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Is everyone on TB going stereo??

#101
Hambone70 said:
Never understood stereo in a live environment. The limited benefit is only beneficial to those in the ‘sweet spot’ center of the soundfield. Even worse, those not in the center are missing half of the music!
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Some forms of spatial reproduction (e.g., Ambisonics) claim a wider sweet spot, and I've been to some quite impressive Ambisonics gigs, but to give it any 'wow' factor, you need a lot of technical expertise and understanding of what you effect you want to achieve. Basically, you need to add a sound design engineer and live operator who really knows that they are doing to your band, maybe two. And then you need to be hefting around your own PA and have half-a-day in each venue to set everything up and debug it in a new environment.
 
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#103
-Asdfgh- said:
Some forms of spatial reproduction (e.g., Ambisonics) claim a wider sweet spot, and I've been to some quite impressive Ambisonics gigs, but to give it any 'wow' factor, you need a lot of technical expertise and understanding of what you effect you want to achieve. Basically, you need to add a sound design engineer and live operator who really knows that they are doing to your band, maybe two. And then you need to be hefting around your own PA and have half-a-day in each venue to set everything up and debug it in a new environment.
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Pink Floyd's Quad PA back n da day.

:)
 
#105
-Asdfgh- said:
Some forms of spatial reproduction (e.g., Ambisonics) claim a wider sweet spot, and I've been to some quite impressive Ambisonics gigs, but to give it any 'wow' factor, you need a lot of technical expertise and understanding of what you effect you want to achieve. Basically, you need to add a sound design engineer and live operator who really knows that they are doing to your band, maybe two. And then you need to be hefting around your own PA and have half-a-day in each venue to set everything up and debug it in a new environment.
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By PA, I mean at least two stereo amps and 4 speakers, ideally four stereo amps and 8 speakers for vertical and horizontal spatial sound. And to get down to 40Hz reproduction you'd need pretty good speakers, although you are splitting the load out a lot so you might not need a lot of watts per speaker. And you need some really tall speaker stands. But then having a band with amps on stage would ruin the effect so you'd all need to be ampless with IEMs. So it works for EDM, maybe, but not rock and/or roll so much. All the demos I went to were EDM.
 
#107
I guess I'm finally becoming an old curmudgeon. But I'm sometimes weepy that the newest generation will only appreciate 'prefab' music with autotune and cubicle-written tunes and will never be exposed to the kind of musicianship and vocal awesomeness that we grew up with. They are missing out and don't even know it.
 
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#109
byacey said:
Low frequency in stereo is something of an oxymoron. Low frequency isn't directional, so any stereo effect is lost, unless you are listening with headphones. Additionally, there will be phase cancellation at low frequencies according to how distant the speakers are spaced from each other.
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Interesting. Do you think it would have the same effect if you used "stereo" as a way to separate pickups? By that I mean basicly having 2 "p bass" wiring schematics on the same bass, wired so that they are separate at least to the amp....
 
#111
I talked about running each PU into a crossover ...
Iristone said:
It's basically how Ric-O-Sound works. Unfortunately it still scoops the mids (unless you engage the low-cut switch). I'd believe that the scoop is because of phase cancelling, rather than impedance loading.
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Phase cancelling is because you have the same frequencies coming from different pickups. Neck and bridge pickup both producing 800 Hz tones, but not at the same phase. With my crossover idea, you'd cut the highs out of the neck and lows out of the bridge so that you would't have phase cancellation because each frequency would come from only one pickup.

Well, technically, in the region near the crossover freq you'd have some, but it would be much less than normal.
 
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#112
I play my Mesa rig large and loud on stage. I love the feel when I walk by the stack making the rumble... I see no need to separate nor do I think I would hear the benefit. I have never not heard my rig on the far side of the stage and I have played some big outdoor stages. So I vote to Keep It Together.
 
#113
I've got an old one.
.
IMG_20191204_170917035.jpg
 
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#115
No. Also bi-amping and real stereo are two different things and you won't get a real stereo image on big stages not to mention we pan most of the things in the middle anyway. Low frequencies are omnidirectional and you won't get the stereo image easily. It's not impossible but impractical IMO/IME. Recordings are a different thing, but I still like my bass mono.
 

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