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#1
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Worn Microphone Stand
I have the Ultimate Support Tour T Tall 96 inch stand. It has a tripod base
rather than a simple round foot, and the post screws into that base. I just didn't like the feel of it the last time I screwed it in, so I took a look at the threads on both the post and the base. These are very coarse threads, and they looked fine on the post, but in the base they seemed to have started stripping. Shiny aluminum color, some apparent shreds of metal, not real deep and sharp looking structure. I imagined my magnificent microphone tree of 4 Audio Technicas falling over on stage, and decided to call the Sound Professionals and Ultimate Support and see if they could overnight me a replacement base. They agreed to replace the part for free. I took the cheaper of two types of overnight fee, and it ended up costing some 91 dollars. The whole stand was about $129 new. Just probably better than having the thing fall on the conductor's head during the Stars and Stripes. Any experience with these stands failing? Is this a cheap one or are there much better ones? My only observation about the structure of it is that the post doesn't seem to fit snugly into the hole that it screws into in the base. Nor is there much depth to the hole or the threads, leaving the whole post and mikes to hang onto those threads alone, with some torque force causing wear to the threads - if you know what I mean. All that the threads should be doing is holding the post down in the hole, not supporting the weight of the structure from tilting. Looking for sympathy, Gary Eickmeier |
#2
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Worn Microphone Stand
Gary Eickmeier wrote:
I have the Ultimate Support Tour T Tall 96 inch stand. A max height of only 96 inch is really very modest. It may be inappropriate for many remote recording situations you encounter. And entrusting a top-heavy 3- or 4 mic array to a single wimpy thread could be an accident waiting to happen. What you need generally falls under the class: "lighting stands", perhaps of 12-14 ft extended height. Manfrotto has a decent range, expandable via numerous robust accessories. |
#3
Posted to rec.audio.pro
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Worn Microphone Stand
"Tom McCreadie" wrote in message ... Gary Eickmeier wrote: I have the Ultimate Support Tour T Tall 96 inch stand. A max height of only 96 inch is really very modest. It may be inappropriate for many remote recording situations you encounter. And entrusting a top-heavy 3- or 4 mic array to a single wimpy thread could be an accident waiting to happen. What you need generally falls under the class: "lighting stands", perhaps of 12-14 ft extended height. Manfrotto has a decent range, expandable via numerous robust accessories. OK, yes, I know Manfrotto. Will look into it, hoping that it wouldn't be too obtrusive on stage during a live event. Gary Eickmeier |
#4
Posted to rec.audio.pro
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Worn Microphone Stand
Tom McCreadie writes:
Gary Eickmeier wrote: I have the Ultimate Support Tour T Tall 96 inch stand. A max height of only 96 inch is really very modest. It may be inappropriate for many remote recording situations you encounter. And entrusting a top-heavy 3- or 4 mic array to a single wimpy thread could be an accident waiting to happen. What you need generally falls under the class: "lighting stands", perhaps of 12-14 ft extended height. Manfrotto has a decent range, expandable via numerous robust accessories. Manfrotto is okay (I have two with the 17' reach in my kit), but they always scare me that a puff of wind will knock them over. I always sandbag them. Also, their payload is generally 4 lbs or less. By the time you add cable weight and shock mounts, you're there with typically one mic. I have overloaded them, but regretted it later. Check out: http://www.ribbonmics.com/aea/Modula...ne_Stands.html Excellent quality, light weight, 12 lb load, articulated leg for positioning on stairs, and a bargain at the prices charged. I also have two of the 13'6" models, and can go to 21'6" with an extension pole. And, AEA is great to deal with. I spoke to Wes Dooley on the phone a few years back, and for another $14 or so, he sent me several 5/8-27 plumbing parts that have been very useful to have in the kit. The man knows his stuff. Frank Mobile Audio -- |
#5
Posted to rec.audio.pro
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Worn Microphone Stand
"Frank Stearns" wrote in message . .. Tom McCreadie writes: Gary Eickmeier wrote: I have the Ultimate Support Tour T Tall 96 inch stand. A max height of only 96 inch is really very modest. It may be inappropriate for many remote recording situations you encounter. And entrusting a top-heavy 3- or 4 mic array to a single wimpy thread could be an accident waiting to happen. What you need generally falls under the class: "lighting stands", perhaps of 12-14 ft extended height. Manfrotto has a decent range, expandable via numerous robust accessories. Manfrotto is okay (I have two with the 17' reach in my kit), but they always scare me that a puff of wind will knock them over. I always sandbag them. Also, their payload is generally 4 lbs or less. By the time you add cable weight and shock mounts, you're there with typically one mic. I have overloaded them, but regretted it later. Check out: http://www.ribbonmics.com/aea/Modula...ne_Stands.html Excellent quality, light weight, 12 lb load, articulated leg for positioning on stairs, and a bargain at the prices charged. I also have two of the 13'6" models, and can go to 21'6" with an extension pole. And, AEA is great to deal with. I spoke to Wes Dooley on the phone a few years back, and for another $14 or so, he sent me several 5/8-27 plumbing parts that have been very useful to have in the kit. The man knows his stuff. Frank Mobile Audio Frank - Great site - just that those bases (tripod legs) are so huge. My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. Gary |
#6
Posted to rec.audio.pro
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Worn Microphone Stand
"Gary Eickmeier" writes:
snips Check out: http://www.ribbonmics.com/aea/Modula...ne_Stands.html Excellent quality, light weight, 12 lb load, articulated leg for positioning on stairs, and a bargain at the prices charged. I also have two of the 13'6" models, and can go to 21'6" with an extension pole. And, AEA is great to deal with. I spoke to Wes Dooley on the phone a few years back, and for another $14 or so, he sent me several 5/8-27 plumbing parts that have been very useful to have in the kit. The man knows his stuff. Frank Mobile Audio Frank - Great site - just that those bases (tripod legs) are so huge. My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. There are different sizes, with different footprints; not all models might be pictured. The photos are just a random position. Contact AEA for details. The ones I have are tripod, and you could set them how you want (including a very shallow pitch on the legs). However, without the reinforcing geometry of something more like a triangle than a "flat L", and how that triangle positions the center of gravity, you reduce overall system stability in the directions where there is no leg. And when I think of well north of $7000 in 4-5 microphones on that stand (or 10+X or more in liability), I'd like things a little more stable than my fly-weight Manfrottos Regardless of manufacturer, be careful that what you do does not reduce stability Typically, my setting has the top collar of the leg union at 20-24" above the floor. Never been a sight-line issue where I've recorded. Stands over 5'-6" tall are always sand-bagged. Frank Mobile Audio -- |
#7
Posted to rec.audio.pro
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Worn Microphone Stand
On 11/8/2013 1:09 AM, Gary Eickmeier wrote:
My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. You should check out Latch Lake Music. They make some really heavy duty stands with a clever base that doesn't get in the way but will hold a lot of weight at full height. They recently came out with a new folding leg tripod base stand that looks a bit like yours, but designed by a real mechanical engineer. Take a look at my AES show report for a photo if there isn't anything on their web site yet. I haven't checked this week. So, did the stand feel more stable with the replacement base? The web site calls the threads "aggressive" which sounds like they shouldn't strip easily. Did the threads on the replacement base look like they were cut better than those on your original base? |
#8
Posted to rec.audio.pro
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Worn Microphone Stand
Gary Eickmeier wrote:
Great site - just that those bases (tripod legs) are so huge. My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. It's precisely that kind of tripod construction - central pole being secured at two places - that confers the solidity that yours lacks. If the stand is up on stage close behind the director, you could consider hiding the base with a tasteful flower arrangement. Maybe commandeer those flowers that they like to dish out to the soloists at the end of concert? :-) But (when I'm unable to hang up the mics) my stand is typically out in the central aisle of an old church with a raised concert platform, so the stand base is rarely a visual issue. For extra height on say, a 13 ft Manfrotto, I prefer to add a vertical boom arm, as the topmost stand segment is of fairly narrow diam. and flexible. I always weight the legs for stability - boom counterweights come in handy. That also reduces the chances of stand-borne resonances...or bumping-dislodgement by shuffling old audience ladies...or confiscation by grumpy fire marshals :-) |
#9
Posted to rec.audio.pro
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Worn Microphone Stand
Frank Stearns wrote:
Tom McCreadie writes: Gary Eickmeier wrote: I have the Ultimate Support Tour T Tall 96 inch stand. Are the tubing threads rolled or machined? Most of those Chinese stands have rolled threads, and the threads always go bad. If you're looking for small stage stands like that, consider the Atlas or the K&M stands. Neither one are as well-made as they were a decade ago, but they are workable and use threaded inserts. Manfrotto is okay (I have two with the 17' reach in my kit), but they always scare me that a puff of wind will knock them over. I always sandbag them. Also, their payload is generally 4 lbs or less. By the time you add cable weight and shock mounts, you're there with typically one mic. I have overloaded them, but regretted it later. Yes, that's pretty much the case for any low-mass stand, though, they are all going to need to be sandbagged at the base. A wider base spread helps but maybe not enough. Bogen also sells a heavier duty line of light stands, from Avenger. These are much heavier, with heavier bases and crank-up sections and they are probably a better choice for studio work where you don't have to load and unload them all the time. In addition to the Modular one, AEA also sells the original Shure S15 stand (which Shure has now replaced with a new one). That is a very convenient and light 15-foot stand that works well. And... if you find yourself with a lot of money and a large crew, there is always the Starbird. I have worked in a couple of studios with Starbirds and they are a wonderful thing for classical ensembles. Just listen in the control room and have the boom operator swing the thing around until you find the right place. I miss working on jobs like that. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#10
Posted to rec.audio.pro
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Worn Microphone Stand
In article , Mike Rivers wrote:
On 11/8/2013 1:09 AM, Gary Eickmeier wrote: My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. You should check out Latch Lake Music. They make some really heavy duty stands with a clever base that doesn't get in the way but will hold a lot of weight at full height. They recently came out with a new folding leg tripod base stand that looks a bit like yours, but designed by a real mechanical engineer. Take a look at my AES show report for a photo if there isn't anything on their web site yet. I haven't checked this week. Haven't they discontinued most of their smaller stage stands? I went looking to replace some stage stands for a customer last fall and they didn't seem to have anything any more other than the larger booms. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#11
Posted to rec.audio.pro
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Worn Microphone Stand
"Tom McCreadie" wrote in message ... Gary Eickmeier wrote: Great site - just that those bases (tripod legs) are so huge. My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. It's precisely that kind of tripod construction - central pole being secured at two places - that confers the solidity that yours lacks. If the stand is up on stage close behind the director, you could consider hiding the base with a tasteful flower arrangement. Maybe commandeer those flowers that they like to dish out to the soloists at the end of concert? :-) But (when I'm unable to hang up the mics) my stand is typically out in the central aisle of an old church with a raised concert platform, so the stand base is rarely a visual issue. For extra height on say, a 13 ft Manfrotto, I prefer to add a vertical boom arm, as the topmost stand segment is of fairly narrow diam. and flexible. I always weight the legs for stability - boom counterweights come in handy. That also reduces the chances of stand-borne resonances...or bumping-dislodgement by shuffling old audience ladies...or confiscation by grumpy fire marshals :-) Some great points - thanks. Haven't received my replacement base yet, will re-think this whole thing after this concert. Gary Eickmeier |
#12
Posted to rec.audio.pro
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Worn Microphone Stand
"Scott Dorsey" wrote in message ... Frank Stearns wrote: Tom McCreadie writes: Gary Eickmeier wrote: I have the Ultimate Support Tour T Tall 96 inch stand. Are the tubing threads rolled or machined? Most of those Chinese stands have rolled threads, and the threads always go bad. If you're looking for small stage stands like that, consider the Atlas or the K&M stands. Neither one are as well-made as they were a decade ago, but they are workable and use threaded inserts. Manfrotto is okay (I have two with the 17' reach in my kit), but they always scare me that a puff of wind will knock them over. I always sandbag them. Also, their payload is generally 4 lbs or less. By the time you add cable weight and shock mounts, you're there with typically one mic. I have overloaded them, but regretted it later. Yes, that's pretty much the case for any low-mass stand, though, they are all going to need to be sandbagged at the base. A wider base spread helps but maybe not enough. Bogen also sells a heavier duty line of light stands, from Avenger. These are much heavier, with heavier bases and crank-up sections and they are probably a better choice for studio work where you don't have to load and unload them all the time. In addition to the Modular one, AEA also sells the original Shure S15 stand (which Shure has now replaced with a new one). That is a very convenient and light 15-foot stand that works well. And... if you find yourself with a lot of money and a large crew, there is always the Starbird. I have worked in a couple of studios with Starbirds and they are a wonderful thing for classical ensembles. Just listen in the control room and have the boom operator swing the thing around until you find the right place. I miss working on jobs like that. --scott Thanks all. Looks like this was a worthy topic to stir up, hopefully for more than just me. I just don't want to have to worry about some mechanical problem while I am worrying about all of the recording and coordination problems in a live event. I wish to God I could hang my mikes, but I would probably worry even more about them falling. Gary Eickmeier |
#13
Posted to rec.audio.pro
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Worn Microphone Stand
Mike Rivers wrote:
On 11/8/2013 1:09 AM, Gary Eickmeier wrote: My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. You should check out Latch Lake Music. They make some really heavy duty stands with a clever base that doesn't get in the way but will hold a lot of weight at full height. They recently came out with a new folding leg tripod base stand that looks a bit like yours, but designed by a real mechanical engineer. Take a look at my AES show report for a photo if there isn't anything on their web site yet. I haven't checked this week. So, did the stand feel more stable with the replacement base? The web site calls the threads "aggressive" which sounds like they shouldn't strip easily. Did the threads on the replacement base look like they were cut better than those on your original base? Latch Lake stand set the bar very high. Superb design and manufacturing. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic |
#14
Posted to rec.audio.pro
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Worn Microphone Stand
On Thursday, November 7, 2013 11:48:43 AM UTC-7, Gary Eickmeier wrote:
I have the Ultimate Support Tour T Tall 96 inch stand. It has a tripod base SNIP Any experience with these stands failing? Is this a cheap one or are there much better ones? My only observation about the structure of it is that the post doesn't seem to fit snugly into the hole that it screws into in the base. Nor is there much depth to the hole or the threads, leaving the whole post and mikes to hang onto those threads alone, with some torque force causing wear to the threads - if you know what I mean. All that the threads should be doing is holding the post down in the hole, not supporting the weight of the structure from tilting. Looking for sympathy, Gary Eickmeier What occurred is that the threads were galling. This can be prevented by greasing each new stand when you put it into service. Any nut, screw, thumbscrew, collet, or hand adjustment that is used should be greased. The best lubricants that I have used have been STP engine treatment or motorcycle chain lube containing molybdenum disulfide. The STP is a very heavy oil and doesn't evaporate. The motorcycle chain lube sprays on and turns into a very heavy grease that does not migrate. The molybedum disulphide actually becomes a part of the metals and prevents galling and reduces friction. I learned this dealing with drum kit parts many years ago. there were a lot of steel bolts being held by zinc castings. The parts will require less torque to fasten securely and the parts wil not wear out. I performed this greasing operation to my Atlas, K&N, and Manfrotto stands 25 years ago and have not had one failure due to galling. |
#15
Posted to rec.audio.pro
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Worn Microphone Stand
"Richard Kuschel" wrote in message ... What occurred is that the threads were galling. This can be prevented by greasing each new stand when you put it into service. Any nut, screw, thumbscrew, collet, or hand adjustment that is used should be greased. The best lubricants that I have used have been STP engine treatment or motorcycle chain lube containing molybdenum disulfide. The STP is a very heavy oil and doesn't evaporate. The motorcycle chain lube sprays on and turns into a very heavy grease that does not migrate. The molybedum disulphide actually becomes a part of the metals and prevents galling and reduces friction. I learned this dealing with drum kit parts many years ago. there were a lot of steel bolts being held by zinc castings. The parts will require less torque to fasten securely and the parts wil not wear out. I performed this greasing operation to my Atlas, K&N, and Manfrotto stands 25 years ago and have not had one failure due to galling. I like the moly disulfide solution. Might just have to go to the auto parts store on the way home. Gary Eickmeier |
#16
Posted to rec.audio.pro
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Worn Microphone Stand
On 11/8/2013 8:23 AM, Scott Dorsey wrote:
Haven't they discontinued most of their smaller stage stands? I went looking to replace some stage stands for a customer last fall and they didn't seem to have anything any more other than the larger booms. Who? Latch Lake? They only ever had the large, heavy stands and an assortment of booms. The tripod stands were new at the AES show. They're also capable of supporting a large boom. At the show, they had one hanging an AEA K4U mic down inside an open top vocal booth, and had one that, with the boom going straight up, went up more than 12 feet. But when fully collapsed, was only about a foot longer (and three times as heavy) as a K&M tripod base stand. There was another new (to me anyway) mic stand maker at the show, Triad-Orbit (dot com) that has some interesting innovations too. |
#17
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Worn Microphone Stand
On 11/8/2013 11:12 AM, hank alrich wrote:
Latch Lake stand set the bar very high Literally. Jeff Roberts used to demonstrate them by doing chin-ups over an extended boom. |
#18
Posted to rec.audio.pro
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Worn Microphone Stand
Gary Eickmeier wrote:
OK, yes, I know Manfrotto. Will look into it, hoping that it wouldn't be too obtrusive on stage during a live event. They are acceptable to audiences over here, a tidy setup is however always appreciated. Gary Eickmeier Kind regards Peter Larsen |
#19
Posted to rec.audio.pro
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Worn Microphone Stand
Frank Stearns wrote:
Manfrotto is okay (I have two with the 17' reach in my kit), but they always scare me that a puff of wind will knock them over. I always sandbag them. Mostly they just move sideways. The worry is the geezer or geezerin that holds on to the stand while moving past it. I have only once felt the need to tape it to the floor, I was right, the conductor had moved it in passing on to the "stage area" of the fairly small church if I hadn't. On some occasions having a "stand guard" is advisable. Beware of christmas audiences! Also, their payload is generally 4 lbs or less. By the time you add cable weight and shock mounts, you're there with typically one mic. A pair of small condensers is OK. http://www.ribbonmics.com/aea/Modula...ne_Stands.html Excellent quality, light weight, 12 lb load, articulated leg for positioning on stairs, and a bargain at the prices charged. I also have two of the 13'6" models, and can go to 21'6" with an extension pole. Thanks! - may come in handy some day. Frank Kind regards Peter Larsen |
#20
Posted to rec.audio.pro
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Worn Microphone Stand
"Mike Rivers" wrote in message ... On 11/8/2013 1:09 AM, Gary Eickmeier wrote: My base has the tripod legs that lie flat on the surface, invisible to the audience. If they would just make it right, I would be happy. You should check out Latch Lake Music. They make some really heavy duty stands with a clever base that doesn't get in the way but will hold a lot of weight at full height. They recently came out with a new folding leg tripod base stand that looks a bit like yours, but designed by a real mechanical engineer. Take a look at my AES show report for a photo if there isn't anything on their web site yet. I haven't checked this week. So, did the stand feel more stable with the replacement base? The web site calls the threads "aggressive" which sounds like they shouldn't strip easily. Did the threads on the replacement base look like they were cut better than those on your original base? The new base doesn't look all that different from the old one. Maybe I jumped the gun. The base threads seem to be machined and the post threads molded to shape. I guess all I can do is test the whole rig out tomorrow and make sure my load is balanced so it does not lean at all. That is one reason I bought a fourth mike, to balance out the other three on the stand. I am convinced about the tripod base idea with two stabilizing points. Will look around for one soon! Gary |
#21
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Worn Microphone Stand
Peter Larsen wrote:
...The worry is the geezer or geezerin that holds on to the stand while moving past it. I have only once felt the need to tape it to the floor, I was right, the conductor had moved it in passing on to the "stage area" of the fairly small church if I hadn't. I once had a folk band remove my mics and stands (still connected) to an area behind the stage and substitute their own mics and stands (not connected). This all happened when I was busy doing something else just before the start of the performance. When I turned up the mics there was nothing but distant echo. The performers were crowded on the stage and obscured my view of what they had done, so there were several seconds of confusion while I followed the mic leads and discovered the truth. Once I realised what had happened, I was then faced with the job of recovering my mics and re-setting them on stage with the performers in full swing, blissfully unaware that they were barely audible to most of the audience. There are professional performers, amateur performers and folk performers - in that order! -- ~ Adrian Tuddenham ~ (Remove the ".invalid"s and add ".co.uk" to reply) www.poppyrecords.co.uk |
#22
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Worn Microphone Stand
Gary Eickmeier wrote:
The new base doesn't look all that different from the old one. Maybe I jumped the gun. The base threads seem to be machined and the post threads molded to shape. I guess all I can do is test the whole rig out tomorrow and make sure my load is balanced so it does not lean at all. That is one reason I bought a fourth mike, to balance out the other three on the stand. Don't go throwing good money after bad on this, Gary In the Gearslutz/remote forum there's a recent post from someone who's gone through 8 ultimate support stands that all broke! And for safety & stability I'd prefer a 4th sandbag before a 4th mic. :-) -- Tom McCreadie Live at The London Palindrome - ABBA |
#23
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Worn Microphone Stand
...The worry is the geezer or geezerin that holds on
to the stand while moving past it. Geezerin -- German for female geezer. Love it! Geezers are strictly male. Those of us who are proud of their geezerhood should not let females appropriate the term. (Yer dern tootin'!) |
#24
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Worn Microphone Stand
On Sat, 9 Nov 2013 04:47:47 -0800, "William Sommerwerck"
wrote: ...The worry is the geezer or geezerin that holds on to the stand while moving past it. Geezerin -- German for female geezer. Love it! Geezers are strictly male. Those of us who are proud of their geezerhood should not let females appropriate the term. (Yer dern tootin'!) Ah, you should read PG Wodeouse. Bertie Wooster describes Nobby (Zenobia Hopwood) as a geeezer - a term of affection for his favourite girl. d |
#26
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Worn Microphone Stand
In article , Mike Rivers wrote:
On 11/8/2013 8:23 AM, Scott Dorsey wrote: Haven't they discontinued most of their smaller stage stands? I went looking to replace some stage stands for a customer last fall and they didn't seem to have anything any more other than the larger booms. Who? Latch Lake? They only ever had the large, heavy stands and an assortment of booms. The tripod stands were new at the AES show. They're also capable of supporting a large boom. Well, that would explain why I couldn't find it. So who was the company that made the really nice stage stands, everything machined and made of decent quality metal? I don't know if I saw them at AES or not, but they were a good bit more expensive than K&M but were selling stands like K&M made in the eighties. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#27
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Worn Microphone Stand
Peter Larsen wrote:
Gary Eickmeier wrote: OK, yes, I know Manfrotto. Will look into it, hoping that it wouldn't be too obtrusive on stage during a live event. They are acceptable to audiences over here, a tidy setup is however always appreciated. The beauty of such stand is that while appearing dauntingly large at first glance, they can be placed outside of sightlines, extended much above same, to reach the desired mic position nearly as if the mic was suspended from the ceiling, trusses, or whatever. So set they are remarkably unobtrusive. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic |
#28
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Worn Microphone Stand
Mike Rivers wrote:
On 11/8/2013 11:12 AM, hank alrich wrote: Latch Lake stand set the bar very high Literally. Jeff Roberts used to demonstrate them by doing chin-ups over an extended boom. First time I saw the big Latch Lake micKing stand was at an AES show. It had a huge mic, a Great River MP1-NV, and a bowling ball hanging from it, and Jeff did a pullup on it. The stand didn't even wiggle in response. Everything stayed right wfhere it had been positioned. You could porobably hang a Smart Car from one. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic |
#29
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Worn Microphone Stand
Adrian Tuddenham wrote:
Peter Larsen wrote: ...The worry is the geezer or geezerin that holds on to the stand while moving past it. I have only once felt the need to tape it to the floor, I was right, the conductor had moved it in passing on to the "stage area" of the fairly small church if I hadn't. I once had a folk band remove my mics and stands (still connected) to an area behind the stage and substitute their own mics and stands (not connected). This all happened when I was busy doing something else just before the start of the performance. When I turned up the mics there was nothing but distant echo. The performers were crowded on the stage and obscured my view of what they had done, so there were several seconds of confusion while I followed the mic leads and discovered the truth. Once I realised what had happened, I was then faced with the job of recovering my mics and re-setting them on stage with the performers in full swing, blissfully unaware that they were barely audible to most of the audience. There are professional performers, amateur performers and folk performers - in that order! That example sets high standard for cluelessness, Adrian! Wow. We may be encouraged to know that next year's International Folk Alliance conference will sport an attendant Music Camp, where one area of study will be tech for folks who havent picked up their clues yet, which AFAICT from scant involvement with that crowd, is the majority of 'em. -- shut up and play your guitar * HankAlrich.Com HankandShaidriMusic.Com YouTube.Com/WalkinayMusic |
#30
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Worn Microphone Stand
On 11/9/2013 10:42 AM, hank alrich wrote:
We may be encouraged to know that next year's International Folk Alliance conference will sport an attendant Music Camp, where one area of study will be tech for folks who havent picked up their clues yet, which AFAICT from scant involvement with that crowd, is the majority of 'em. I've been thinking of writing a book "Sound Systems for Musicians" (".. for Dummies" is probably already reserved). I should get try to get it out by then. Maybe I can sell some. |
#31
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Worn Microphone Stand
On 11/9/2013 10:04 AM, Scott Dorsey wrote:
So who was the company that made the really nice stage stands, everything machined and made of decent quality metal? I don't know if I saw them at AES or not, but they were a good bit more expensive than K&M but were selling stands like K&M made in the eighties. Latch Lake was along one of the outside walls, the one to the right as you entered the exhibit hall, sharing space with Taytrix (who makes the iso booths). I have some K&M stands from the eighties and I don't recall seeing anyone selling stands like them other than K&M, which apparently are now more cheaply made. I haven't bought any new ones. The two "big stands" exhibitors at AES this year we http://www.triad-orbit.com/triad http://latchlakemusic.com Latch Lake doesn't have any pictures of their new tripod base stand on the web site yet. |
#32
Posted to rec.audio.pro
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Worn Microphone Stand
Mike Rivers wrote:
On 11/9/2013 10:42 AM, hank alrich wrote: We may be encouraged to know that next year's International Folk Alliance conference will sport an attendant Music Camp, where one area of study will be tech for folks who havent picked up their clues yet, which AFAICT from scant involvement with that crowd, is the majority of 'em. I've been thinking of writing a book "Sound Systems for Musicians" (".. for Dummies" is probably already reserved). I should get try to get it out by then. Maybe I can sell some. For the crew I described, you would have to start with some very basic facts like: 1) Performers need to be somewhere near a microphone if they want to be heard. 2) Microphones need to be somewhere near a performer if they are to do anything useful. 3) Most microphones need to be connected to something by a piece of wire if they are to work. Then you can begin on the subtleties of performance like: 4) If you dance around and turn your back on the audience (and microphone) when playing, they won't hear you properly. 5) If you move the whole performance into the unlighted auditorium away from the brightly lit stage (which took all afternoon to set up), they won't see you properly, either. -- ~ Adrian Tuddenham ~ (Remove the ".invalid"s and add ".co.uk" to reply) www.poppyrecords.co.uk |
#33
Posted to rec.audio.pro
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Worn Microphone Stand
Great Adrian!
Once upon a time, we were shooting a high school graduation in a huge auditorium. We taped our separate recorder and microphone to the podium because the acoustics were horrendous, so we needed a podium mike. The Principal comes up for his farewell speech, reaches for the mike boom, and starts grabbing the house mike and taking down all of the tape that ours and some others' mikes were attached with. We could hear the crinkling of tape from where we stood and a look of horror came upon me when I realized that he was a "walker" - a speaker who simply MUST walk around while talking, to show how dynamic an individual he really was. Our mike was not a walker, and remained foolishly back on the podium, hanging by some amount of unravelled tape. Another time I taped the mike and recorder to the podium, unbeknownst to me the podium had a collapsible stair step for shorter people and I had taped the little digital recorder to the inside of the podium, right in the path of those steps. When the second speaker came up, he folded up the steps, knocked the recorder right onto the floor and pulled out the cable. It kept on recording without skipping a beat, but it was now from the internal mike from the floor, inside the podium box. Not good. You try to plan for every eventuality.... Gary Eickmeier "Adrian Tuddenham" wrote in message alid.invalid... Mike Rivers wrote: On 11/9/2013 10:42 AM, hank alrich wrote: We may be encouraged to know that next year's International Folk Alliance conference will sport an attendant Music Camp, where one area of study will be tech for folks who havent picked up their clues yet, which AFAICT from scant involvement with that crowd, is the majority of 'em. I've been thinking of writing a book "Sound Systems for Musicians" (".. for Dummies" is probably already reserved). I should get try to get it out by then. Maybe I can sell some. For the crew I described, you would have to start with some very basic facts like: 1) Performers need to be somewhere near a microphone if they want to be heard. 2) Microphones need to be somewhere near a performer if they are to do anything useful. 3) Most microphones need to be connected to something by a piece of wire if they are to work. Then you can begin on the subtleties of performance like: 4) If you dance around and turn your back on the audience (and microphone) when playing, they won't hear you properly. 5) If you move the whole performance into the unlighted auditorium away from the brightly lit stage (which took all afternoon to set up), they won't see you properly, either. -- ~ Adrian Tuddenham ~ (Remove the ".invalid"s and add ".co.uk" to reply) www.poppyrecords.co.uk |
#34
Posted to rec.audio.pro
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Worn Microphone Stand
On 11/9/2013 6:46 PM, Adrian Tuddenham wrote:
For the crew I described, you would have to start with some very basic facts like: 1) Performers need to be somewhere near a microphone if they want to be heard. 2) Microphones need to be somewhere near a performer if they are to do anything useful. 3) Most microphones need to be connected to something by a piece of wire if they are to work. Then you can begin on the subtleties of performance like: 4) If you dance around and turn your back on the audience (and microphone) when playing, they won't hear you properly. 5) If you move the whole performance into the unlighted auditorium away from the brightly lit stage (which took all afternoon to set up), they won't see you properly, either. That sounds like a book called "Sound Systems for Performers" (whether or not they're musicians). My premise is that more and more these days musicians need to provide their own sound system. It's a defense against the ever popular forum question: "I went to the music store and bought 5 microphones, some powered speakers, and a mixer. Can someone tell me the best way to hook it up?" |
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