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Laser Beam Dispertion
- Thread starter Florox
- Start date
Rick Auricchio
Registered Bass Offender
Why not stop right here and use a REAL microphone? Don't expect any bass response from a camera microphone. They aren't designed to record music.
- May 9, 2008
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- Proprietor Springvale Studios
Rick I think he said he is looking for his bass at any frequency in the mix,
he seems to be talking about the upper mid dispersion as much as anything.
he seems to be talking about the upper mid dispersion as much as anything.
Rick Auricchio
Registered Bass Offender
I get your point but he did say he's used the camera before from different or more centered listening positions so there is some sort of baseline for comparison. Of course room cancellations and a bunch of other stuff comes into play but also none of those change the narrow dispersion characteristics of a 15.
Rick Auricchio
Registered Bass Offender
billfitzmaurice
Commercial User
- Sep 15, 2004
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In this case a mic with thin bass response is best, enabling the recorder to 'hear' the midrange without the masking effects of the low end.
- Dec 18, 2000
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- greenboy designs: fEARful, bassic, dually, crazy88 etc
"Beam blockers" don't do much to improve off-axis dispersion but they do knock a little edge down for the on-axis sound.
Check out legendary SRV bassist Tommy Shannon on Live at the El Mocambo (must have been around 1983) and you'll see his beam blockers: 4 big squares of DUCT TAPE on the grills, over each woofer. Must have seen Chris Layton's snare and stole some when he wasn't looking ; }
Incidentally, Tommy Shannon's bass work in the early heyday of Johnny Winter's blues-driven rock stardom is still some incredible stuff to listen to. No whimpy roots-only eighth-note thumpin' here!
Check out legendary SRV bassist Tommy Shannon on Live at the El Mocambo (must have been around 1983) and you'll see his beam blockers: 4 big squares of DUCT TAPE on the grills, over each woofer. Must have seen Chris Layton's snare and stole some when he wasn't looking ; }
Incidentally, Tommy Shannon's bass work in the early heyday of Johnny Winter's blues-driven rock stardom is still some incredible stuff to listen to. No whimpy roots-only eighth-note thumpin' here!
You say it was recorded on a digital camera? I recorded Stanley on a digital camera, at the gig he was very loud, but in the recording he was barely audible. I don't think those mics on the camera can handle the bass frequencies. Mind you, a one 15" rig is pretty small in my book, unless it was jazz or a low key affair.
- May 9, 2008
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I still think my original horn Idea was best
if its a little ungainley we can get Bill to fold it up a bit for ease of stowage.
On the other hand this works even better from 300Hz and up:
Wack a couple of 290's on the back of that and bobs your uncle!
Ahh! unless of course you live in San Fran then he might well be your aunt.
Happy New Year!
if its a little ungainley we can get Bill to fold it up a bit for ease of stowage.On the other hand this works even better from 300Hz and up:
Wack a couple of 290's on the back of that and bobs your uncle!
Ahh! unless of course you live in San Fran then he might well be your aunt.
Happy New Year!
- May 9, 2008
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Fair Dinkum Cobber!. I reckon he ought to step out for a bit of a dingos breakfast after a bass rig that would at least half fill the back of a Holden ute.
+ a coincident pair of U87's and a Sony broadcast camera with a phantom pack.
Fair Dinkum Cobber!. I reckon he ought to step out for a bit of a dingos breakfast after a bass rig that would at least half fill the back of a Holden ute.
+ a coincident pair of U87's and a Sony broadcast camera with a phantom pack.
I beg your pardon, old chap! I am English, just happen to live in the Antipodes. I hardly understood a word of that. It sounds like Australia in the '50s.
- May 9, 2008
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Terribly sorry for the native banter old chap!
Didn't suspect you might be British and all that rot!
So what's the story eh!
Mine is I have a number of old friends out in the Antipodes and follow a bit of rather exciting Aussi car racing which is where I picked up a few salient pointers on the old local lingo.
Pip Pip!
Didn't suspect you might be British and all that rot!
So what's the story eh!
Mine is I have a number of old friends out in the Antipodes and follow a bit of rather exciting Aussi car racing which is where I picked up a few salient pointers on the old local lingo.
Pip Pip!
Your Line 6 combo is a modeling amp acually designed to sound best through the included speaker and cab. Believe me when I say, I've tried different cabs and speakers from mine, but nothing sounded near as good as the included speaker/cab. I think fdeck's solution is the safest, build a small, add-on 6 incher with crossover, but I doubt that it will improve the sound.
Terribly sorry for the native banter old chap!
Didn't suspect you might be British and all that rot!
So what's the story eh!
Mine is I have a number of old friends out in the Antipodes and follow a bit of rather exciting Aussi car racing which is where I picked up a few salient pointers on the old local lingo.
Pip Pip!
Don't mention it. I'm not offended in the least. I also have GAS for an E Type Jag, aswell as a Fender Jag.
TTFN
- May 9, 2008
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Hope you get one like this:Don't mention it. I'm not offended in the least. I also have GAS for an E Type Jag, aswell as a Fender Jag.
TTFN
Invalid Link Removed
You could paint it in green and white TWR colors, Cool! that would turn a few
heads out there.
Question: Is this "laser beam" thing the correct terminology? I've never heard of this.
Anyway, the simple fact is that a 15-inch combo is just inadequate to be heard pretty much anywhere. Sure, it sounds fine on stage, but ten feet away it goes to nothing. There's nothing exotic or mysterious about this, and chasing "laser beams" will never improve the situation. It's very simple. You need more power and more speakers (preferably tens). Then record with appropriate mics.
Edit: OK, I found it out there in Google land. After reading some, I'm sticking with my original analysis (see above).
Anyway, the simple fact is that a 15-inch combo is just inadequate to be heard pretty much anywhere. Sure, it sounds fine on stage, but ten feet away it goes to nothing. There's nothing exotic or mysterious about this, and chasing "laser beams" will never improve the situation. It's very simple. You need more power and more speakers (preferably tens). Then record with appropriate mics.
Edit: OK, I found it out there in Google land. After reading some, I'm sticking with my original analysis (see above).
billfitzmaurice
Commercial User
- Sep 15, 2004
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'Laser' not necessarily, but 'beaming' is an acoustical engineering term applied to the narrow dispersion of large drivers. Explained here, in the section titled Usable frequency range
http://www.eminence-speaker.com/resources/data.asp
As it turns out, a laser beam shining through a pinhole behaves the same way -- omnidirectional when the wavelength is long compared to the hole diameter, and progressively forming a tight beam at shorter wavelengths. But inventing a laser that can cover a 1000:1 frequency range will win you a Nobel prize.
