Scott Dorsey wrote:

It does. But Carey wants to take the ringing out without removing the
peak, probably because the peak is not evident in the direct sound.

This is not a very common problem, and it's really a sign of just
catastrophically bad acoustics. But considering that I have a gig
in a high school multipurpose room myself in five hours...

Which makes for a great opportunity for some of us to get educated. So,
are you going to print your multiband expansion to tape (or DAT or DISK)
live? Or is this something you can do later?

agent86 wrote:
Scott Dorsey wrote:

It does. But Carey wants to take the ringing out without removing the
peak, probably because the peak is not evident in the direct sound.

This is not a very common problem, and it's really a sign of just
catastrophically bad acoustics. But considering that I have a gig
in a high school multipurpose room myself in five hours...

Which makes for a great opportunity for some of us to get educated. So,
are you going to print your multiband expansion to tape (or DAT or DISK)
live?

Absolutely not. I wouldn't even try and do eq live to tape on remote
gigs. For one thing, I can't trust my monitors all that far on them.
A lot of these problems you don't even notice until you get the thing
back home and listen to it on the big monitors.

It would be sure nice just to fix the acoustics in the room, though.
But sometimes you can't.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

agent86 wrote:
Scott Dorsey wrote:

It does. But Carey wants to take the ringing out without removing the
peak, probably because the peak is not evident in the direct sound.

This is not a very common problem, and it's really a sign of just
catastrophically bad acoustics. But considering that I have a gig
in a high school multipurpose room myself in five hours...

Which makes for a great opportunity for some of us to get educated. So,
are you going to print your multiband expansion to tape (or DAT or DISK)
live?

Absolutely not. I wouldn't even try and do eq live to tape on remote
gigs. For one thing, I can't trust my monitors all that far on them.
A lot of these problems you don't even notice until you get the thing
back home and listen to it on the big monitors.

It would be sure nice just to fix the acoustics in the room, though.
But sometimes you can't.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Carey Carlan wrote in message .191...
(Mark) wrote in
om:

Well that does rasise an interesting question. If a room resonates at
30 Hz and creates a freq response peak and ringing at 30 Hz, if you
create an EQ curve that matches the inverse of the room so it just
flattens the peak, it should also take out the ringing. No? Cascaded
linear systems?

You're assuming that the sound comes from a speaker, an electrical signal.
Mine comes from a 6' concert bass drum. (The fundamental of which I really
want in the recording).

No..actually I was assuming the signal is being picked up by a mic to
be recorded and therefore can be electrically EQd. Actually it would
be best for you to record it flat (dry) and then you can experiment
with various settings of EQ or whatever when you transfer the
recording i.e. in post.

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

(I know, I wish this web tool has spell checker)

Mark

Carey Carlan wrote in message .191...
(Mark) wrote in
om:

Well that does rasise an interesting question. If a room resonates at
30 Hz and creates a freq response peak and ringing at 30 Hz, if you
create an EQ curve that matches the inverse of the room so it just
flattens the peak, it should also take out the ringing. No? Cascaded
linear systems?

You're assuming that the sound comes from a speaker, an electrical signal.
Mine comes from a 6' concert bass drum. (The fundamental of which I really
want in the recording).

No..actually I was assuming the signal is being picked up by a mic to
be recorded and therefore can be electrically EQd. Actually it would
be best for you to record it flat (dry) and then you can experiment
with various settings of EQ or whatever when you transfer the
recording i.e. in post.

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

(I know, I wish this web tool has spell checker)

Mark

(Mark) wrote in
om:

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

EQ'ing the signal will indeed reduce the volume of the peak, but that fails
to solve my problem.

I want to keep the fundamental at full impact and merely reduce the time it
resonates. Room resonances lengthen the reverb.

(Mark) wrote in
om:

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

EQ'ing the signal will indeed reduce the volume of the peak, but that fails
to solve my problem.

I want to keep the fundamental at full impact and merely reduce the time it
resonates. Room resonances lengthen the reverb.

Carey Carlan wrote in message .191...
(Mark) wrote in
om:

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

EQ'ing the signal will indeed reduce the volume of the peak, but that fails
to solve my problem.

I want to keep the fundamental at full impact and merely reduce the time it
resonates. Room resonances lengthen the reverb.



How about close mic'ing the drum?

Who is the intended audience that has a playback system that is going
to handle 30Hz?

Carey Carlan wrote in message .191...
(Mark) wrote in
om:

If the room resonance is accentuating (amplifying) a particular
frequency (30 Hz in your example), then an EQ can bring it back to the
correct level on the recording.

EQ'ing the signal will indeed reduce the volume of the peak, but that fails
to solve my problem.

I want to keep the fundamental at full impact and merely reduce the time it
resonates. Room resonances lengthen the reverb.



How about close mic'ing the drum?

Who is the intended audience that has a playback system that is going
to handle 30Hz?

(Mark) wrote in
m:

I want to keep the fundamental at full impact and merely reduce the
time it resonates. Room resonances lengthen the reverb.

How about close mic'ing the drum?

This is a 140 piece band. I don't want a mic back in the percussion
section. It would mess up the balance. Also, the close sound of the drum
is not pleasant. I don't want the sound of mallet on head.

Who is the intended audience that has a playback system that is going
to handle 30Hz?

In reality, no one. But I'm still going to capture the true sound.

(Mark) wrote in
m:

I want to keep the fundamental at full impact and merely reduce the
time it resonates. Room resonances lengthen the reverb.

How about close mic'ing the drum?

This is a 140 piece band. I don't want a mic back in the percussion
section. It would mess up the balance. Also, the close sound of the drum
is not pleasant. I don't want the sound of mallet on head.

Who is the intended audience that has a playback system that is going
to handle 30Hz?

In reality, no one. But I'm still going to capture the true sound.