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How much does speaker polarity matter?

Discussion in 'Electronic Repair' started by [email protected], Jan 2, 2008.


  1. They're jokes? I thought they were true stories! ;-)


    --
    Service to my country? Been there, Done that, and I've got my DD214 to
    prove it.
    Member of DAV #85.

    Michael A. Terrell
    Central Florida
     
  2. msg

    msg Guest

    Indeed; don't you think your sentiment is akin to what I posted early in this
    thread? (requoted here -- got no replies...):
    <snip>

    Regards,

    Michael
     

  3. That's why I like to listen to WSM online. A vast library of live
    recorcings from the early days pf radio, and a lot that were recoded
    live, at the famous Ryman Auditorium, which was the long time home of
    the 'Grand Ole Opry'.

    http://www.wsmonline.com/


    --
    Service to my country? Been there, Done that, and I've got my DD214 to
    prove it.
    Member of DAV #85.

    Michael A. Terrell
    Central Florida
     
  4. msg

    msg Guest

    Thanks for the link; I did a little snooping in the page source and
    found a link that permits listening directly from Windows Media Player
    (or any player that does Windows Media Streaming):

    http://players.eonstreams.com/FastAim/Player/Play.php?PulseID=191205531&SecurityKey=62348&IsIE=0

    This can be more convenient than using the embedded player in WSM's
    web page.

    I also recommend KCEA for jazz and swing (20's -> 40's), Shoutcast stream
    (use Winamp, VLC, etc.) at:

    http://69.12.217.101:8000/

    Regards,

    Michael
     
  5. Basically a roller coaster.

    I started in this 'game' while still at school in the '60s. Working part
    time at the local dance hall as a spot boy. Which had its own in house big
    band. And a rudimentary PA system - Reslo ribbon mics, all three of them,
    one vocal, one used by the lead sax on a solo and one on the piano. A 50
    watt GEC valve 100 volt line mixer/amp driving a couple of line source
    columns either side of the stage. The string bass had his own amp and
    speaker.

    Now this was Scotland and no dancing allowed on Sunday as it was the
    devil's work ;-) so they had a 'concert' instead. Near always with a
    visiting band, group or solo artist on tour doing a set as well as the
    house band. I well remember The Beatles before they had a hit record.

    And most of these bands on tour just used the house PA - they didn't
    bring their own. One I remember which did and stood out for a great sound
    in the hall was Emile Ford and the Checkmates.

    But most pop vocalists rely on being able to hear both themselves and the
    band for pitch and timing. Anyone who has ever 'done' Karaoke knows this
    only too well. ;-) True musicians may be able to work around this but the
    scene was moving away from those.

    So we add rhythm foldback to keep them in time. Then they can't hear the
    hall PA. So we add in vocal foldback. And it's all got louder. Kilowatts
    of PA rather than 10s. Now the drummer can't hear himself...
     
  6. Arfa Daily

    Arfa Daily Guest

    Yes, agreed. I can't speak for jazz or big band, as I've never listened to
    these live, but it is certainly the case for contemporary music. Gone are
    the days (at least for the most part) when you could listen to a band live,
    and then buy their album, and they sounded just the same. So many bands now
    are just slaves to the recording process and the whims of the producer and
    desk engineer. It was interesting here recently when Geldof I think it was,
    collected together a bunch of modern bands, and had them re-record Sergeant
    Pepper using the original 4 track Abbey Road equipment which he had managed
    to acquire. It was done for the BBC to mark the album's 40th birthday.
    Several of the bands commented that they found it virtually impossible to
    obtain the same standard of recording as Lennon and George Martin did, just
    using 4 tracks. Just goes to show how reliant they have become on technology
    and other people, which is why I wonder about the validity of, or need for,
    all of this on-stage mic'ing, and the spin-off problems it seems to cause
    ....

    Arfa
     
  7. Sergeant Pepper didn't use just 4 tracks. Lots and lots of track bouncing.
    Two machines running together. Over 700 hours studio time.
    Not that I'm missing out the talent involved in all that.
     
  8. Ron(UK)

    Ron(UK) Guest

    I guess we were ;)

    Ron
     
  9. Meat Plow

    Meat Plow Guest

    I didn't play bigger gigs long enough to have to get used to it
    fortunately. I notice many bass players usually try to stand as close to
    their amps as possible.
     
  10. Meat Plow

    Meat Plow Guest

    I guess it takes absolute dedication to your art. Especially those that
    play an hour and a half on stage then go find a private club in town and
    jam with the locals until 4:am :)
     
  11. z

    z Guest

    yeah, i guess that makes sense.
    i was trying to say that the waveform from the drum when hit will
    consist of a big coherent high pressure wave followed by a lot of
    other stuff, but now i wonder if even that's not exactly true?
     
  12. Ron(UK)

    Ron(UK) Guest

    I don't think that coherent is the correct phrase. it`s a very complex
    waveform.

    Ron(UK)
     
  13. Ron(UK)

    Ron(UK) Guest

    That`s cos they like to feel their trouser legs flapping :)

    Ron(UK)
     
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