"tiki-hut mixing"

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this is a theoretical question.

to avoid room effects, i was thinking the ideal mixing "room" would be
a wall-less tiki hut, with just a thatch roof and 4 posts supporting it
on the corners.

i know wind is a big problem for sound, and playback systems lose
efficiency without wall support.

but supposing there was no wind, and it was a nice 72 degrees Farenheit
out. wouldn't that be a good place to mix with a tall glass of iced
tea?

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<genericaudioperson@hotmail.com> wrote in message
news:1118987673.640432.167840@z14g2000cwz.googlegroups.com...
> this is a theoretical question.
>
> to avoid room effects, i was thinking the ideal mixing "room" would be
> a wall-less tiki hut, with just a thatch roof and 4 posts supporting it
> on the corners.

No - you'll get sand or dust in everything.

geoff

Archived from groups: rec.audio.pro (More info?)

In article <znr1119008239k@trad>, Mike Rivers <mrivers@d-and-d.com> wrote:
>In article <1118987673.640432.167840@z14g2000cwz.googlegroups.com> genericaudioperson@hotmail.com writes:
>
>> to avoid room effects, i was thinking the ideal mixing "room" would be
>> a wall-less tiki hut, with just a thatch roof and 4 posts supporting it
>> on the corners.
>
>> but supposing there was no wind, and it was a nice 72 degrees Farenheit
>> out. wouldn't that be a good place to mix with a tall glass of iced
>> tea?
>
>Yeah, if you could lose the roof. Celiings can cause just as many
>acoustic problems as floors.

I don't _want_ to mix in a room with no acoustics. I'd wind up making
mixes that didn't translate well as all because they'd be much more
distant. And it would be hard to get the low end right.

Lots of folks have built speakers with reduced treble dispersion to try
and reduce room effects... and the end result are speakers that drive
me up the wall because everything sounds like it's in your face. Eliminating
room effects is not such a good idea. You only want to eliminate _some_
room effects.

>How about mixing while floating over the earth carried by a large
>balloon? When you're finished mixing, you can just let out some hot
>air, drop down, and deliver the project right to the client's door.
>If the project was on a couple of dozen reels of 2" tape, you'd
>probably lose enough ballast at the delivery site so that you could
>take off again and float home.

That might explain this:
http://www.cnn.com/2005/US/06/17/b [...] index.html
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

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genericaudioperson@hotmail.com wrote:
> this is a theoretical question.
>
> to avoid room effects, i was thinking the ideal mixing "room" would be
> a wall-less tiki hut, with just a thatch roof and 4 posts supporting it
> on the corners.
>
> i know wind is a big problem for sound, and playback systems lose
> efficiency without wall support.
>
> but supposing there was no wind, and it was a nice 72 degrees Farenheit
> out. wouldn't that be a good place to mix with a tall glass of iced
> tea?

Not if you're working on an old Neve, I think they need air a bit
cooler than that to stay happy.

Big fan of Don Ho's "Tiny Bubbles" recording maybe? <g>
Although I think Audy Kimura worked on that in a room a bit more
substantial than a Tiki-Hut or a grass shack...

Will Miho
NY Music and TV Audio Guy *orig from Hawaii*
Staff Audio/Fox NewsChannel/M-AES
"The large print giveth and the small print taketh away..." Tom Waits

Archived from groups: rec.audio.pro (More info?)

Didn't get as far as mixing outdoors but outside recording, even with
modest technique, mics and a beater guitar sounded noticably better
than anything inside I've done. It sounded, well, more open, of
course.
The result of mixing outside might not sound natural because people
don't ordinarily listen to their speakers outdoors.

On 16 Jun 2005 22:54:33 -0700, genericaudioperson@hotmail.com wrote:

>this is a theoretical question.
>
>to avoid room effects, i was thinking the ideal mixing "room" would be
>a wall-less tiki hut, with just a thatch roof and 4 posts supporting it
>on the corners.
>
>i know wind is a big problem for sound, and playback systems lose
>efficiency without wall support.
>
>but supposing there was no wind, and it was a nice 72 degrees Farenheit
>out. wouldn't that be a good place to mix with a tall glass of iced
>tea?

Archived from groups: rec.audio.pro (More info?)

i'm thinking if the roof is 10 feet high, and about 12x12... i mean how
much can a straw woven roof like this reflect? if the speakers only go
up to about 6 feet, almost all of the spurious sound would simply shoot
out all 4 open sides.

everybody talks about having a neutral room. how about no room? that
means you're hearing all speaker and no room. that seems to be the
most theoretically neutral you can get. maybe you would have to get
used to not having bass reinforcement from the walls. but once you get
used to it, what "sonic fingerprint" is there? nothing except the
speaker system as far as I can understand.

Archived from groups: rec.audio.pro (More info?)

<genericaudioperson@hotmail.com> wrote:
>
>my thought is this: let's say you're trying to hear the "true sound" of
>a trumpet. simply having the person play outside not near any walls
>(out in a field somewhere) and listening at a safe yet close distance
>to me is a pretty good rendering of the truth, probably as good as it
>gets.

No, the true sound of a trumpet is a mixture of the direct sound and
the room sound.

If you listen in a totally dry enviroment, all kinds of sounds are coming
out of the horn in different directions. Normally the room mixes them
together, but without the room you only hear what comes out in one
direction.

>now put that trumpet player in an enclosed environment. is this room
>"adding" to the truth of the trumpet? no way.

Absolutely.

>that would be like saying the trumpet player is "lying" by playing
>outside.

No, but it's totally changing the sound of the instrument, and most of
the instruments are voiced to sound right in a concert hall.

>so why would audio playback be any different? if the original source
>can produce "truth" outdoors, the playback system should be able to
>also.

You're looking for truth in the wrong place, here.

>now i know there is a problem with efficiency and driving loudspeakers
>to full rock-concert levels. but a simple system not trying to blow
>people away should be able to produce fidelity at a 6 foot listening
>distance outdoors.

Try it and see. You'll find it sounds much drier than it sound, because
the recordings you are using are made to be played back in a room.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Archived from groups: rec.audio.pro (More info?)

<genericaudioperson@hotmail.com> wrote:
>
>Salesman:
>"What kind of acoustic guitar are you looking for?"
>
>"An outdoor one, I already have an indoor one."
>
>"Excuse me?"

Clearly, he wants an Ovation. Good down to ten feet submersion.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Archived from groups: rec.audio.pro (More info?)

"Scott Dorsey" <kludge@panix.com> wrote in message
news97mt9$mvr$1@panix2.panix.com...
>
> Clearly, he wants an Ovation. Good down to ten feet submersion.

More like "doesn't get any worse than it already is to ten feet of
submersion."

Hal Laurent
Baltimore

Archived from groups: rec.audio.pro (More info?)

"Hal Laurent" <laurent@charm.net> wrote in message news:KhLte.19$Ca6.993@news.abs.net...
>
> "Scott Dorsey" <kludge@panix.com> wrote in message
> news97mt9$mvr$1@panix2.panix.com...
> >
> > Clearly, he wants an Ovation. Good down to ten feet submersion.

> More like "doesn't get any worse than it already is to ten feet of
> submersion."

Whatever... 10 feet under would still be fine. ;-)

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Ben Bradley wrote:
> On Mon, 20 Jun 2005 21:22:57 -0500, Harvey Gerst
> <harvey@ITRstudio.com> wrote:
>
>
>> kludge@panix.com (Scott Dorsey) wrote:
>>
>>
>>> <genericaudioperson@hotmail.com> wrote:
>>>
>>>> Salesman:
>>>> "What kind of acoustic guitar are you looking for?"
>>>>
>>>> "An outdoor one, I already have an indoor one."
>>>>
>>>> "Excuse me?"
>>
>>> Clearly, he wants an Ovation. Good down to ten feet submersion.
>>
>> Not nearly deep enough.
>
>
> What is this, the musical instrument for lawyers?
>
> If Ovations existed in Shakespeare's time, I'm sure he would have
> written something about it, much like he wrote about lawyers...


"First, drown all the GSO's?"

Archived from groups: rec.audio.pro (More info?)

"the rolling chair would
need some sort of granite slab."

No chair. Hammock.

stv