Discreet, high quality and loud enough for free jazz

[bluejudeto]

Well thanks everybody, I think it is a case of the old Confucian saying...A man with one watch knows the time, a man with two is never sure.

 

On the PA front, as I'll probably not get a chance to get in to the space until two weeks before we open (looks a little less like a swimming pool at the moment) I won't get a chance to listen to anything in situ. I've heard enough PA's (22years in the business worth) and I know what sounds right and it can often be unlikely, depending on too many factors. I'm a musician/composer as well and that colours my judgement, rightly or wrongly.

 

I don't have the huge budget that I'd like and having to spec a digital media suite, a theatre space, a cinema system, a computer network or three and a visual arts space that will have a significant lean towards contemporary art is enough to deal with presently.

 

The other unfortunate happening is that anyone who's anyone in the sound/lighting business here was asked to tender and obviously some of them didn't get the gig. It's a small world and the grief you get when you go to a.n.other supplier...I'll leave it to your imagination.

 

I am opting for a system (not telling what because someone will disagree :D ) that tries to cover as many of the requirements as possible without being necessarily exceptional at anything. It's a hard brief and all the more so because we aren't even programmed for the year yet, so I don't even have a clue as to what we'll be dealing with. I'm basing my thoughts on the old centre's gigs from previous years

 

That's not to say I don't appreciate the contributions, it has clarified a lot of things and helped the decision process so a big thanks again to all.

 

OK microphones; I know what to do there, and yes I like the Audix's. I also like the "honesty" of a c1000, if that's the right word...harsh is not a judgement I'd make, especially if you sparkle them up with a rack of valve preamps. The important point made somewhere is that they are tough which when you've such a diverse range of styles and musicians, amateur and professional, good and plain awful to deal with, is not a bad call.

 

The whole mic thing is far too subjective an area to get bogged down. I'd like to spend more and get some large diaphragm stuff and maybe there's a call to split the mic kit into "OK and able to take the knocks" and "The realy good stuff". Again it's so hard to know without any programme of events to match ideas and kit to. Everyone has a favourite mic for this or that but it's an interesting debate and again thanks for the contributions.

 

Finally and philosophically, I think there's a significant problem in our work, which is the balancing of technical excellence with the fundamental creative and supremely subjective nature of the industry we are employed in. Discuss

 

And with that I'm off to lunch and then an afternoon of battle with the Architects drawings and a CAD program that keeps crashing. Deep Joy

 

Guy