can borrow an Adat or two or something because no one bothered to make sure they had multitrack for the date. Nice one.
Old 28th November 2005
  #34
Lives for gear
 
opentune's Avatar
 

Doing a 24-track remote recording in a big local club. Pretty
much standard....

I went to the band on stage after the soundcheck. Everything cool.
Checked if the monitor guy was happy. Everything cool.
Went to the FoH. Everything cool.
Talked to the lighting guy. Everything cool.
Went backstage to the remote guy. Everything cool.

Show started. I watched the first 10 minutes to make sure everything is cool.

Went backstage to the remote guy. Saw three ADATS with armed tracks
and proper levels. Then i asked the guy why he didn´t press the
red one....
Old 28th November 2005
  #35
Lives for gear
 
Jim vanBergen's Avatar
 

Let's see:
How about Green Day trashing all our mics on an HBO shoot? Our truck (now Steve's truck) was taping one of their concerts in southern NJ and Trey Cool, the drummer, starts smacking the crap out of the OH mic stands with his drumsticks during the second song. I send my A2 out to talk to the FOH engineer, who says "well, I always have too much cymbals in Billy Joe's vocal mic so I never use drum OH mics, Trey is not used to them." By this time both mics have been knocked over. I send the A2 out to right the mic stands. Both stands are smacked over again during the next song. I send out the A2 again with the message, "HBO can't use either of these songs because you're ****ing around and your manager says to f'in cool it before you lose the broadcast deal and have to pay HBO's bill yourself." The A2 says he laughed when told that but said OK. The mics stay up until the last song of the set, when he pusheds them over by hand, and are righted again for the encore, and he destroys not only the entire drum kit but every mic we used ON the kit during the last song. (Evidently, he thinks its very Punk Rock to break someone else's ****, but seriously cool to break his own drum kit.)

Fortunately we sent the busted mics to HBO afterwards with a bill...they paid it, 90 days later. :>(

Old 29th November 2005
  #36
Lives for gear
 
sonare's Avatar
MOST hairy-- full orchestra master sessions-- the beginning of a 3-disc project. This is where the cost of the musicians alone is over $40 per minute times 90 players-- you do the math.

And what do you know-- three from this adventure alone!

T-minus 20 minutes before session #1 and the conductor realizes his score is back home and rather than call he charges out the door to his car!

T-minus 18 minutes and I stupidly re-check the channel polarity on the Studer console and the oscillator miniswitch comes apart, locking the oscillator ON for channel one. Thankfully, my brother the electron head is the asst and he calmly powers down the board, pulls up the channel strip and jumpers the oscillator out of the circuit. Problem solved and its only T-minus 7 minutes! And the conductor reappears at T-minus 4 minutes. What else could possibly go wrong?

Day two-- can't seem to get any signal out of the woodwind mics-- all lines and connections are checked, plus swapping micpre channels etc etc. I then notice that I do not see any power LEDs on the PS, and sure enough--they were stupidly turned off overnight and SOMEONE forgot to turned them back on.

That's enough for me-- my hair is getting grayer as I type!

Rich
Old 21st December 2005
  #37
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tenor39's Avatar
 

1.) '99 Disney Christmas Parade TV shoot. The night before we shoot the Utilities pull the mults and fiber to the truck, but for some unknown reason decide NOT to bag the DT-12 connectors. Of course it rains like Noah's flood all night. The PL is totally unusable the next day and we (the Audio crew) get blamed. Upon inspection of the connectors on the roofs of the surrounding buildings, I pour water out of every one of them. No amount of WD-40 or DeOxIt will dry them out. Producer is pissed and is heard screaming at the A-1 and the staff. What a Merry Christmas that was!

2.) During the recording of the March of Jazz in Clearwater we use 2 DPA 4041's on the drum kit. One is situated between the snare and toms and starts popping, then dies. A check of every cable and mic pre yields nothing so we replace the mic with another 4041 and start postulating theories of what might have happened. After another 5 minutes of the same set the newly replaced mic dies. What the hell is going on??? This is a VERY expensive mic and not prone to failure. We finally use our last 4041 to finish the night. It dies right near the end of the set! ***t! The three are sent back to Denmark for inspection. The conclusion: The
drummer decided that he needed to slide his brushes INTO the mic capsules, which were at least a foot away. The producer didn't like the bill for that incident.

3.) During a recording of Beethoven's 4th Symphony in Melbourne, FL my Cranesong Spider decides to take a powder. As this is my only source for both multi-track and 2-track, I'm screwed. I come to find out that NASA had launched a Delta rocket that night (only 15 miles away) and had started flooding the area with microwaves to prevent any "terrorist" or other unauthorized transmissions from occuring. Computers all over the area froze and disrupted cell phones. A big stink ensued. My client was not happy and fired me. Thanks, rocket boys.

4.) Last September I'm the A-1 on a PBS shoot in Jacksonville for a show called 'The World's Largest Concert". I bring my rig to multi-track in addition to the "polish multi-track" we lay down on the VTR's. During the rehearsal I find that the PM 4000 in the truck is usually used for sports and at least 30% of the channels are unusable. The patch bay is an equal disaster, so we jury-rig it to get something going. It crackles and has gremlins for the entire shoot. For some reason the truck engineer decides NOT to ground the truck eventhough we are on building power. Rizzzz! After figuring this out I still have noise. We look at the external patch bay and mults and find dirt, water, rust, etc. This truck is a nightmare! The Producer explains about budget issues and so on. I tell him he'll get what he paid for. dfegad We finally hook up another console back stage so I can run line level to the truck. Now I have to reset all of levels on the PM 4000. 1 Hr. to showtime. I happen to glance at the computer for the multi-track and notice the TC dropping out periodically. The truck engineer can't tell me why it's intermittent. 1/2 Hr. to show. I get a call from the Tape Op wanting tone 5 min. before we roll tape. WTF? We had it faxed out the day before, where was he? Unknown to me and my A-2 he pulls our patches to the VTR's. We start rolling and have no audio on 2 decks. The Producer is irrate. I try to explain what happened, but he wants to blame us (of course). We get through the shoot, but my multi-track has no TC because of the truck. The Producer threatens to withold our pay because he has noise on almost all of his VTR tracks. I finally e-mail him and set in detail for him the cluster **ck we were just a part of. They finally see the light and backcharge the truck company for the piece of ***t they sent us, and for the extra time to lay in the only decent audio, which is on my HD with no TC. Never again!

5.) I had been in a recording session all day and had to pack up my rig to record a live Orchestra event that night. My clothing was less than "Concert Dress". The concert featured a piano concerto and I had to go on stage to place a mic. Bad decision. My jean shorts and tropical-themed button down shirt didn't go over well. I was berated for that by the client AND the audience. Needless to say I didn't repeat that mistake again!
Old 21st December 2005
  #38
Super Moderator
 
Remoteness's Avatar
Wow, those were some good ones...

Keep them coming -- anyone else care to tell us their horror stories?
Old 21st December 2005
  #39
Lives for gear
 

Not recording, but, doing live sound for a small punk show in a small room.
This is in Vancouver where they use an alley system for service roads.
2:30am I'm helping the band load out the back of the bar (the front of the bar is scetchy enough, but not accessabel for load-in) while an alley dweller calls us names, flicks things from the ground he's laying on etc.
The guitar player, who had had a long day of show organization, finally says "Leave us alone, we pay rent for our beds." or something to that effect.
Alley dweller leaps to his feet and is nose-to-chest with the guitar player (players nose, alley guys chest.)
We stand back and try to cohearse guiter player back to the van to leave when something shiney appears from alley guys pocket. Guitar guy is looking up to alley guy and is very unaware.
Band advances, alley guy turns to run and everyone stops.
At the end of the alley, about 50 or so homeless people have gathered to see what the noise is about. These are alley guys friends and family. This was a real life Night of the Living Dead scene. Sunken eyes and torn clothes. (I get Thriller in my head thinking about it. These guys weren't dancing though.)
So into the van and off to unload back at the jam space then!
That sort of thing ever happen at Disney or PBS gigs?
Old 31st December 2005
  #40
Lives for gear
 

Quote:
Originally Posted by tenor39
1.)I had to go on stage to place a mic. Bad decision. My jean shorts and tropical-themed button down shirt didn't go over well. I was berated for that by the client AND the audience. Needless to say I didn't repeat that mistake again!
Gotta love that - awesome. thumbsup
Old 31st December 2005
  #41
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AlexLakis's Avatar
 

I posted this in another thread, but this is truly where it belongs...happened about 5 years ago...

Was recording a full choir in a church, two mics, X/Y, into a mixer, into a dat machine. The concert was long, and the only tapes I was left with were one-hour tapes. So, I had to be very quick with the tape switches. The choir was just wrapping up the "Hallelujah Chorus," and the tape was about to run out. I had to stop tape, flip, rewind a tiny bit to the beginning of the next side, and push record again, hoping they didn't start the next song too early. I wait until the song stops, then I push stop...

And then...

"HAAAALLEEEELUUUUJAAAAAAAAAAAAAH!!!"

DOH! I had cut off the final line of the song! Forgot about that one!

Luckily, we had a recording on file of the same show from the previous year! Same mic setup and everything. I just cut and pasted the last Hallelujah. Worked beautifully! *WHEW*
Old 1st January 2006
  #42
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cdog's Avatar
Showing up for gig and realizing I had forgot my guitar.

Oops.

By chance there was another player with a Les Paul in the house.

I always bring two guitars now.... in case I forget one of them.

Also fun times: Vox AC30 blows up mid set at an important showcase for my band.

No replacement amp is to be found.

No record contract is offered.

Old 1st January 2006
  #43
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AlexLakis's Avatar
 

Quote:
Originally Posted by cdog
I always bring two guitars now.... in case I forget one of them.


Yes, but what if you forget both? Better bring three instead!
Old 1st January 2006
  #44
Super Moderator
 
Remoteness's Avatar
Alex,

Very strong -- you are correct...

You must bring the main guitar (or device), a backup guitar (or device) and a backup to the backup guitar (or device)!

That's my system! You always should consider bringing a backup to the backup!
Old 2nd January 2006
  #45
Gear Maniac
 
ClickTrackAudio's Avatar
 

This thread is a reason why I like this particular forum...getting down to the nitty gritty of the crap that affects us directly that most live-only/studio-only guys don't have the *ahem* opportunity to joyously experience!!!


The "almost tipping the truck" incident reminds me of a similar event we had.
We had one gig where, because the client didn't want to pay for an extra day for set up, they decided to push everything (park/power/soundcheck/rehearsal/show) into the same day. This is normally not too much of a problem if everything is well organized, but the venue had some specific issues about access times that made the day a very specific challenge.

This was an out-of-town gig for us, so prior to the gig, I tried to stress to the client the importance of them having a good parking location ready for us, seeing that the day schedule was so tight. If we can't park and power, we can't very well do much else, can we?

We get to the venue and find that the parking isn't what we're told...we can't park where a mobile would normally go because of construction. So we get told to use the "alternate" location...on the lawn behind the auditorium. They've used it before for other mobiles and it should be fine.

What they didn't mention is that they've used that position in the middle of summer when the ground was hardpacked. This was late fall and I didn't realize that the area had received 3 or 4 consecutive days of rain. (Remember...it was an out of town gig...we didn't have rain where we were!!!).

So we proceed to move the truck into position...only to find it sank almost to the front axle...at a very scary angle.

After awhile, we got it out with some pretty smart steering from our driver and a chunk of the band helping to rock the truck to gain some momentum. And yes...I had an extra payload in my shorts hoping the truck wouldn't go over....

Oh...and I should mention that our contact, the person arranging the entire gig and was our source for information wasn't on site during all of this...he had overslept...so imagine his "pleasure" to arrive hours later to find the mobile wasn't parked, powered etc. (and imagine our "pleasure" to find out the reason why he was late ).

We did get the gig done and, in the weeks after the event, the client was indeed happy with what we recorded, but by the end of that night, the stresses of the day left everyone with many, many frayed nerves.


Since then, if I get the sense that the client doesn't do logistics on a regular basis, I now *always* speak directly with someone in the venue's manangement to co-ordinate park/power/permit issues and to check the weather for not only the day of, but also the days LEADING UP to the event!!! Since then, by doing this, all of our gigs have gone swimmingly well!!!
Old 16th January 2006
  #46
Gear Head
 

Thumbs up

48 track recording.

Two 40 ch consoles, 48 track adat, 48 tracks 16 bit Digital Performer, Dat, CD etc.
Two 48 ch splitter snakes.
Two full rock bands and 80 piece orchestra. over a hundred inputs at FOH.

I arrive at the venue on Friday the day before the sold out show, and proceed to load in, Building makeshift studio in room next to the hall.

Build my gear and continue to check things, getting late 1:30 am go to check snake split, but nothing is showing up at FOH like labeled find out its not a one to one patch, 1 to 48, 48 to 23, 89 to 2, etc. Then one of my recording consoles takes a crap and dies, make some calls and get a new console in about a hour later and all is good. Getting late its 3 am and call is 6 am for the morning new shoot. Get there next morning Saturday 6 am and continue to fine tune and run house mics snakes, power, and roll (tape) not really, but my DP inputs won't lockup to there input, 24 tracks will but not 48 ? spend all day screwing with sync cables and wordclock etc. etc. And adats were not running right all the times.
Time for sound check 5 pm, no line check because the artists patch there lines in when they get there. They had a hard time trying to figure where to patch because only first 8 ch have labels. 1-48. THEN I find out that the snake I rented had some bad channels in places 8 in the split side and 3 in the direct side, but I didn't no any of that, so half the patch's were wrong and the other half were f-ked up. No one to help as the house guy is mix only, no monitor man just me A-1 and my A-2 with 100 plus inputs. (Fun)

Show go's on great at FOH, but I lost 2 inputs during show and my Digital Performer never locked so as show goes on the digital pops get worse and worse, none for first part of show, but lots at end of show. (nothing 24 hours of editing didn't fix). Asked power to give me 10 min. after show ends to do backup (sure they said no problem) not true show ended 2 min. later Boom! no power (thanks guys) had ups and got new power to backup.

Great learning lesson, I learned let the pros do it.
Big mistake as I rented some gear and didn't rent long enough to test it.
This was my first remote gig, about three years ago have learned a lot since then.
Client was still really happy with finish CD and all was good to them.
Old 16th January 2006
  #47
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octatonic's Avatar
what like this?
Attached Thumbnails
Give us your top 5 'hairyest' moments!-hairy_back.jpg  
Old 16th January 2006
  #48
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AlexLakis's Avatar
 

God...Ween...Satan...back hair...THE ONENESS.
Old 17th January 2006
  #49
hrn
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hrn's Avatar
 

I was recording a symphony orchestra back in the days when hard discs were not so big as today. I know it's hard to get a full orchestra together for a recording. And it was a rock band in the middle of the orchestra too, and soloists. Well, they were all there and I had the equipment ready...16 channels going.

I knew this could be a disaster because of the hard disc space available......It was almost an hour to record, about -97 I think.

I have never been so worried. I told the conductor "It's cool, everything is settled now".....(for all of you 50 guys...)

When the conductor did his last move and everything had faded I had 1 Mbyte left..... . Divide that time with 16 channels

The record was released, but I cannot listen to it without thinking about this
Old 30th March 2006
  #50
Super Moderator
 
Remoteness's Avatar
Any hairy moments in 2006?

I got a few -- I'm gonna do my best to post them over the weekend.

How about you folks any juicy stories to tell?
Old 30th March 2006
  #51
Gear Addict
 
ExistanceMusic's Avatar
 

Havin a smooth year so far! Just finished production for 6000 commonwealth games athletes in their little village in Melbourne these last few weeks.....we've gone through a small fortune worth of 9Vs for the radio mic!!!

Full calender for the next few months though, fingers crossed none of those gigs end up in here!
Old 22nd May 2006
  #52
Lives for gear
 
pkautzsch's Avatar
 

Strange there wasn't anything really hairy for the past 5 years...and now it's three things on one weekend.

Saturday: live classical recording in a great room in a baroque palace. Get the plans last week, so everything's fine. Show 7pm, Rehearsal 5.30 pm --> start setting up 4pm for about 8-10 channels MTK. Thursday before: call at the venue for checking if they have someone to let me in at 4pm. "What? They need a rehearsal before their concert? What?? It's gonna be recorded? What??? They need the choir stage built? - Can't go in before 6pm, need to call&pay the stage building guy, need a permit for recording" (since all the gold inside that palace has to be maintained somehow, this permit will cost about EUR 100,-). So it's me doing the whole organizing - else they wouldn't have had a stage to perform on, and I wouldn't have had anything to record, and wouldn't have any money from that gig.
A few phonecalls later everything is fine.

Sunday: live Big Band recording on 24 Tracks, on computer and on Fostex D2424.
No electricity on the side of the stage where I plug into the snake: cable run right across the stage. Not foreseen: No split box (ie. the Fostex analog outputs go into the snake for those 4 mics they put on the PA).
Everything's set up, computer is recording already, I press the red button of the Fostex as band enters stage, and at that precise moment Fostex goes OFF. What's this, I'm thinking, and at the same moment I notice that the pres are OFF as well, as is the computer. I rush out, through the audience to the other side of the stage, where I see someone plugging my electricity back in. Rush back, the drummer starts a roll, and 2 secs later Fostex is recording while computer is booting. FOH guy rushes in "I get no signal", I say you should have signal by now, and I'm right. But still no sound from the wireless announce mic which had been switched off after soundcheck to save battery, and obviously not been switched on before show. Conductor finds the switch AFTER his opening joke.
Fortunately, no HD crash. That drum roll can be faded in.
Half an hour before end of show the Fostex's HD is full. Seems like the computer was fine for that half hour. And the short signal interruption happened in an announcement and not in a song.
Old 25th January 2007
  #53
Super Moderator
 
Remoteness's Avatar
A picture is worth a thousand words...

About an hour and a half after we already disconnected our tie ins this sucker started sparking from water pouring down on it due to some rain. The club tried to blame the problem on us...

Need I say more?
Attached Thumbnails
Give us your top 5 'hairyest' moments!-rust_o_rama.jpg  
Old 27th January 2007
  #54
Here for the gear
 

Full Moon...outdoor party in Wales...opening set...expectant audience...sounded great through the headphones...wasn't going to the PA...shamer!!
Old 3rd February 2007
  #55
Lives for gear
 
ArcCirDude's Avatar
 

Quote:
Originally Posted by AlexLakis View Post
Was recording a full choir in a church, two mics, X/Y, into a mixer, into a dat machine. The concert was long, and the only tapes I was left with were one-hour tapes. So, I had to be very quick with the tape switches. The choir was just wrapping up the "Hallelujah Chorus," and the tape was about to run out. I had to stop tape, flip, rewind a tiny bit to the beginning of the next side, and push record again, hoping they didn't start the next song too early.
Sorry, but you had to flip the dat tape????
Old 3rd February 2007
  #56
Lives for gear
 
Jim vanBergen's Avatar
 

Quote:
Originally Posted by Remoteness View Post
A picture is worth a thousand words...

About an hour and a half after we already disconnected our tie ins this sucker started sparking from water pouring down on it due to some rain. The club tried to blame the problem on us...

Need I say more?
Steve that looks like the tie-in at Irving Plaza. Is it? I recall doing a broadcast remote recording for HBO there (musta been Mos Def or Tantric, remember them?) with the video and audio trucks sharing a VERY scary tie-in. Even better, it was right next to one ofthe dressing rooms that got trashed and was covered in beer/wine/piss/whatever. GOOD TIMES!
Old 3rd February 2007
  #57
Super Moderator
 
Remoteness's Avatar
Quote:
Originally Posted by Jim vanBergen View Post
Steve that looks like the tie-in at Irving Plaza. Is it? I recall doing a broadcast remote recording for HBO there (musta been Mos Def or Tantric, remember them?) with the video and audio trucks sharing a VERY scary tie-in. Even better, it was right next to one ofthe dressing rooms that got trashed and was covered in beer/wine/piss/whatever. GOOD TIMES!
No, it's not that one, but I know the one you're talking about.

It's *****'s lovely power panel. Like I said above, everytime it rains water pours on the sucker. You would figure they would at least cover it with a plastic bag or something to deflect the serious water fall.
Old 3rd February 2007
  #58
Gear Maniac
 
somedude74's Avatar
 

1. I was hired to record a band to an 8 track ADATat a club for $400. I showed up with 4 microphones, and 6 cables. 2 of the cables were bad, and I was able to borrow a couple of real ****ty mics from the house PA guy. So far, I was prepared to only record 6 tracks. I do not know why I was such and f-up at this gig. But it gets worse. In the middle of the first song, someone kicks out my power from the wall (even though it was duck taped), and I miss the first two songs out of 10.

I collect my $400 dollars and know I will get a phone call soon.

A few days later, the bandleader called in a furious state. To shut him up, I ended up returning 25% for only recording 6 out of 8 tracks, and another 20% off that for only recording 80% of the songs. I still ended up with $240 bucks. I got real drunk that night too-- on the band tab.

Warning: Don't hire _me_ for remote recordings.

2. Shooting video interview of Charlotte Hornet's Dell Curry
After travelling 4 hours, and as an assistant, we set up for this interview, and the videopgrapher told me to go ahead and shoot it. So, I tested the mic levels, focused the camera and started the interview. Mugsy Boges was yelling the F-word the whole time in the background, and we restarted the interview. When it was done, I noticed that I had forgotten to press RECORD. So, I mumbled something about the micorphone cable crackling, swapped cables, and was able to shoot the interview again for the third time. I pressed record this time.

Last edited by somedude74; 3rd February 2007 at 11:43 PM.. Reason: removed non location recording stories
Old 4th February 2007
  #59
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ArcCirDude's Avatar
 

Quote:
Originally Posted by Remoteness View Post
No, it's not that one, but I know the one you're talking about.

It's *****s lovely power panel. Like I said above, everytime it rains water pours on the sucker. You would figure they would at least cover it with a plastic bag or something to deflect the serious water fall.
And this **** is allowed!!!!!! What kind of control or building inspections go on back home??? I mean hell, this is OBVIOUSLY a tragedy waiting to happen! Look at the obvious water damage.. "Well, shucks, dem fuses is nice an' shiney...." How many people have to burn to death to make the owners go, "Classic concert hall for sale: Slight smoke and water damage. Sparse chared remains visible. Best offer over 10 million...."

Sorry for the rant, by my children's kindergarten just burned down last week. And the electrical causes there were completely hidden. Thank the stars that it happened an hour after it closed.


Sigh....
Old 4th February 2007
  #60
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ArcCirDude's Avatar
 

OK, back to the thread...

Back in '95 I went back to New Orleans to earn my masters in music at Loyola U. I had already been working in prof studios for a number of years as both a musician and assistant engineer. But nothing live outside of "I need more of me in the monitor"....

So I talked to the manager of WWOZ jazz radio at an AES meeting and he asked me if I wanted to volunteer to work at the New Orleans Jazz and Heritage Festival. "Sure!", I said.

So he first sent me to Jimmy Buffet's Margaritaville to meet the A-1 and he said, "Hop behind the board in the van." He then said, "Ok, we go live in two minutes." Now "live" meant both to the local listening public AND the newly established live internet feed. After I became used to the warm, steaming mass underneath my derrier, I felt I did an OK job. I received confirmation of this when my live feed was included on the WWOZ compilation CD that year. Jeez, what a rush...

I ended up working at the Jazz Fest that year. Biggest highlight? Standing 15 feet away from McCoy Tyner and Michael Brecker during their set.... Worth the diaper cleaning charge at the end of the month....
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