shit, you should have heard the ridiculous volume that he played at in Denver in 2018 ...better yet, it´s a good thing you didn´t...it was beyond loud and the highs were tinnitus inducing.. I was wearing foam plugs and I took them off for a few seconds and it was beyond painful...yes, this was the gig where the PA went out for a couple of minutes and SW heard it immediately...I was talking to someone who knows his crew and he told me that the FOH guy was definitely losing his hearing...Kap, in an interview 50 something Steve Wilson did admit to having a hearing loss......which for a musician exposed to loud decibels for so many years is almost a given.
And usually, the piece de resistance for a professional set up like Steves with the assistance of pros from Dolby Labs is a total room EQ done with studio grade microphones and computers very unlike the audyssey EQ most of us are accustomed to through our home receivers.
And since Steve's remixing chores include Stereo, QUAD, 5.1 and now Dolby Atmos, I can only imagine what a chore it was to properly EQ that room to encompass a multitude of formats!
shit, you should have heard the ridiculous volume that he played at in Denver in 2018 ...better yet, it´s a good thing you didn´t...it was beyond loud and the highs were tinnitus inducing.. I was wearing foam plugs and I took them off for a few seconds and it was beyond painful...yes, this was the gig where the PA went out for a couple of minutes and SW heard it immediately...I was talking to someone who knows his crew and he told me that the FOH guy was definitely losing his hearing...
WHAAAAT??????I can ONLY imagine, Kap. When I saw Steely Dan a few years ago at our local Capitol Theater, the concert started off sounding AMAZING and as it progressed some numbskull at the mixing boards decided to raise the volume to a degree where that once brilliant sound turned to MUSH.....Same for a Tears For Fears concert at the same venue.
Whoever thinks louder is better really doesn't belong behind the mixing board because IMO, their EARS ARE SHOT!
That's why I refrain from going to live concerts anymore. What hearing I have left I wish to PRESERVE!
Why do you think so many modern rock albums are so severely brickwalled: probably because those engineers/artists involved with the mixing/mastering of said albums have experienced severe hearing losses and OVERCOMPENSATE by over EQing those albums to MEGADEATH levels!
shit, you should have heard the ridiculous volume that he played at in Denver in 2018 ...better yet, it´s a good thing you didn´t...it was beyond loud and the highs were tinnitus inducing.. I was wearing foam plugs and I took them off for a few seconds and it was beyond painful...yes, this was the gig where the PA went out for a couple of minutes and SW heard it immediately...I was talking to someone who knows his crew and he told me that the FOH guy was definitely losing his hearing...
Not sure those foam plugs do much for hearing protection Kap'.
-30dB!Not sure those foam plugs do much for hearing protection Kap'.
Oh? Was it ROBIN????
Why do you think so many modern rock albums are so severely brickwalled: probably because those engineers/artists involved with the mixing/mastering of said albums have experienced severe hearing losses and OVERCOMPENSATE by over EQing those albums to MEGADEATH levels!
Kap, in an interview 50 something Steve Wilson did admit to having a hearing loss......which for a musician exposed to loud decibels for so many years is almost a given.
And usually, the piece de resistance for a professional set up like Steve's with the assistance of pros from Dolby Labs is a total room EQ done with studio grade microphones and computers very unlike the audyssey EQ most of us are accustomed to through our home receivers.
And since Steve's remixing chores include Stereo, QUAD, 5.1 and now Dolby Atmos, I can only imagine what a challenge it was to properly EQ that room to encompass a multitude of mixing choices!
Kap, in an interview 50 something Steve Wilson did admit to having a hearing loss......which for a musician exposed to loud decibels for so many years is almost a given.
And usually, the piece de resistance for a professional set up like Steve's with the assistance of pros from Dolby Labs is a total room EQ done with studio grade microphones and computers very unlike the audyssey EQ most of us are accustomed to through our home receivers.
And since Steve's remixing chores include Stereo, QUAD, 5.1 and now Dolby Atmos, I can only imagine what a challenge it was to properly EQ that room to encompass a multitude of mixing choices!
Nope!
trying out various receiver offerings over the years in small rooms like my London rabbit hutches, i've yet to find a consumer grade "Audyssey type" room EQ setup system that i didn't feel had a detrimental/invasive effect on surround music.. somehow whatever stuff that processing's doing becomes audible, Rears get skewed out of whack with Fronts, imaging shifts, etc.. that said i'm sure the pro stuff's great and leaves the home room correction stuff in the dust
hmmm, my speakers don't have those kind of rear adjustments...
View attachment 53562
My ceiling height in Florida was 10 feet...but his ceiling height is WAY above that....and the irregular room shape of his...those panels will help a LOT...IMO one of the most important things in your listening area...and you can make your own...
My ceiling height in Florida was 10 feet...but his ceiling height is WAY above that....and the irregular room shape of his...those panels will help a LOT...IMO one of the most important things in your listening area...and you can make your own...
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