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Old 3rd August 2019
  #38
Lives for gear
 

Thank you studer58 for your cogent comments pursuant to my posts. Grasping the concept of selective specialization in sound reinforcement and recording endeavors should not be a difficult task. You perfectly described the importance of transparent electronic delivery of a masterful performance and the connective bond it can and will establish with an audience. My friend Cliff Miller was able to reach these lofty sonic levels for Alison Krauss tours in 20,000+ seat venues but much smaller (200 to 700 seat) venues have been my market over the past 20 years. The great advantage an old man like me has is the opportunity to do only those things that we want to do. Brent made very clear in his post #17 that he loves the challenge and thrill of broadcasting from a difficult environment.

We do not know the percentage of our forum readers that are performers developing their own S R protocol VxS people that are trying to perfect their skills to free lance engineer various types of performance. The elements that divide these interests is at the root of my comments!

Sam, if you will carefully read Brent's post #13 the loud amped bass and drums were identified as the primary elements exacerbating the node problems.
Hugh