Sweet spot

[topdog]

What can be done to make the largest sweet spot for each musician on stage
and for audiences. My goal is for each musician to monitor in stereo.

Thanks,
John

[George Gleason]

"topdog" > wrote in message
...
> What can be done to make the largest sweet spot for each musician on stage
> and for audiences. My goal is for each musician to monitor in stereo.
>
> Thanks,
> John
>
In ears stereo monitors
george


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[topdog]

for the whole audience ?

"George Gleason" > wrote in message
...
>
> "topdog" > wrote in message
> ...
> > What can be done to make the largest sweet spot for each musician on
stage
> > and for audiences. My goal is for each musician to monitor in stereo.
> >
> > Thanks,
> > John
> >
> In ears stereo monitors
> george
>
>
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> Checked by AVG anti-virus system (http://www.grisoft.com).
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>
>

[George Gleason]

sorry I did not see audience refrence

The audience will do fine with a quality stereo mix and traditional stax.
remeber stereo is not getting the same sound to every seat
but rather getting the correct sound to every seat
George


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[Scott Dorsey]

In article >, topdog > wrote:
>What can be done to make the largest sweet spot for each musician on stage
>and for audiences. My goal is for each musician to monitor in stereo.

Well.,.. not to use any PA at all?

What sort of system are you talking about here, and what sort of band?
The honest truth is that nothing sounds like no PA, and that's always
preferable when it's possible. It's not always possible.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[topdog]

Thanks for the replies. I'm trying to setup my studio properly and my room
is 30 x 35 with 20 ft ceiling but the "studio" area is offset to an area
about 20x20. So I'm trying to learn how to setup the sweet spot for my big
cerwin vega monitors, how far from wall, what treatments I need to do, etc.
And that go me thinking about sweet spot in general and wondering how it's
delivered to a live audience and to other musicians sharing a stage. A
sweet spot in stereo simply makes all other listening sound dead to me.
Thanks for any sites you can refer me to. Maybe John Storyk will stop over
for a coffee. hehe

Thanks

[Scott Dorsey]

In article >, topdog > wrote:
>Thanks for the replies. I'm trying to setup my studio properly and my room
>is 30 x 35 with 20 ft ceiling but the "studio" area is offset to an area
>about 20x20. So I'm trying to learn how to setup the sweet spot for my big
>cerwin vega monitors, how far from wall, what treatments I need to do, etc.
>And that go me thinking about sweet spot in general and wondering how it's
>delivered to a live audience and to other musicians sharing a stage. A
>sweet spot in stereo simply makes all other listening sound dead to me.

Basically, if you want a wide sweet spot, get a bigger room and get monitors
with better dispersion control. The real problem with the C-V stuff is
that they get clangy as hell once you get even a little off-axis, so you
have a very limited usable space. Move out of a very limited range and
all the imaging goes to hell.

If you just want some general information on proper setup, you might start
with the F. Alton Everest book on small studio acoustics, which will explain
how the room dimensions affect the room resonant modes, how to move the
speakers closer and farther back from the walls to adjust the low end
response, and so forth.

In general, you want the speakers and your head to form an equalateral
triangle, but since the speaker positions also affect the low end response,
the place for best imaging may not make good low end possible. And if you
are fighting bad room modes (and you will be with those dimensions), you
will only have limited usable areas in the room before you hit peaks and
nodes of the resonant frequencies of the room. But you can calculate all
that stuff out with the formulae in the book.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Mike Rivers]

In article > writes:

> > What can be done to make the largest sweet spot for each musician on stage
> > and for audiences. My goal is for each musician to monitor in stereo.

> In ears stereo monitors

And headphones for each audience member, too. Better yet, forget the
show and just send each one home with a CD. Much less equipment to
carry.



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I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
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[Tommy B]

Mike, when I was singing lots of jingles & sessions in NYC, folks would ask
me, "what's the best part of your job"? I would say in reply, "after the
money, the cartage".
Tom

"Mike Rivers" > wrote in message
news:znr1072007496k@trad...
>
> In article >
writes:
>
> > > What can be done to make the largest sweet spot for each musician on
stage
> > > and for audiences. My goal is for each musician to monitor in stereo.
>
> > In ears stereo monitors
>
> And headphones for each audience member, too. Better yet, forget the
> show and just send each one home with a CD. Much less equipment to
> carry.
>
>
>
> --
> I'm really Mike Rivers - )
> However, until the spam goes away or Hell freezes over,
> lots of IP addresses are blocked from this system. If
> you e-mail me and it bounces, use your secret decoder ring
> and reach me here: double-m-eleven-double-zero at yahoo

[topdog]

I follow how I get BOTH my full freqs and soundstage in the well designed
studio with an equilateral triangle setup, but how do you get that live?
Are there any good web sites with discussions about that? I can possibly
see the full frequency response but is it conceivable to present soundstage
information live?

Thanks

[George Gleason]

"Mike Rivers" > wrote in message
news:znr1072007496k@trad...
>
> In article >
writes:
>
> > > What can be done to make the largest sweet spot for each musician on
stage
> > > and for audiences. My goal is for each musician to monitor in stereo.
>
> > In ears stereo monitors
>
> And headphones for each audience member, too. Better yet, forget the
> show and just send each one home with a CD. Much less equipment to
> carry.
>
skip the whole thing and just send them a downloadable link via spam mail
George


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[George Gleason]

"topdog" > wrote in message
...
> I follow how I get BOTH my full freqs and soundstage in the well designed
> studio with an equilateral triangle setup, but how do you get that live?
> Are there any good web sites with discussions about that? I can possibly
> see the full frequency response but is it conceivable to present
soundstage
> information live?
>
a proper stereo mix live is not equal coverage to all seats
the audio should reflect the visual
so some instrument should seem "distant" to some folks
while "close" to others on the other side of the venue
George


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[Ty Ford]

In Article >, "topdog" > wrote:
>What can be done to make the largest sweet spot for each musician on stage
>and for audiences. My goal is for each musician to monitor in stereo.
>
>Thanks,
>John


Three words; in ear monitors

Regards,

Ty Ford

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[Scott Dorsey]

In article >, topdog > wrote:
>I follow how I get BOTH my full freqs and soundstage in the well designed
>studio with an equilateral triangle setup, but how do you get that live?

You don't, really. In a live concert situation you really can't get a
good soundstage. But honestly, that;s the least of your worries with
a live concert situation.

>Are there any good web sites with discussions about that? I can possibly
>see the full frequency response but is it conceivable to present soundstage
>information live?

Hell, I'd be happy just to have decent tonality. Get that right, THEN
start worrying about soundstage.
---scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."