[
Date Prev][
Date Next] [
Thread Prev][
Thread Next]
[
Date Index][
Thread Index][
Author Index]
Re: Re: M9/M13/HD500
What a stellar post.........thanks for the thoughts!
They are very thought provoking.
rick walker
On 7/22/64 11:59 AM, Dustbunnies wrote:
> Continuing on this line, I think that there are two other good reasons
>why
> someone might wish to maintain stereo throughout a performance.
>
> The first is if the phase-cancellation and 'lost parts' that Bill
>mentioned
> are actually a necessary element in the performance. I've put together
> pieces using lots of moving delay and reverb, and the most compelling
>effect
> from this is listening to the harmonics that drift in and out as
>different
> frequencies in the mix cancel each other out. Many times this can (and
> hopefully will) cause movement not only in the standard L/R stereo
>spread,
> but also along the Up/Down vertical axis and the Back/Front "Z" axis of
> depth.
>
> This was, as I understand, one of the reasons behind some of Glenn
>Branca's
> 'deafening wall of guitars' drone symphonies. I've read reports from
>people
> who had seen the performances live, and have heard it said that the
>albums
> and recordings just can't do them justice. In a live setting, you
>evidently
> could hear different harmonics and notes flying back and forth across the
> room -- not only left and right, but also above you and in front or
>behind
> you -- swooshing all around in waves.
>
> For looping artists who depend on this sort of harmonic interaction (I'm
> guessing Sjaak may fall into this category), stereo is an essential
>element.
>
> The second reason has to do with the performer themselves. For instance,
> everybody knows that musicians in the studio (vocalists especially)
>usually
> have a set of effects put on the feed to their headphones while they're
> laying down tracks. Generally, this 'sweetening' gives the musician a
>sense
> of how great they can sound and helps to eke out the best possible
> performance from them.
>
> Likewise, being able to hear yourself play onstage and go, "wow, I really
> sound good" can be a real boost to one's performance. And since we're
> talking about live improvisation here, every little bit helps. Even if
>some
> people in the audience miss the 'sweet spot', is it better to collapse
>down
> your sound and give a technical and uninspired performance that everyone
>can
> hear equally well? Or is it better to 'play big' with the understanding
> that stuff's going to be bouncing all over the room, and that the sound
> guy's going to hate you by the end of the night?;)
>
> --m.