tag:blogger.com,1999:blog-49746859129337483822024-03-05T01:29:12.242-06:00ambientchattera lot of truth is heard in the ambience
- sharing thoughts and ideasambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-4974685912933748382.post-69320402334424150702014-08-11T10:42:00.003-05:002014-08-11T10:42:48.567-05:00<div dir="ltr" style="text-align: left;" trbidi="on">
So in working with volunteers, I feel is the best policy to upfront with them as to what you expect from them. It puts both you and them on the same page and if you should ever need to de-volunteer them you have predefined the reasons for releasing them from their commitment. <br />
<br />
I have put a version of my volunteer contract below. Of course I usually modify it for the organization that I am working with but the basics remain the same. Note that I don't have abilities in the list of issues since I have found that most of the issues that have caused me to release a volunteer have more to do with other areas.<br />
<br />
<b>Volunteer Contract</b>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We believe that you have a place to get involved in
serving.<span> </span>That place may or may not be where
you think it is and part of the process of getting involved in an area is to
determine if this is where you “fit”.<span> </span>Not
fitting in one area is not a negative to you in any way.<span> </span>It just means that there is another place for
you to get at this time. Your fit may
change in the future as your path moves forward.<span> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Due to this process, it is understood that situations may
arise that may cause your volunteerism in this area to come to an end, either
through your choice or not.<span> </span>The continuing
acceptance into this area will be determined by your ability to fit into this
department and to maintain the qualities of a valuable volunteer.<span> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Those qualities are as follows:</div>
<div class="MsoNormal">
<br /></div>
1. Faithful
<div class="MsoNormal">
<span> </span><span></span>Being Cheerful – having a good attitude</div>
<div class="MsoNormal">
<span> </span><span></span>Being Teachable – willing to take
instruction</div>
<div class="MsoNormal">
<span> </span><span></span>Being Flexible - able to
follow the changes as they happen</div>
<div class="MsoNormal">
<span> </span><span></span>Being Timely - showing up
when required</div>
<div class="MsoNormal">
<span> </span>Being
Honorable – maintaining quality in words and deeds.</div>
<br />
2. <span> </span>Communicable
<br />
<div class="MsoNormal">
<span> </span><span></span>Being Communicative - for when <span></span><span></span>issues arise (going to be late, etc)</div>
<div class="MsoNormal">
<span></span>Being Contactable – having good email and phone
habits</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I, the undersigned, have read and understood the above and
agree to abide by the policies of this organization.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Signature
______________________________<wbr></wbr>_______<span> </span> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Date_____________ </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Printed Name__________________________<wbr></wbr>___________</div>
<div class="MsoNormal">
<br /></div>
</div>
ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-43106352689826994592013-01-04T13:05:00.001-06:002013-01-04T13:13:14.439-06:00Sounddragon<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZAh69eST3FZwHjdNvPy60heAjeljyGwAako9U-PMAc9XbcBjTpAaqVpYHSqmgHrFBnLJXD0h_CpcRkXqnR_UT4CXYi_4vyiBszfyahHayWuQRs4hbezS6MgSTg3zIdk_UM-gDDumOfYM/s1600/sndrgn+blusmk.jpg" imageanchor="1"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZAh69eST3FZwHjdNvPy60heAjeljyGwAako9U-PMAc9XbcBjTpAaqVpYHSqmgHrFBnLJXD0h_CpcRkXqnR_UT4CXYi_4vyiBszfyahHayWuQRs4hbezS6MgSTg3zIdk_UM-gDDumOfYM/s1600/sndrgn+blusmk.jpg" title="Sounddragon" /></a></div>
<br /></div>
ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-63858619861618587082011-08-12T23:46:00.004-05:002011-08-12T23:50:45.716-05:00the difference between a professional and a volunteerA Professional can cover his mistakes...most of the time.<br />
<br />
A Volunteer doesn't have the experience or knowledge to do such and therefore watches the mistake explode in all of its glory for all to see.<br />
<br />
Ever watch a cat fall off of something? It usually gets right back up and either has this look of confidence "I meant to do that!" or this look of disgust "Who pushed me and caused me to fall!". <br />
<br />
That is a Professional.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-47915301458784666872011-08-12T23:35:00.001-05:002011-08-12T23:51:53.458-05:00the point of diminishing returnSo where is the spot where things are Excellent but still not Perfect?<br />
<br />
In the recording world there is a saying that you can work on a song forever. But if you never stop working on it, you will never get it out to the public. So what good is that? So old saying goes that you should ask yourself this question.... <br />
<br />
Will the little old lady listening on the radio in her convertible hear what I am doing? (or.. Will the audience notice what I am doing?) If the answer is yes, then continue. If the answer is no, then stop working on that and continue on to the next thing. <br />
<br />
That is the point of diminishing return. <br />
<br />
But how does this translate into live production? Even if you are being paid by salary, you are costing your organization money every hour you put into something. So if you are spending hours working on something that the audience will not even notice, then you are wasting not only your time but also your employer's money. <br />
<br />
We were preparing props for a live event. The Creative insisted that we put these little clear glass beads on these tables that were put on and off the stage. Because I was under the person, My stage crew was forced to deal with these little loose beads that wanted to roll all over when hauling these tables. And, we only had 2 minutes to get them on the stage during a blackout. We pulled it off, but because the stage is higher than the flat floor, the audience could not see them at all. Because the beads were so small, they were not even noticeable in the camera feeds as well. It was all done for the ego of the one person.<br />
<br />
In my television classes in college there was one point that was hammered into us. Everything done must be proven as meeting an audience need. That is whole point of all productions and even religious services. When you start doing things that is beyond that, you are at the point of diminishing return.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-71535821955015343562011-08-12T23:06:00.006-05:002011-08-13T00:00:27.750-05:00grace for humanityBeware of loosing your grace for humanity when working with volunteers.<br />
<br />
In today's entertainment there are very few live events and even fewer done without lots of practice. On TV you have sports, news, awards shows, and SNL. Everything else is shot and edited, making it able to cover mistakes (yet how many continuity mistakes are seen even in those productions?). Most touring events, whether plays or concerts, have many weeks of rehearsals. Most awards shows have weeks of rehearsals that people don't realize happen as well.<br />
<br />
Because we are so surrounded by these perfected programs, it has become an assumption that church techs should be able to pull off something perfect without any rehearsals with a new something each week. There seems to be a lack of understanding that even the true live events have a massive staff of professionals to cover their specialty niche of the production. Yet, in the church world, they can't afford professionals and demand that volunteers pull off the same quality.<br />
<br />
Superbowl 2011 halftime was criticized in the media for having so many mistakes. I read an article in a trade mag written by someone on that tech crew. You see because of the freak weather, there were not any rehearsals. So the crew of highly trained professionals (these are some of the same guys that pull off other major events like the Grammys and such) made mistakes that you would normally not see on a major national event. This shows that even professionals, not given the opportunity to rehearse, are human as well.<br />
<br />
Now think about the insanity of what many churches are asking of their volunteers and blaming their single staff person for not pulling off... a perfect service every week?<br />
<br />
Organizations that utilize volunteers need to find and keep a grace for humanity in clear view.<br />
ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-45439642290359335792011-08-12T23:02:00.001-05:002011-08-12T23:52:28.257-05:00perfection vs excellenceIt seems that some people see these two concepts as being the same when in all actuality, they are not.<br />
<br />
You see I am diabetic. I check my blood sugar periodically with a blood sample and a glucometer. But when I see my doctor, I get an A1c test. The glucometer gives me an instant reading of the blood sugar at that moment. I can test again in an hour and the results will be different. But the A1c test gives a general view over 3 months. Both tests are important because I might be all concerned over the details of each glucometer test but when I see the doctor, I find out that my overall success is actually pretty good.<br />
<br />
So what does this have to do with perfection and excellence. Perfection is a goal but it is rarely attainable (some would argue never attainable), but Excellence is the result of reaching for Perfection over time. But just because something is Excellent, doesn't mean it is Perfect. And likewise, just because something isn't Perfect doesn't mean it isn't Excellent.<br />
<br />
So the pursuit of Perfection is admirable but not consistantly attainable, because we are all human and make mistakes. But the pursuit of Excellence is attainable, even with flaws. ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-65012485171635706632009-12-09T14:33:00.001-06:002011-08-12T23:49:48.189-05:00airline revenue boost ideas (OT)Listen up airlines, I have a couple ideas for you.<br />
<br />
1 - The first airline to do this will make a major media splash as well as good will (unfortunately Southwest won't be able to do it, though). Once the plane is loaded, have a random draw from the coach class to fill the remaining first class seats. It would be like winning a mini lottery. Seats are empty, why not give the coach people a break from the sardine environment in the back by moving a couple forward. Think of the word of mouth advertising and all of the media outlets will pick this one up as well - Free good advertising! All of those folks that play the lottery or gamble will want to fly your airline just for the thrill of the possibility of getting a better seat. <br />
<br />
2 - Sell coupon space on the back of the seats. Attach a clear pocket on the back of the seats and sell the space. You've got a person's eyes for at least an hour, that is an amazing amount of time in the ad world. Plus the passenger gets to walk away with something tangible in their hand.<br />
<br />
3 - On those planes with the individual video/gaming units on the backs of the seats, why not add coupon capability. The routes that these planes fly are usually several hours to overnight flights. Why not set up a way so the passenger can browse coupons by destination? Let the passenger enter an email address and then email the selected coupons to them to print out. If you wish to make it even more valuable, put a simple kiosk at the gate or baggage claim so that they can print them out once they arrive. All of this can be done as a revenue generating situation. And once again, think of the eye time that the advertisers get!<br />
<br />
Maybe if the airlines could offset some of their costs through selling ad space, they could get away from this nickel and dime mentality that is so popular now. I recently flew on a carrier (who will remain nameless) that did so much selling that I felt like I was in one of those timeshare meetings.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-90480160439510115652009-08-17T14:14:00.004-05:002009-08-17T14:19:08.030-05:00now is the time for the volunteerSometime in the last year, I read an article stating that current generation entering into the workplace are looking for more than a job. They want a job or an employer that has a purpose, whether helping through humanitarian aid or doing good things for mankind through their product/service. <br /><br />One of my daughters recently got married. The groom and his entourage all wore this particular brand of shoe in lieu of the traditional dress shoe. When I asked about it, I figured that I would hear about this being something in style or popular (which they are). Instead, I was told about how this company gives away a set of shoes for every one that they sell. <br /><br />So this generation should be potentially the greatest volunteer workforce ever seen. It is how the people seeking volunteers present their motivation that will determine their success. I don't think that this generation will respond to the old, "we need your help" routine, rather the approach of telling how they are going to affect their world around them through their actions in assisting this cause. <br /><br />I only hope that the ones seeking volunteers will catch on before the opportunity is lost.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-71962946478824308042009-07-11T11:44:00.001-05:002009-07-11T11:46:52.312-05:00sleight of handAs I have mentioned in earlier posts, mixing is a large part arranging. Showing people different things as the song/song set progresses. But mixing is also hiding things. It’s not only a “look here, look there – hear this, here that” but “don’t hear this, don’t look there”. <br /><br />I recently was working a gig where at the end of the speaking part, the speaker asked a musician to perform a specific song. Earlier in the music part of the event, the musician (a guitar player/singer) had broke a string on his guitar. So during the speaking part, he replaced his strings. When he got back up to perform, he realized that the guitar had gone out of tune and was frantically trying to tune. The speaker kept pushing him to start, so finally, he did. Unfortunately, he hadn’t finished tuning. So here I was mixing. I have a performer playing slightly out of tune and therefore singing out of tune (in tune to his instrument). I could hide his instrument, but not his voice since he was the soloist. So I opted to ditch all of the other instruments except the rhythm section. It became an almost guitar solo with vocal, bass, and drums. Eventually, the song went into a freeform mode where I could lose the guitar and add the rest of the instruments. And soon after, the performer realized that since it was freeform he could stop for a minute and finish his tuning while the band vamped. Then the world was back in order.<br /><br />The point is that I could just have let it be what it was because it was no fault of mine that the player was out of tune. But I did a creative arrangement decision that concealed to most of the audience the train wreck happening in front of themambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com1tag:blogger.com,1999:blog-4974685912933748382.post-35756738720665981392009-05-05T11:25:00.004-05:002009-05-05T11:30:22.095-05:00more. . .People seem to always think that more is better. It can be true but if in attempting more, you can't pull it off successfully, then more is worse. The interesting thing is that when more is worse, then the people planning the more and the performers doing the more are never responsible for the failure of the more but the tech crew always is. This is one reason a divide tends to exist between the tech crew and the stage.<br /><br />Less done successfully is always better than more done unsuccessfully. When a person leaves an experience, whether a restaurant, live event, or movie, the talk isn't about all of the things that were good, but the one or two things that weren't. <br /><br />More also requires organization and clarity in communication. More needs participants with greater skill/ability. <br /><br />Don't get me wrong, I am not against more, just that people understand that more requires more. People must count the cost before attempting more to make sure that the more is successful. <br /><br />Sometimes a little more can be just as impressive as a lot more, especially when done successfully.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-65391095686822753122009-04-13T12:18:00.003-05:002009-04-13T12:27:02.119-05:00playback freeware for the computerI have used these two freeware pieces of software for several years now. They are both designed with radio stations in mind but I have found them extremely useful in the live sound arena. I think that once you've used them, you won't go back to the Windows Media/Itunes players again.<br /><br />CABAN<br />http://www.caban.nl/<br /><br />This software gives you essentially 4 playback decks with the ability to see a count up and down. The software allows for each deck to go out individual outs if you desire. You can build playlists, have the next song just load and wait for your play command or continue on. One of the greatest features is that you can remote start the decks via midi or through the game port. This software makes doing live theatrical events an ease due to the programming flexibility.<br /><br />I have also been able to run multiple instances of the program successfully as well, when in a pinch.<br /><br /><br />JazlerShow!<br />http://www.jazler.com/products/JazlerShow.asp<br /><br />I use this software with a touchscreen when travelling with tracks. It is much more intuitive than finding a mouse and such.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-19463553292817420712009-02-23T09:24:00.004-06:002009-02-23T09:43:53.918-06:00drum booth design<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRYQLmGxXvjate5KTfc1TimazrCho6nV4Z0vSYsWRJXcYgzNKiYXWzI4YxSb7ssRuWBmmXjj4j6kfZDVt6jM7f9WlgX5-HQFlv8TYdDTsnbFFGb9FvH1oIhp_H2mY0fWmIC8SkrqZ22Q/s1600-h/drum+booth1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 333px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRYQLmGxXvjate5KTfc1TimazrCho6nV4Z0vSYsWRJXcYgzNKiYXWzI4YxSb7ssRuWBmmXjj4j6kfZDVt6jM7f9WlgX5-HQFlv8TYdDTsnbFFGb9FvH1oIhp_H2mY0fWmIC8SkrqZ22Q/s400/drum+booth1.jpg" alt="" id="BLOGGER_PHOTO_ID_5306014276285965650" border="0" /></a><br />Here is a drum booth that I designed for a client once. The importance was to make it simple so that the average carpenter could wrap his head around it. Also, the panels were standardized.<br /><br />My pet peeve for most drum booths is that that they don't make it easy to get into front of the kit. So my plan calls for the front wood panel fronts to be on hinges or removable so that if you need to readjust the kick mic (which you usually have to fairly often), you simply address the kick from outside the front through the removable/hinged panel.<br /><br />I made this one on a rather large scale to minimize the reflections inside the booth. Also the carpenter added some cross support on the ceiling which actually made a great place to mount one of those mic studs and remove overhead stands. The other reason for having wood on the bottom 1/4 is to visually remove the clutter of stand bases, mic cables, mic stands, etc.<br /><br />Ventilation is important. Most booths forget this. The client actually left some space in the ceiling for heat to rise out of the booth. The plan asked for a vent low where some sort of fan could push air towards the drummer. But some sort of vent on top will keep the heat from building up inside.<br /><br />The back wall is standard fiberglass filled wall with a cloth cover that creates better acoustical environment.<br /><br />This plan, I feel, looks better than those commercial ones, especially since you can choose your own color scheme. It is also cheaper, and at worse, the same cost.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-91382532990157055872009-02-17T19:11:00.001-06:002009-02-17T19:14:02.402-06:00OT - my idea to improve the internet experienceI know that everyone has an opinion, but this is my space and I will voice mine.<br /><br />I have stated for years that I see a simple solution to the cleaning up of the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">internet</span> experience. I see it as a similar issue that cities today have when trying to control the adult industry. We live in the USA and there are freedoms that can't be trampled on, but we can corral or steer them. Most cities in these United States, have in already in place, laws that limit where an adult oriented <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">establishment</span> can set up shop. More importantly, they limit where they can't be. Usually it goes something along the lines of being at least X amount of feet away from places that are known haunts of underage children (schools, parks, etc.) These laws have been in effect for years and have stood the test of our freedoms.<br /><br />So I ask, why not do something similar in the world wide web (or within the US borders, more specifically).<br /><br />I remember reading a couple things a few years back. First, there are only a handful of locations that all <span class="blsp-spelling-error" id="SPELLING_ERROR_2">internet</span> traffic comes through when entering the US proper. Second, by far the majority of adult entertainment <span class="blsp-spelling-error" id="SPELLING_ERROR_3">internet</span> sites are hosted outside of the US borders. I want to say that the figure is somewhere above 90%. Most adult entertainment is there for monetary purposes.<br /><br />Here's my logic. If most of these sites that mom's find offensive are coming from outside of our borders, and there are pinch points at our borders, why not use that to our advantage. We can't stop the traffic because of the "freedoms" allotted in our country. But, we can direct the traffic, just like our cities already do. <br /><br />My plan is simple. <br /><br />First, make it a federal law that <span class="blsp-spelling-error" id="SPELLING_ERROR_4">internet</span> browsers only show material that contains a simple 2 bit header code that delineates the content being sent. 2 bits gives us 4 levels and the powers that be can determine what those are, but basically you will have a code deeming it good for all and a code deeming it only good for those above the age of 18. Also, the browser comes preset to only show the G rated stuff by default. So you don't try to go after the criminals who are outside of the US jurisdiction, you limit the browser companies (there are only a few out there, you know). <br /><br />Second, you make it a federal law that any content coming through the major <span class="blsp-spelling-error" id="SPELLING_ERROR_5">internet</span> hubs (again only a few exist) must contain that header information, or it will be blocked. <br /><br />So, if you are in the adult industry (gambling fall under this as well), then you will comply in order to keep your customers and profits. If you make a browser that doesn't comply, you will be fined, or jail or something. <br /><br />Finally, there is a creation of an enforcement division somewhere that reacts to consumers reporting any unwanted content finding them. The enforcement folks issue a command to block that <span class="blsp-spelling-error" id="SPELLING_ERROR_6">IP</span> address at the pinch points until the offending organization complies. <br /><br />There it is. I find this to be simple and it doesn't step on <span class="blsp-spelling-error" id="SPELLING_ERROR_7">anyone's</span> freedoms than before. If you want the content, then you tell the browser to show it. Just like the adult industry in the physical world, people will find their way to it if they want, but it isn't found accidentally by little kids. I am sure people will find a hack to the browsers but again, those will be the people that want to get that content. By far the majority will not go those lengths, and the conservatives will remain happy. <br /><br />The only downside that I see to this will be a temporary slowdown in the <span class="blsp-spelling-error" id="SPELLING_ERROR_8">internet</span> due to those extra bits, but things will speed back up again just like in the past when streaming video/audio hit the net by force.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-79972212066637684042009-01-08T10:34:00.004-06:002011-08-12T23:51:08.748-05:00yet another SPLI recently read some comments about Radio Snak spl meters and how they can be off by "X" amount in their readings. I understand the concept of wanting an accurate reading or an accurate piece of equipment, but what gets me is the underlying thought process.<br />
<br />
It is like people think that some person out there in the crowd is walking around with their own personal dosimeter (which if read my previous comments about SPL you know is the only legal way to determine spl) and is going to call the cops and have someone arrested that very hour. Now, admittedly, I do not live in a military state here in the USA. So, maybe someone in one of those dictatorial situations might have to be worried about this. But here in the USA and most other free nations, it takes proof and time (lots of time in the US) to get to that point of a new pair of bracelets.<br />
<br />
Without going into it again about how a real spl is determined, if for some reason someone complained and found a lawyer, then that lawyer will compose a document (more than likely a cease and desist) and send it to the offending party. But then someone who owns a dosimeter and is qualified to run it will have to show up to the next event and take readings. Even if this person is hired and brought in before a document is constructed, it would seem pretty obvious when someone shows up with a testing device mounted on a tripod is set up in your house of worship. BTW, most live events are not weekly in the same room except for those in the religious world.<br />
<br />
So you went out and bought a Rad Snak meter and, Oh No!, it is off by 6 dBspl. Then someone comes by and makes a stink. There is this little concept called "due diligence". The fact that you even bought anything and are aware of what is going on shows that you care and that if you happen to fall into a grey, let alone harmful, situation, you are adequately showing that it wouldn't be intentional.<br />
<br />
Alarmism isn't the prudent process here, folks. If you really want to cover your tail, then just keep a box of those squishy ear plugs in the booth with a little sign somewhere stating that hearing protection is available. Maybe charge them for it. We live in a free country, no one is forcing these folks to stay in the loud environment anyway. So how are they going to sue you intentionally. The only lawsuit that could stand would be where someone could state that they didn't know about the harm of loud environments and they can prove hearing damage. But if they own any personal music device they can't make that case since everyone puts in that little warning card in their packaging.<br />
<br />
You want to watch your volume. That is great. I am all for it. But if you really want the true deal then go out and spend the money to get the true test equipment and stop worrying about the Snak. You know that they sell consumer level equipment anyway, it would be absurd to assume their gear be professional.<br />
<br />
Look, you change your tires on your car to a different size, your speedometer is no longer accurate. Besides, your speedometer may or not be accurate with the factory tires anyway. Change the air pressure and it will make it wrong as well. That is why the cops usually go after folks going 5 or more over. Its all about intention. They know that there is that fudge factor.<br />
<br />
My whole point is that you should use your ears and make the volume feel good and right. 95% of your crowd will go willingly to whatever that volume falls into. I have never heard a non-audio professional say, "Man if that was only 2.5 dBspl quieter, I would have been in heaven!" Its all perception.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-15861659302066021092009-01-05T10:51:00.001-06:002009-01-05T10:51:38.657-06:00Choir micsI have a new favorite mic for choirs.<br /><br />Recently, I have been dealing with a church that has a decent sized choir but they sing primarily with tracks. They want a decent amount of monitor thrown back at them (unfortunately, not unusual) plus they don't project a lot of volume in their singing. Part of this is due to the arrangement of being spread out and standing in straight lines vs. in a choral arrangement. So even with all of my experience in feedback control, I wasn't getting quite the level that I needed to make the pastor happy. Due to the stage design, the pastor didn't want to use hanging mics either.<br /><br />I started looking at all of the options that I could find out about, calling friends and such. Throughout this, I heard that a large church of the same denomination of this church had done a mic shootout and had settled on the Earthworks SR series hypercardiod mics. Knowing that it would be an easier sell to this church, I thought that I would take a serious look at these mics. <br /><br />Well, after looking a many polar plots it became obvious that the cool feature of the the earthworks hyper mics is that they basically have a cardiod front pattern with the hyper pattern on the back side. So really wide front pickup but great rejection on the back. Their rejection is fairly even across the frequency spectrum which most of the smaller mics don't have. <br /><br />Here's the kicker that Earthworks doesn't want you to know. They have a series called the Flex series, which is designed for podium purposes. Upon looking at the costs of their mics, I noticed that the flex series is priced almost half of the SR series. This is more than likely due to the SR series picking up to 30Khz (but what PA speaker can adequately reproduce and throw such high freq's?) Also, the flex series has an option called "stiff center" that isn't really noted on the site. The stiff center only had a short gooseneck section then a straight tube followed by a goose section at the mic head. <br /><br />So here's what I ended up getting. I bought the Earthworks FM720/HC stiff center. I bought the 27" version so that I don't use a boom arm on the mic stand. I let the 27" of the mic due the reach out. It looks actually very nice as noted by the pastor and his wife.<br /><br />As I stated at the top, I now have a new favorite choir mic. These things performed extremely. During rehearsal, I could barely hear the choir director talk since she was standing within 6 feet of backside of the mic. Yet, it felt like I could hear the choir breathing - got them to about 85dBspl at FOH. The church is in heaven with the performance of their choir now. Plus the money that I saved them by finding the flex series.<br /><br />I would like to thank the guys at Earthworks for helping me in this venture especially Dennis.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-15591900232252621832008-10-22T17:19:00.001-05:002009-07-11T12:36:41.044-05:00Consultants and the right Sound SystemI was reading a forum and someone was expressing frustration with consultants. This person had brought in several consultants to help that person's church determine what to do to install a new PA. The person has been at this for a year and had received so many different answers that this person seemed frustrated in not having a decisive answer agreed upon to present to the church. . . .<br /><br />A consultant is expected to provide a solution to a problem that has many viable answers. These answers are viable because just like a car, a sound system is made up of many parts. So just like there are many options when choosing a car, there are many options for the final sound solution. That is why the consultants don't like giving pat answers and why like the original thread of the "It depends" noted all of the frustration in lack of decisiveness that he felt with consultants. Every church is expecting different performance specifications. When I was touring, the PA that I had met our specs so it worked in multiple locations to varying degrees of success. <br /><br />So with the car analogy, there are brand decisions and the cost differences related there. Each brand has different specs involved. Why do some people spec some brands over another? Well simply, it has to do with the concern over reputation. Why the concern? That is how you get your jobs and keep your family fed. Just like my mechanic will not ever tell me to go down to the giant megastore (you folks in arkansas know) to get parts for my car, but go to certain parts companies that cost more. He doesn't want inferior (in his opinion) performance to affect my opinion of him. The consultant will spec and and use stuff he trusts. <br /><br />Everyone must make their profit. Otherwise they wouldn't be feeding the family. But, where this profit is made will vary from company and such. <br /><br />Consultants that only consult make it straight. They make money off of their knowledge not equipment. Also, the cost the consultant will charge will also be based on his reputation (perceived expertise). So it is simple. The less the client knows what they want, the more time it takes to figure it out. The more it costs to consult the job. (BTW - this idea works with other contractors in the building trade - hence the reason a good architect is worth it.)<br /><br />Installation and design/build folks can put that profit in several areas. They have the design/consultant area, they have the equipment area, they have the installation labor area. That is why you can take two bids with two similar systems and get ranges. If you are spec'ing specific equipment, some guys can't get it direct and go through wholesalers, therefore another discrepancy. <br /><br />One thing that I do to try to get a better feel for an apples to apples comparison is to have just racks and stacks as well as FOH console and speaker processing bid on first. This limits the choices that the people make, allowing me to see what is going on in the bid. Plus, the items above are the bulk of any PA cost. Once I choose the company I wish to use, then I will ask for a comprehensive bid but with the new items separated out.<br /><br />If I was a small church, I would make friends with larger churches that are doing something similar to your vision. The larger churches will have more experienced staff that can be a valuable asset. I know that in the large church that I worked for the smaller children's rooms were set up with the same amount of equipment that a smaller church would use in the main auditorium. Visit several of these churches and take notes. Most larger church engineers seem willing to help for not much if anything since they already have their day job. They usually won't be able to provide the services nor attention that a consultant can but most smaller situations don't need that to get something usable. But they can tell you what they would do based on their experiences. <br /><br />All in all, the creating of a PA is like making a car. There are so many decisions that affect other decisions in the process, it is very hard to get the exact same answer from different consultants or installation companies. There are usually several "right" sound systems for a situation and not everyone will agree upon what is the best between the "right" choices. But that doesn't make any of the "right" choices wrong, just different.<br /><br />My daughter turned 16 and wanted a car. I got her something that gets good gas mileage, fairly reliable, decently safe, and didn't cost much (since statistics show the first car accident happens in the first five years) nor required a loan. It is a good car and it meets the needs to get around. But she wanted something that looked cool, got worse gas mileage, wasn't as safe, and would require getting a loan. It took years before she saw the wisdom of my decision. I was her consultant. Still, I had a choice of many different cars that met her needs. If someone else was consulted, she may have gotten a different car. It would have cost a different amount as well. But I am sure that a good "consultant" would have chosen a car based on similar criteria and not hers. If that was the case, then who was right? The cheapest? The most reliable? All I know is that her decision wasn't. Why? She didn't have the experience to make a good one.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-9564554643177158632008-09-11T22:15:00.000-05:002008-09-11T22:16:35.525-05:00rules when putting in a new installRule of thumb when planning conduits underground in a building. <br /><br />If you need 1, put in 2. <br />If you need 1" pipe, put in 2" pipe.<br />For main runs from FOH to amp or stage location never use anything smaller than 4" .<br />A pipe filled more than half full is full. <br /><br />PVC pipe is relatively cheap and the cost difference between 2" and 4" is negligible. It is extremely, significantly (can I make the point even stronger?) cheaper to put pipe in the ground when the building is being built than later.<br /><br />Always put your pipe the deepest into the ground, save sewer and water.<br />Never run your pipe within 2 feet of electrical.<br /><br /><br />Electrical rule of thumb.<br /><br />Always run your own ground and ground rod.<br />Spec an isolated ground buss bar in the breaker panel.<br />Don't forget to use isolated ground receptacles. <br />Get audio/video on its own isolation transformer.<br />Make sure that every location that the audio/video system is plugged in is run back to the same box.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-25147917230148700412008-09-11T21:54:00.003-05:002009-07-11T12:38:02.191-05:00the subsnake style of wiringI can't tell you how many churches that I have been in where there are cables running from one side of the stage to the other. Interesting phenomenon. Like a audio spider web set up to entangle whoever is walking across stage that is being "managed" through judicious use of tape that will eventually mess up the carpet.<br /><br />What causes this mess? Well, designers have always assumed that once you decide where things are going to be on stage that you will never change. Therefore, they have created this notion that you put floor pockets here and there to meet the current needs. That may have worked years ago, but today's production environment is in constant flux.<br /><br />So why not do what I did at the last church I worked for. Before settling into a situation with an installed PA system, my experience was with portable and roading systems. You utilized the sub-snake concept.<br /><br />The concept is simple. You have the main bundle of inputs (snake or whatever) come to either one or two locations and run smaller bundles or snakes from there.<br /><br />In my auditorium, I had the main snake run to an XLR patch panel in the amp room which was located just behind the stage. This represented the back of the console, so I never needed to crawl over the large console to make patches. Plus I knew that 1 on the snake to the FOH was 1 on the console.<br /><br />From back stage I had 6 locations permanent boxes (in one auditorium there was a privacy wall and we put panels on the backside of the wall to save cost) on the stage. Drum booth, Stage Left Back, Stage Right Back, Mid center stage, Pulpit Left, Pulpit Right. The general rule was to put in more inputs in these locations than what you needed. So 12x4 in drum booth, 24x4 stage left and in stage right, 8x2 mid center stage, 2x1 in both pulpit locations. All of these locations came back to that patch panel and I used 2 foot XLR's for patching.<br /><br />Why XLR patchbay? Normal patchbays need to be "cleaned" at least once a year with the expensive ones or monthly on cheap ones. You have to buy patch cables and enough that you don't run out. In the XLR patchbay, you can use any mic cable in a pinch, or make your own (try making a TT cable someday!). I had one patch that took over 5 years before it failed and all I needed to do was unplug and plug back in with the XLRs.<br /><br />When the stage was being designed, we made sure to make it hollow. The architect didn't understand but we knew that the current setup would change inside of a year. The hollow stage allowed us to put holes wherever needed at later dates. In fact, we ended up putting in a hole in the front far left and right and used just the floor box cover in those locations. I could feed a snake or drop the mic cable under the stage and route it back to the backstage patch panel (another good reason for XLR).<br /><br />Next, we purchased little 6 input snakes and ran them from the primary locations to central areas where needed. Like the keyboard location, who had a guitar player close so I just ran the guitar cabling through the keyboard snake.<br /><br />Amazing! Its a flexible system. Want to move someone, then just take their stuff and re-route the snake to the closest location, re-patch backstage so the new stage inputs go to the same console inputs.<br /><br />In one auditorium, we had a digital console that had a "stage box" with just the control cable going back to FOH. So I placed the "stage box" on stage and ran sub-snakes to it, since it literally represented the inputs to the console.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-86241234582564338092008-08-12T22:02:00.002-05:002008-08-13T20:22:42.760-05:00the perfect mixMixing is like creating an ice cream sundae.<br /><br />The band gives you all of the ingredients plus you can change texture through the use of effects. So you have to assess what you have before you can create the final product.<br /><br />The rhythm section is like the ice cream. It needs to stay in a cohesive group (not melting into sludge) and always be there as the basis (foundation) for the toppings.<br /><br />The lead instrumentation is like the toppings. You can handle a lot of flavor for short periods of time but you don't want to flood the ice cream. Some toppings don't work as well with other toppings either, so you must give balance to the flavor overall.<br /><br />One cool thing that I like to do is to hide a flavor to reveal itself as you eat on this sundae. Like putting a cherry in the middle of the ice cream.<br /><br />Like all analogies, this one breaks down at a certain point.<br /><br />But . . think of something. If mixing music is like creating a sundae for people to enjoy, then this sundae is magical in that you get to constantly change its flavoring throughout the whole experience. Maybe even giving them some odd tastes through the process, since you have no control over the ingredients.<br /><br />But you can always make sure to leave them with a good taste in their mouth at the end.<br /><br />Because that is what draws them to try your sundae again.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-26690804135452778892008-08-12T21:48:00.000-05:002008-08-12T21:49:29.252-05:00perception is realityWhile I am in the vein of psychological mixing. . .<br /><br />I once was doing one of my part time gigs at a church over a period of several months. Before they had asked me, I had already set up a weekend thing with another church so I had the church use a friend of mine for that one weekend that I was pre-booked. I call my friend after the weekend was over and she told me that everything went well, no issues. <br /><br />The following weekend, I asked the music director and Pastor what they thought of my friend's mixing because I was hoping to get her this gig on a more permanent basis. They both responded that they had got comments about not hearing the violin enough. <br /><br />So I called my friend back asking about the violin specifically and she told me what I already knew. The player doesn't play much and when they played it wasn't very good. So she never really brought the violin up much in order to make a better mix. <br /><br />There in lies the difference between what I did instinctively and what she didn't do.<br /><br />Once I got to thinking about it, I realized that I never really used the player much either due to the exact same reasons. But, I would try to find at least once during the service and push the violin forward for even a short period of time. I did it because, knowing church politics, I didn't know who's kid this player was and if I would offend someone of value (read: monetary value) by not letting them hear the violin at all. <br /><br />So think about it. They loved my mixing because I found maybe 30 seconds or less where the player sounded halfway decent and let the audience hear it pronounced but didn't like her mixing because she didn't - yet technically her mix may have been better by not subjecting the audience to the sub-par music. <br /><br />Even though I had the violin up for an extremely short period of time, if someone was asked, "Did you hear the violin?", they would answer. "Yes." They didn't realize that the amount of time but the fact that they did hear it. This ties into the old coaching trick of telling the players in the huddle the most important thing last before they go back into the game.<br /><br />Something to keep in mind when doing contract gigs. And interesting when thinking about people's perception of what we do and how their needs may not line up with what is actually the best thing technically.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-28820189535649593822008-08-04T21:17:00.000-05:002008-08-04T21:18:04.757-05:00hybrid drum kitHad an idea recently after coming home from one of those church gigs. <br /><br />Years ago, we started with acoustic drums. Needed loud monitors, etc and the church folk had a cow (maybe a pig as well). So the advent of the electronic drum kit came into play. Churches opened their arms. Then the musicians complained about it not being real. Drummers rose up with arm injury potential and that the "feel" wasn't there. The modern church now has swung back into using real drums with lots of Plexiglas involved. <br /><br />This is fine. I like real drums. <br /><br />except . . . when they aren't in tune or need new heads. <br /><br />For some reason, churches will fix a bad snare drum or kick drum. I theorize that is because both of these instruments tend to be relatively more stable in tuning until someone physically breaks the head. But the church has spent all of its budget keeping the piano in tune and no money is available for the poor toms. So the thought seems to be, "Why fix something that only gets hit once or twice in a song?" <br /><br />BECAUSE IT SOUNDS BAD (sorry for the scream . . I feel better now)<br /><br />Here's the idea. Let's compromise. Keep the real kit except for the toms. Use triggers, or pads and only present the audience with the electronic toms. Why not? I have done so many recording projects where I basically replace the toms anyways. I would venture to guess that many, many albums out there have been done exactly the same but no one wants to admit it. (dirty little engineer secret - don't tell the drummers)<br /><br />I leave it to you. Natural drums with electronic/triggered toms. Don't need tuning, don't need heads replaced and if the drummer behaves will save money in the long run. Think about it.<br /><br />(I foresee an invention here. Electronic toms with speakers in them so the drummer gets the believable feel of the pad actually making the noise.)ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-650813216987664722008-08-04T21:00:00.000-05:002008-08-04T21:01:24.140-05:00chest over head voiceI was thinking the other day about why we like singers that sing in their chest voice (that breathy, somewhat softer tone) vs the opera full voice (head voice). Then again some people like that operatic tone (head voice) over the chest voice.<br /><br />I don't know if you ever noticed while watching a movie or especially on TV that when people whisper, they are actually heard almost as loud as when someone yells or guns go off. Having posted TV shows over time, I noticed this years ago and have followed suit in my mixes. The interesting thing is that your brain gets audible cues from the tone of the voice as to what is going on. <br /><br />See a whisper in your ear can be just as loud as a yell at 10 meters in real life. So your brain will process the non-real world of TV just the same based on its experiences. <br /><br />Back to singing. In order for you to hear that soft chest voice sound in real life (without some sort of amplification), the person singing needs to be right close and in your personal space. Intimate. But the full out head voice needs to be back away from you in order to not blow you away with volume. Performance. <br /><br />It is my conclusion that the person that prefers the operatic head voice sound likes the stand back and watch aspect of the performance. It is easy to disconnect and spectate. But the chest voice intimates. It gets into your personal space, infers relationship, closeness. <br /><br />Think about it, your body will respond psychologically to its environment whether real or not. You watch a program and the dog is killed. You don't know this animal other than the 10 minutes that you have seen, but you still well up with emotion. <br /><br />So someone sings the line all formal and operatic "I love you!" - its grand, aggressive. Then someone is allowed into your personal space, is less than six inches away from you, face to face, and sings ever so gently "I love you" - intensely intimate, meaningful. <br /><br />It wasn't until the advent of the modern PA that you could get that tone in a larger more public venue. Still, watching a performance on stage, just like TV and Film, is a one to one experience that is shared by all. That is why you feel connected with people in the room afterwards. You have all shared the same personal experience. <br /><br />That is my reason that the chest voice wins in popular culture.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-62581416096168794492008-08-04T20:39:00.000-05:002008-08-04T20:40:13.605-05:00the human mixI have noticed that many engineers tend to get into the technical head side of mixing that they forget the psychological response of music on people, let alone themselves. We all live and experience this life through the ports (senses) of our physical bodies. That can't be forgotten. When mixing, it is more than just the assembling and balancing of instrumentation (which is a good thing). I always equate it to riding the wave, or herding cats. You are creating something but this creation is based on the already created active tones that the musicians/singers are sending to you. Yes, you are assembling a complete creation, but you must go beyond that and give guidance to the creation (ok, that sounded a little too metaphysical).<br /><br />I can't tell you how many times I have done a gig at a church where people (usually the leadership) will come up to me afterwards and lay glorious compliments on the sound of the service. I am sitting there thinking - I didn't do that much. But as I ponder later, I realize that I made a lot of little decisions. Like - this player isn't helping the song at the moment, so I will put him in the background and highlight someone who is. This singer is way off pitch so I will hide him/her. That guy is doing something cool, so lets hear it. <br /><br />Church gigs are unique in the fact that usually there isn't an arrangement and the musicians may not even do the same thing from rehearsal to performance. (I am always amazed at how little instrumentalists will listen to each others parts but insist on doing things that will tear the song apart - but that is another topic all together). So yeah, in a sense, I guess I must be doing something different than the other guys, but I keep thinking, why aren't they doing this?<br /><br />I can only come up with a couple answers. They aren't musical enough to understand the bad things being done by different musicians/singers on stage? They are actually not thinking about the music because they are caught up in the "headiness" of the thought. All brain, no emotion. I think that most people can tell when things aren't right, otherwise I wouldn't be getting the gigs I get. Its not the engineers that are seeking me out to come help them out. Obviously, the engineers don't think anything is a problem.<br /><br />We live in emotion driven bodies, listen with them. Don't turn the emotion off just because you are doing a heady technical thing. The console is actually a musical instrument in that regard. You are in the process of creation, a creative process. This isn't like building a building with a set of plans. You may have an idea of what you want to create, but it may not come out that way. Music is a journey, going somewhere. The engineer is simply trying to guide it and keep it looking as good as possible on the way. Music is emotion so emotion must be a key factor in making good decisions.ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-3830205884890049532008-07-21T16:02:00.002-05:002008-07-24T23:32:03.689-05:00under air<span style="font-size:100%;">Don't want to get you claustrophobic or anything.<br /><br />When talking to people that are unfamiliar with sound, I like to point out that we live "under air". We live in a sea of air. Just like fish swimming in water, we live and move through this physical thing that is air. Air molecules are just as solid as water or anything else that is around us, it is that they are not as dense and therefore we can breathe them inside and strip off the oxygen and push out what is left.<br /><br />The cool thing about this is that is helps to realize the real challenge that live audio engineers have to deal with. It is like taking a dropper and putting a drop of color in the water (like a singer projecting out of the mouth). Taking a hose and sucking that color out, processing it so that it is larger in volume (pun intended) and pushing that out of hoses into the same container of water. The goal is to not get any or as little of as possible of the new larger volume of color back into the little sucking hose, but only get the original drops as produced by the singer. That is the art and science of sound reinforcement.<br /><br />In the studio, you usually are using headphones or in the case of like a TV show, the new larger volume is actually being put into other containers. This is why you can watch a TV show and the performer can have their mic so far away from their mouths. Unless they need loud monitors, the TV audio guy can open the mic way open and pick them up from far away. But the poor live guy has to put that same mic back into the same pond and is pulling his hair out.<br /><br />Just like fish can't live outside of water, we can't live outside of our air. It is something to think about.<br /></span>ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0tag:blogger.com,1999:blog-4974685912933748382.post-84350223682734612452008-07-21T15:47:00.001-05:002008-07-24T23:32:53.371-05:00mysticism<span style="font-size:100%;">It seems that people attribute a lot more to the sound engineer than what is actually his/her capabilities. Its like all forms of common sense just go out the window and this mysticism sort of guru-likeness is placed on us.<br /><br />If the person doesn't sound good, we can magically make them better. Yea, there are certain tools for pitch correction now and anybody sounds better with some effects on their voice. Its like the engineer is the crutch for the performer and therefore the reason for all things when its not good either.<br /><br />I can't make a player play a different note. I can't make a singer sing the correct intonation. But it is assumed that I can. Admittedly, the studio does let you mess with things more but in a live situation, there are limitations.<br /><br />I see the engineer like a painter or a cook. I am presented with a palette of colors or a pile of ingredients. I then start making the best thing I can out of the ingredients/color choices that I have. Musicians are creators of these things and I am limited to what the musicians create. Like a good cook/painter, I can combine things to make a "whole" that seems better than the "parts", hence the mysticism.<br /><br />But certain flavors and colors just don't work well. It is always frustrating while mixing sound to have a band that just doesn't get the concept of arranging. I have done so many bands (church's seem to be worst at this) where the instrumentalists just are listening to each other. So I have to spend a lot of time hiding things under things or just flat out not using them. This is not only frustrating to the musicians but also to me since I want them to succeed in their endeavors. But garbage is garbage, all I can do is to try to make it look like nice garbage or just call it "found art".<br /><br />The actual physical part of my job, I learned while still in a crib. Slide this, turn that. The thing that makes me valuable is to know what to push or turn, when and how much. It always blows people away when they look at a large console. So many knobs. I always try to point out that the bulk of the console is just a repetition of one set of knobs, but people rather like believing that there is a supernatural thing going on around me.<br /><br />I had this lady in a black gospel church that I worked with years ago come up and tell me that she could feel the angel wings brushing on her shoulders during the music. I asked where she sat. Come to find out, she was right in front of the subs that were soffit mounted in the walls left and right of the stage. I tried to explain that the physics of sound tells us that when a frequency is longer than the object it encounters, it bends around it. Therefore she was feeling the low end push on her. She just ignored that and left me saying how much she appreciated me helping the angels show up.<br /></span>ambientchatterhttp://www.blogger.com/profile/13348258678987537381noreply@blogger.com0