Sugarite wrote:

George previously wrote


Some of us are using world class gear in situation where you'd think it
would make a diffrence
I can make a mackie 24.4 kick ass on a midas

That is especially funny !

You *have* to be joking - right ?

Unless you're talking about the early Midas XLs which had so lost the plot it
was untrue. This is well over 15 yrs back so don't fret. I was at DDA when
Klark-Teknik Group bought Midas so I'm in a position to know.

Dave Dearden and I had a good laugh over the XL mic amp. God knows what had
happened to Midas at that point.


I can do the same with behringer
I believe my SLS and Meyers are of adaquate quality to bring forth
anything I ask of them

the preamp section, even the whole damn mixer is nearly insignificant in
"the sound"

Curious that so may ppl consider the mic pre to be critical. I'll take a
momentary back seat on this issue.


the sound is the artist, the mic, the engineer and the speakers

Certainly that's one hell of a lot of what it's about. You can't EQ a lousy
artist to soung good IMHO. No problem there.


the rest is pretty much interchangable,(mixers, amps,efx,outboard) any
thing in good repair will be just fine

I defy you to post that to rec.audio.pro, where your obnoxious attitude
hasn't driven away people who would laugh at you, especially for the Mackie
beating Midas bit. That is rich. Probably explains why you're not nearly
as crusty over there, you know you'll get shot down in flames.

I've recorded in over 100 venues from Montreal to Vancouver with just a
stereo mic, and there's nothing that demonstrates a sound system's might
like replaying shows of the same band and engineer in different venues
side-by-side. The factors that I've found to consistently produce quality
recordings are prioritized as follows:

- artists and their gear
- engineer
- mics/DI's
- console
- compression horns
- system configuration including room tuning*
- EQ quality*

* - typically the most overlooked

The rest is interchangeable within reason, including mids. Take a typical
2-way speaker, yank the passive crossover and compression driver, pop in a
nice driver and bi-amp them using a time-aligned active crossover. Takes
away about 80% of the nasties.

Here's a place you should check out if you're ever up in Ottawa:
http://zaphodbeeblebrox.com/specs.html - great page design for touring
bands btw

It uses Yorkville speakers, but is one of the best sounding rooms of its
size I've ever encountered, because everything on my list except horns are
well provided, especially for EQ and system configuration. The flown tops
are dead perfect symmetrical, and the drum riser is tuned to eliminate
low-end feedback. I've got a mic position in that room that beats
multitrackers every time.

I dunno what's got into George lately. No-one sensible denies that Behringer
offers great value for money. But to suggest it's up there with the big boys ?
Noooooo way !


Graham