HDTenEightyP/NetNews huggingface dataset:
From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Turning pro - getting an audio-related job
Date: Tue, 22 Dec 1992 15:02:04 GMT
Organization: Colorado Concert Sound

In article <5752@gold.gvg.tek.com> chrisc@gold.gvg.tek.com (Chris Christensen) writes:
>In article <85436@ut-emx.uucp> logan@ccwf.cc.utexas.edu (Logan Shaw) writes:
>(text edited)
Stuff about careers and singers deleted.
>>  I'm not sure I can restrain myself from killing any performer who decides
>>to put the microphone down on top of the main speakers when exiting the
>>stage area.
>This is where I stop being flipant and get serious.......If this is
>your attidude then keep your day job and stay out of the audio
>business.......Yes I get pissed when a performer mistreates my
>equipment but I am forced to contain myself as best as I can.  I knew
>I was in trouble one evening when the singer takes the mic of the
>stand and throws the stand off the stage........Yes I did go to the
>bands manager and demand payment for damages.  His response was "hell
>we ain't getting paid.  I ain't paying you for nothing..."  Oh and I
>got stiffed on the job also......
Sounds like a good time to pull the main breaker.

We don't even get out of bed without a contract that includes a 50% deposit
for "risky" gigs.  The system doesn't go out of mute without full payment
in advance, and it must be cash/cashier's check, unless we're working with
a previous client or really good friends.
If we do a band that may be destructive or we may lose a crew, we also get
a damage deposit that we keep if anybody throws something or we don't get a
full loadout crew.
The sound business can be fun, but it is a BUSINESS, and you have to stand
firm on your rules or people will run all over you.

I've cut off the Red Hot Chili Peppers when they got a little too beyond
what their manager and I agreed to.  We cut stage power, monitors and lights
when they rammed a mic stand into a monitor, and they paid for the damage in
cash before we turned anything on again.
I turn those gigs down now.  It's not worth the money.  They still ask for us
when they come around, and the promoter books us for all the rest of his gigs.
>
>Keep and or get a day job.  Do what you can by helping out bands.  I
>can't offer much more than that.  I got into the business from the

Sound is my day job, but it is not my religion.

Stay Safe
Galen Watts, KF0YJ

Newsgroups: rec.audio.pro
From: Mike.Oniffrey@launchpad.unc.edu (Mike Oniffrey)
Subject: Re: What's the screen in front of the microphone in recording studio?
Organization: UNC EBBS
Date: Wed, 23 Dec 1992 16:19:32 GMT

In article <1992Dec22.221258.3282@guinness.idbsu.edu> Dave Jensen
<djensen@claven.idbsu.edu> writes:
>
>BTW, You can make your own out of embroidery hoops and nylon hose.

Quite right, Dave.  Just to give the historical angle on all this, these
"pop" filters had their beginnings with somebody (sorry - I not know who)
making one out of coat hanger wire or an embroidery hoop and some scrap
hosiery...i.e., developed the same the Lowel brand miniature movie lamp,
first marketed in the 50s, evolved from home-made devices. 

Just a matter of time before someone started mass-producing them...

BTW, gaffer tape has only been around since the 50s, also courtesy of Lowel.

All heads bow before the Mother of Invention!


onif

Onif of UNC-TV, Research Triangle Park, NC, USA, can be reached at:
mike.oniffrey@launchpad.unc.edu
--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  laUNChpad.unc.edu or 152.2.22.80
Xref: sparky rec.audio.pro:2633 rec.music.synth:19614
From: gingeric9178@iscsvax.uni.edu
Newsgroups: rec.audio.pro,rec.music.synth
Subject: Re: MicroSound Hard Disk Multitrack
Date: 23 Dec 92 12:20:30 -0600
Organization: University of Northern Iowa

In article <1h92joINN468@athena.sdsu.edu>, larryr@saturn.sdsu.edu (Larry Riedel) writes:
> 
> Do you know anything about the MicroSound hard disk recorder for the PC
> sold by Micro Technology?  In particular, is it worth $4000, or is there
> an alternative for, say, half the price?  I know about the Turtle Beach
> stuff, but I don't think they have a comparable product.
> 
> 
> 
Larry,
   I called the guys at MicroSound and spoke to the pres and he cerainly
convinced me.  Their system (from what i heard) sounds like it sets the
standards for what hard disk recording \ multimedia should be.  I would say it
is definatley worth the $3600-$4000.  HEll I own a PC and I am considering
going in on one of their $10000 rack mount versions.  I could go into a
trillion details, but they explain it better.  I think their number is:

            1-916-684-2832
                  or
            1-919-970-0344

Get some info ( they just got some new stuff printed up) straight from them,
Lord knows I would not do it justice.  To sum up, I think it will be worth it. 
I have heard of people saying it sounded better to first record it to the PC
using MicroSound and then to DAT than straight to DAT.  Hows that for quality!!

Robert Williams


Newsgroups: rec.audio.pro
From: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Subject: Re: What do you charge for a night out?????
Reply-To: gmw1@cunixa.cc.columbia.edu (Gabe M Wiener)
Organization: Columbia University
Date: Wed, 30 Dec 1992 03:12:14 GMT

In article <1992Dec29.213914.26236@rtsg.mot.com> roellig@motcid.rtsg.mot.com (Eric A. Roellig) writes:
>I am curious about what prices people charge for recording
>a choral event.  I recently caught the attention of the
>Chicago Childrens Choir and I would like to make sure I'm
>not working too cheap.

My base rate is $300 for up to two hours of recorded sound.  $50/hr
thereafter.  I usually add another $75 if I need to use something more
compex than a stereo pair...for instance, if I need to mike chorus and
orchestra separately.  I also add on a surcharge if I have to travel a
significant distance.

Sometimes I drop the price off a bit if it's a series...for instance
if the director wants to do 10 concerts and they're all about the same
setup (i.e.  after the first or second one, the setup doesn't require
much thought), I'll give a break.

For that, they get a DAT and/or a cassette copy in its raw form.  I
charge by the hour for digital editing, etc.


--
Gabe Wiener - Columbia Univ.     "This 'telephone' has too many shortcomings 
gmw1@cunixa.cc.columbia.edu       to be seriously considered as a means of 
N2GPZ in ham radio circles        communication. The device is inherently of
72355,1226 on CI$                 no value to us." -Western Union memo, 1877
Newsgroups: rec.audio.pro
From: Dave Jensen <djensen@claven.idbsu.edu>
Subject: Re: What's the screen in front of the microphone in recording studio?
Organization: Morrison Center for the Performing Arts
Date: Tue, 22 Dec 1992 22:12:58 GMT

In article <1h759pINNp01@rave.larc.nasa.gov> kludge@grissom.larc.nasa.gov
(Scott Dorsey) writes:
>In article <1992Dec22.074203.15856@netcom.com> ds@netcom.com (David Schachter)
writes:
>>I was watching a show about a recording session for a Broadway cast album
>>and I noticed many of the microphones had circular screens, about 10 cm
>>in diameter, suspended in front of them, between the mic and the singer(s).
>>The screens were some kind of fine mesh, dark in color.  What are they
>>for?
>
>These are very nice windscreens, to avoid popping.  They do a great job of
>filtering out large amounts of breath which tends to overdrive the mikes,
>without cutting much of the high frequency response out.  They work much
>better than the foam balls which the sound reinforcement folks use.  Although
>good mike technique can almost eliminate the need for windscreens, it's better
>to be safe than sorry.
>
>There are at least two manufacturers that make the things, and I know 
>Klark-Teknik also resells them.  There is usually an ad in the back of
>R*E*P (RIP) selling the things.
>--scott
>

BTW, You can make your own out of embroidery hoops and nylon hose.
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.audio.pro
Subject: Re: Turning pro - getting an audio-related job
Date: 21 Dec 92 18:01:54 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <85436@ut-emx.uucp> logan@ccwf.cc.utexas.edu (Logan Shaw) writes:
(text edited)

>So, the thought occurs to me:  Rather than just doing something that I hate
>and that bleeds the life right out of me, like data entry (which I've done
>before), why not get a job that I might find interesting?  So, now I have
>some questions about audio related jobs.

>  I am working on a degree in Computer Science, so I know how to use computers.

>  I've even run sound for a professional musician once, and I got a free
>t-shirt out of it.  :-)

Gee I got a free TShirt from Al Stewart!

>  I *don't* know how to convince singers to hold microphones correctly.

No one does...........

>  I'm not sure I can restrain myself from killing any performer who decides
>to put the microphone down on top of the main speakers when exiting the
>stage area.

This is where I stop being flipant and get serious.......If this is
your attidude then keep your day job and stay out of the audio
business.......Yes I get pissed when a performer mistreates my
equipment but I am forced to contain myself as best as I can.  I knew
I was in trouble one evening when the singer takes the mic of the
stand and throws the stand off the stage........Yes I did go to the
bands manager and demand payment for damages.  His response was "hell
we ain't getting paid.  I ain't paying you for nothing..."  Oh and I
got stiffed on the job also......

Keep and or get a day job.  Do what you can by helping out bands.  I
can't offer much more than that.  I got into the business from the
stage end.  I own a sound company and people come to me so I can't
help you with a "how to story".....
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: Beringer Enhancer
Date: 24 Dec 1992 13:25:35 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <BzrFAs.A76@hpwin052.uksr.hp.com> mow@hpwin052.uksr.hp.com (Mark Payne) writes:
>
>However this thing seemed to be bright in a way I could'nt achieve with EQ.
>Am I hearing things or is this device really ADDING hf components to the 
>sound rather than boosting what is there already.

Yes, the Beringer is similar in design to the Aphex Aural Exciter.  Similar
enough that the company is currently being sued by Aphex.  The unit basically
takes the midrange and high frequencies and puts them through a transform
that generates high order even harmonic distortion.  When added back into 
the signal, it makes for a great increase in brightness.

>I am interested in hearing from live and recoring engineers on the use of enhancers of this type. Especially if you have the Beringer (Baringer?) unit. And
>especially if use use them for live 2K-5K rock work...

Personally, I don't like them, but I can tolerate their use to increase
the brightness of source material that has been rolled off.  I'd be much
more apt to recommend you buy microphones with a more extended high frequency
response than to buy a unit like this, but it's also a judgement call.  I
don't like the way they make cymbals sound annoying and spitty, or what they
do to female vocals, but they might very well improve a dull-sounding guitar.
--scott
Xref: sparky rec.audio.pro:2658 rec.music.synth:19652
From: zerobeat@intacc.uucp (Ferenc Szabo)
Newsgroups: rec.audio.pro,rec.music.synth
Subject: Re: SD II
Keywords: Sample Editing software
Date: 29 Dec 92 00:56:19 GMT
Organization: Inter/Access' Matrix BBS

In article <1992Dec27.021907.5186@tfs.com> aloke@tfs.com (Minister of Information) writes:
>
>SDII can up/download samples to the Akai S1000 either via SCSI
>(if your S1000 has a SCSI interface) or with Midi sample dump standard.

I'm pretty sure that SDII (at least my version) won't work without the
Nubus card present.  I use to have SoundTools I and now I have AudioMediaII
and both versions of SDII need the card to work.   

The SDII software sells for about C$950 and the whole package including
the AudioMedia II card and SDII sells for C$1450.  So for C$500 you get
one hell of an amazing DSP/playback card if you look at it this way.

Oh by the way........Passport says they have discontinued Alchemy as of
version 2.6 (which is copy-protected unlike the others).

SDII (with the card) is light years better than Alchemy as far as DSP and
speed goes.  But Alchemy is better at keeping the mapping of samples
straight.

ferenc
From: lionel@cs.city.ac.uk (Lionel Tun)
Subject: Where to get microphone?
Organization: City University, London
Date: Tue, 22 Dec 92 11:17:09 GMT

Where can I get cheaply one or two AKG C1000S microphones? 
Mail order I suppose, but where?
Second hand would do, but again where to look? 


--
  ________  Lionel Tun, lionel@cs.city.ac.uk  ________
 / /_  __/\       Computer Vision Group      /\ \__  _\
/___/_/_/\/ City University, London EC1V 0HB \ \___\_\_\
\___\_\_\/        071-477 8000 ext 3889       \/___/_/_/
From: syssfk@tesla.njit.edu
Newsgroups: rec.audio.pro
Subject: Re: Beringer Enhancer
Date: 24 Dec 92 15:47:22 GMT
Organization: New Jersey Institute of Technology

In article <1hcdofINN8h2@rave.larc.nasa.gov>, kludge@grissom.larc.nasa.gov (Scott Dorsey) writes:
> In article <BzrFAs.A76@hpwin052.uksr.hp.com> mow@hpwin052.uksr.hp.com (Mark Payne) writes:
>>
>>However this thing seemed to be bright in a way I could'nt achieve with EQ.
>>Am I hearing things or is this device really ADDING hf components to the 
>>sound rather than boosting what is there already.
> 
> Yes, the Beringer is similar in design to the Aphex Aural Exciter.  Similar
> enough that the company is currently being sued by Aphex.  The unit basically
> takes the midrange and high frequencies and puts them through a transform
> that generates high order even harmonic distortion.  When added back into 
> the signal, it makes for a great increase in brightness.
> 
-- 

   You may want to try out a BBE 422 Sonic Maximizer (hate that hokey name).
It has a similar purpose as the Aphex and Beringer units (I believe Aphex won
the lawsuit) but achieves it in a different way.  As I understand it, instead
of generating fake harmonics it controls the dynamics (with
compression/expansion) of the high frequencies (harmonics) based on the
dynamics of the midrange (fundamentals) - seems reasonable.  I have one and
like it very much.  After mixing down from 8-track I use it (sometimes) on the
stereo mix.  Sometimes it seems to have no real effect unless you overdue it
so I take it out.  Other times it makes a world of difference, bringing out
subtle characteristics of instruments that I couldn't get right just using EQ.
Anyway I found it well worth the price ($199 at Sam Ash) and think you should
listen to one if you can.  Let us know what you decide to go with and how you
like it.

- Steve -
-----------------------------------------------
Stephen F. Keeton         syssfk@tesla.njit.edu
Senior System Programmer
Computing Services Department
New Jersey Institute of Technology
Newark, NJ   07102     (201) 596-2907
Newsgroups: rec.audio.pro
From: mow@hpwin052.uksr.hp.com (Mark Payne)
Subject: Beringer Enhancer
Date: Thu, 24 Dec 1992 10:47:15 GMT
Organization: Hewlett Packard Response Centre, England
X-Newsreader: TIN [version 1.1.4 PL6]

More Requests on your experience on kit please.

On my recient "FOH Rack Window Shopping" trip... I came across a Beringer
Enhancer which is nice and cheap. The shop sound tech was reccomending that
this is nice in the main LR path of the desk. We demoed this with some CD
and tape material and .. Yeh it makes things bright.. seems to bring out 
acoustic guitar and the top end of cymbals and vox.. but then so does more
desk EQ.

However this thing seemed to be bright in a way I could'nt achieve with EQ.
Am I hearing things or is this device really ADDING hf components to the 
sound rather than boosting what is there already.

I am interested in hearing from live and recoring engineers on the use of enhancers of this type. Especially if you have the Beringer (Baringer?) unit. And
especially if use use them for live 2K-5K rock work...

Cheers


--
_______________________________________________________________________________
Mark Payne | Mail: mow@hpwin052.uksr.hp.com |  
___________|________________________________|_________________________________
Hewlett Packard, Amen Corner, Cain Road, Bracknell, Berkshire RG12 1HN

I think you will find that HP are not, in any way involved in, influenced by
or responsible for opinions that I express here.... I think....
Newsgroups: rec.audio.pro
From: roellig@motcid.rtsg.mot.com (Eric A. Roellig)
Subject: Re: What do you charge for a night out?????
Reply-To: roellig@motcid.rtsg.mot.com (Eric A. Roellig)
Organization: Motorola CIG
Date: Tue, 29 Dec 1992 21:39:14 GMT

I am curious about what prices people charge for recording
a choral event.  I recently caught the attention of the
Chicago Childrens Choir and I would like to make sure I'm
not working too cheap.

Newsgroups: rec.audio.pro
From: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Subject: Re: What do you charge for a night out?????
Reply-To: nathan@laplace.csb.yale.edu (Nathan F. Janette)
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Mon, 21 Dec 1992 22:02:42 GMT

In article <1992Dec21.202823.23419@ncar.ucar.edu> kauff@neit.cgd.ucar.edu  
(Brian Kauffman) writes:
> > drx@chinet.chi.il.us (Scott Whittle) writes:
> ------------------------------------------------------------------------
> >Just curious concerning those who "do" sound for local talent (used  
loosly :) )
> >What do you normally charge and for what services? Do you provide a pa  
and an
> >engineer? Just rent the PA, just engineer? 
> 
> I don't do sound, but the standard rate around here (Denver/Boulder) is 
> $150/night for a fairly meaty PA (24 ch) + boardperson suitable for the 
> most popular local acts in a medium sized club (say, ~500 capacity).

That would be a cheap figure for that sized system around
here, except for multiple night gigs or a fixed
installation.  Around here a single gig with a 24 channel
board, triamped mains (2 lows, 2 mids, 2 highs per side), 4
monitors, many mics, soundman, etc, runs around $250. 
That figure might include a few par 64 light cans as well. 
$150 would buy you a 16 channel system with biamped mains
(1 low, 1 mid+high per side), 4 monitors, soundman, etc.  

--
Nathan Janette
PPP link from hilbert.csb.yale.edu

Please reply to: nathan@laplace.csb.yale.edu (NeXT)
From: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Newsgroups: rec.audio.pro
Subject: Re: What's the screen in front of the microphone in recording studio?
Date: 22 Dec 1992 13:30:33 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <1992Dec22.074203.15856@netcom.com> ds@netcom.com (David Schachter) writes:
>I was watching a show about a recording session for a Broadway cast album
>and I noticed many of the microphones had circular screens, about 10 cm
>in diameter, suspended in front of them, between the mic and the singer(s).
>The screens were some kind of fine mesh, dark in color.  What are they
>for?

These are very nice windscreens, to avoid popping.  They do a great job of
filtering out large amounts of breath which tends to overdrive the mikes,
without cutting much of the high frequency response out.  They work much
better than the foam balls which the sound reinforcement folks use.  Although
good mike technique can almost eliminate the need for windscreens, it's better
to be safe than sorry.

There are at least two manufacturers that make the things, and I know 
Klark-Teknik also resells them.  There is usually an ad in the back of
R*E*P (RIP) selling the things.
--scott
From: dnwangus@flash.LakeheadU.Ca (Dave Angus)
Newsgroups: rec.audio.pro
Subject: Is Citronic still in business? Address for schematics?
Date: 31 Dec 1992 23:08:31 GMT
Organization: Miskatonic University, Arkham

I've got a Citronic SMP 505 A, and I'd like to get a
schematic or service manual for it.  The "Cue" LEDs 
don't do anything, and it seems a bit too noisy.

Is there a North American source for service info. or 
should I just write to:
Citronic Ltd, Melksham, Wilkshire, England ?

Thanks in advance for any information.
--
Dave Angus                                   "Kundalini wants his hand back"
Newsgroups: rec.audio.pro
From: daveb@Ingres.COM (Dave Brower, DBMS hack, [510] 748-3418)
Subject: Re: Beringer Enhancer
Originator: daveb@lotus
In-reply-to: kludge@grissom.larc.nasa.gov (Scott Dorsey)
Reply-To: daveb@lotus (Dave Brower, DBMS hack, [510] 748-3418)
Organization: Ingres, an ASK Company
Date: 30 Dec 92 17:17:47 GMT

In article <1hcdofINN8h2@rave.larc.nasa.gov>, kludge@grissom (Scott Dorsey) writes:
>
>Yes, the Beringer is similar in design to the Aphex Aural Exciter.  Similar
>enough that the company is currently being sued by Aphex...

[someone else notes the suit was won]

In a similar vein to the sci.crypt and RSA debate, does anyone know
the Aphex patent number and grant date?  I think the Aphex came out
around 1977 or so, so the patent might be about to expire.

cheers,
-dB

-- 
Windows/NT - the VMS of the 90s
Newsgroups: rec.audio.pro
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
Subject: Alchemy (Re: SD II)
Date: Fri, 1 Jan 1993 21:28:52 +0000

>Oh by the way........Passport says they have discontinued Alchemy as of
>version 2.6 (which is copy-protected unlike the others).

Bugger. Since when? Did you hear this directly from Passport?

                      Nick Rothwell  |  "Say, how many contemporary dancers
   CASSIEL Contemporary Music/Dance  |     are there in this bar?"
        cassiel@cassiel.demon.co.uk  |  "Dunno; count the Dr. Martens
        cassiel@cix.compulink.co.uk  |     and divide by two..."
From: ds@netcom.com (David Schachter)
Subject: What's the screen in front of the microphone in recording studio?
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Tue, 22 Dec 1992 07:42:03 GMT

I was watching a show about a recording session for a Broadway cast album
and I noticed many of the microphones had circular screens, about 10 cm
in diameter, suspended in front of them, between the mic and the singer(s).
The screens were some kind of fine mesh, dark in color.  What are they
for?

					-- David Schachter
-- 
 ____________________________________________________________________________
 David Schachter                                david@llustig.palo-alto.ca.us
 801 Middlefield Road, #8                            ...!decwrl!llustig!david
 Palo Alto, CA  94301-2916 USA      After 10 am, voice & fax: +1 415 328 7425
Newsgroups: rec.audio.pro
From: kevink@samsara.tv.tek.com (Kevin Karth)
Subject: Re: Alesis 1/3 Oct Graphic
Organization: Tektronix TV Products
Date: Sat, 26 Dec 1992 06:33:07 GMT

In article <BzrEsw.9xy@hpwin052.uksr.hp.com> mow@hpwin052.uksr.hp.com (Mark Payne) writes:
>Yo Peeps,
>sliders are really naff and the thing is going to be hell to use in the dark
>but thats the compromise for having the thing in 1U.

The sliders are indeed stiff, and being monolithic on one substrate, are NOT


The Alesis sounds VERY clean with lots of headroom and very extended freq.
response.  The audio performance for the dollar invested is a true bargain!
response.

I was skeptical befor I bought one a month ago, but have been very pleased.
The unit is also very quiet for an unbalanced system.
kevink@tv.tv.tek.com

Newsgroups: rec.audio.pro