argi
"Επαγγελματίας"
- Μηνύματα
- 30.020
- Reaction score
- 6.879
εδω θα σας δινω μερικες πληροφοριες allover.Και ξεκινω με τη ακοη.Που στον πολυκαναλο χωρο μας βαλλεται απο περισοτερα ηχεια και μεγαλυτερες εντασεις.
I'll never forget these intertwined events. It was in the early 1980s and I was recording the Alabama Symphony for the Birmingham National Public Radio affiliate.
Several leading union musicians (from the Symphony tape committee) and the conductor would visit my shop one night each month. I'd play back the master recordings that I had recently made of concerts that were to be broadcast. Their job was to pick the best performance. Then I would prepare the broadcast master from my 30 I.P.S. analog master.
I came to know and to spend some time around the conductor. I'd say he was in his middle '70s at that time. In our informal meetings, he'd have a problem with discrimination , which is common for older folks. In this case, discrimination is the term for being able to listen to someone and understand him while others are talking at the same time.
Before I tell you my main point, you need to know one more thing:
It's REALLY LOUD on stage with a full orchestra when it's playing power music . I once went out onstage while doing a test recording during a dress rehearsal for Gustav Holst's The Planets . As luck would have it, it was during "Uranus," one of the loudest sections.
I had measured the sound pressure levels in the audience. I knew they were about 95 dB. But up on stage, standing next to the conductor with all the brass and percussion wailing away, I was shocked at how loud it was! It felt like my hair was being blown back like that old Maxell tape ad!
Of course, someone who has been exposed to these incredible sound levels for 50 years is bound to have significant hearing damage. Add to that the age factor, and this man should have been lucky to hear an ambulance siren!
During our listening sessions at my shop, he always picked up on problems, often before the much younger musicians. Furthermore, in the middle of a Beethoven Symphony #6 rehearsal, I saw him tell a second violinist several rows back to retune. On more than one occasion, he'd have to call somebody on a blown entrance when there was a full orchestra wailing away!
It always amazed me that he could hear so precisely during the playback sessions and during the rehearsals. My point is that age, and even exposure to lifelong loud levels, seems not to be the only indicator as to whether a trained listener can still hear.
For example, I often sit with younger men and women, teaching them about sound, or just kicking back listening to music. I'm 63, but I can reliably hear things that they miss entirely.
Don't worry if you're past 50. It just means that you're experienced!
I'll never forget these intertwined events. It was in the early 1980s and I was recording the Alabama Symphony for the Birmingham National Public Radio affiliate.
Several leading union musicians (from the Symphony tape committee) and the conductor would visit my shop one night each month. I'd play back the master recordings that I had recently made of concerts that were to be broadcast. Their job was to pick the best performance. Then I would prepare the broadcast master from my 30 I.P.S. analog master.
I came to know and to spend some time around the conductor. I'd say he was in his middle '70s at that time. In our informal meetings, he'd have a problem with discrimination , which is common for older folks. In this case, discrimination is the term for being able to listen to someone and understand him while others are talking at the same time.
Before I tell you my main point, you need to know one more thing:
It's REALLY LOUD on stage with a full orchestra when it's playing power music . I once went out onstage while doing a test recording during a dress rehearsal for Gustav Holst's The Planets . As luck would have it, it was during "Uranus," one of the loudest sections.
I had measured the sound pressure levels in the audience. I knew they were about 95 dB. But up on stage, standing next to the conductor with all the brass and percussion wailing away, I was shocked at how loud it was! It felt like my hair was being blown back like that old Maxell tape ad!
Of course, someone who has been exposed to these incredible sound levels for 50 years is bound to have significant hearing damage. Add to that the age factor, and this man should have been lucky to hear an ambulance siren!
During our listening sessions at my shop, he always picked up on problems, often before the much younger musicians. Furthermore, in the middle of a Beethoven Symphony #6 rehearsal, I saw him tell a second violinist several rows back to retune. On more than one occasion, he'd have to call somebody on a blown entrance when there was a full orchestra wailing away!
It always amazed me that he could hear so precisely during the playback sessions and during the rehearsals. My point is that age, and even exposure to lifelong loud levels, seems not to be the only indicator as to whether a trained listener can still hear.
For example, I often sit with younger men and women, teaching them about sound, or just kicking back listening to music. I'm 63, but I can reliably hear things that they miss entirely.
Don't worry if you're past 50. It just means that you're experienced!
