Scott-
I have a quesiton to ask you before I get into my reasoning for my post earlier...What are you proposing by questioning my response to this post? I think 7-9 feet is a wide range depending on venue size/mic location/cap's/etc....what would you suggest?
I have been in this "scene" for 5 years. I have been taping shows since 98, and although I hadn't owned a rig back then, I have heard hundreds of tapes from different sources in different locations, all while comparing different sources to each other.
So as far as my personal taping experience with my own rig, I do not own one personally, but I have brought my friends rigs in to a few shows and been very happy with the results!
I was referring to running the mics at the 7-9 foot range because if the soundman and system engineer are doing their job, the best sound is supposed to be at head level. You know as well as everyone else, that taping is hit or miss.
I have been fortunate enough to realize that this works for me, so I am wondering...What works for you?
peace
PHiL
hey Phil,
not intending to ruffle your feathers at all. what i am intending by questioning your response is to get a little bit clearer picture as to where you're coming from making blanket statements like this. i simply don't feel that anyone with much actual taping experience would buy into this theory which you are proposing as Gospel. or maybe i am reading you wrong? if you truly believe that the best sound is at head height, then why run at 7-9 feet?
you state that you have compared tape sources for years without much actual taping experience. okay, cool. but how many comparisons have you done on similar rigs run from the exact same location, but at different heights? if you have any such comparisons, i'd love to hear them.
in my previous post, i stated that situations vary greatly from show to show. many factors will determine the best location/ height. making a blanket statement that one should run their mics at 7-9 feet is a misnomer imho.
i also think that the idea that sound guys attempt to work the sound so as to be most pleasing at head height is a misconception. closer to the truth is that they try to equalize the sound throughout the venue. most outdoor Sheds/ Amps are sloped, so the main sound pressure has to be directed up slightly to travel cleanest to the rear of the Venue. some Venues utilize repeater stacks which would minimize this need.
transfer your theory to indoor Arenas for a minute. if the sound crew is as you postulate, working the sound to be most beneficial at head height, then my question would be, head height to whom? people in the front row? people at the rear floor? first row loge? back row mezanine? i think you start to see the problem with your theory.
now place yourself in a stadium situation. Soldier Field for example. Or Folsom Field. again, i ask you whom the sound crew is trying to hit at head height with the sound? my point is that in reality, the sound is more correctly 'summed' to sound roughly equal to all seats in the house. even this effort almost always falls short.
this inequity in sound is why you see rabid FOB tapers. this is why you see 14-16' stands in OTSs at Arenas/ outdoor Stadiums. this is why you see 16' stands hugging the stacks at DMB shows.
you seem to have postulated this 7-9' theory in your few shows actually running mics. that's great if this works for you. more power to ya, bro! just please don't get upset if more experienced folks disagree with you. i don't think you'll find many backers for your all encompassing 7-9' theory.
peace
~Scott
