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Old 3rd August 2019
  #40
Lives for gear
 

Quote:
Originally Posted by hughshouse View Post
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.
All audiences? How important is this to the fans who go to see a band like the Prodigy for example...?

Quote:
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.
In a small venue where the backline is and performers can provide most or all the sound this is possible, but in venue with 20,000 people the PA will be the sole source of the mix and can never be transparent, the mix can sound very good, but if most or all of your sound is coming from the PA, it will be impossible to hide it.

Quote:
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.
I think for the most part most of us have the opportunity to choose the type of work we want to do and happily we don't have the same tastes and are not stuck doing the same thing because that would be boring as hell.

Quote:
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!
I'm confident that people will eventually figure out what they want to do and how they want to do it...or they'll eventually go sell insurance or become teachers etc.