De Technologische Cultuur van Geluidssystemen Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

De Technologische Cultuur van Geluidssystemen Cultuur  ontwikkeling technologie Voorbeeld: luidsprekertechnologie & line arrays Technologie  cultuur & gedrag Voorbeeld: mixing consoles & digitale mixer Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Line arrays Conventionele PA: sferische wavefront Line arrays: cylindrische wavefront Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Line arrays Nearfield & farfield: gelijke geluidsdruk Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Op de MusikMesse: The science behind the sound industry is extremely difficult. Sound is nothing more than mathematics and physics, there are no preferences, only technical solutions. (Stephane Roche, APG Sound Systems) The line array is a step to a better audience experience. It’s just plain physics, but it is the standard now. We really caused a paradigm shift in the industry (David Brooks, L’Acoustics) Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Beter geluid? I like the line arrays. Depending on which one it is, it’s just a little more accurate. (Bruce Jones, FOH-mixer of The Counting Crows) Yesterday, I worked on a Vodsc, one of the first line arrays. I really hate it. I can’t get any drums out of it. It doesn’t have any low. It does have very deep low, the sub-low, that’s there. But that’s not what you always want, you also want to have just a bass-drum. I can’t get it out. (Arian van Egmond, FOH-mixer Golden Earring) Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Conventionele stacks vs line arrays: geluidsbeleving mixers en bezoekers Conventionele PA: Warm Krachtig, ‘dik’ ‘Punch’, ‘ballen’ Ties van de Werff (Maastricht University) – VPT, 7 mei 2012 Line arrays: Gedetailleerd ‘In your face’, direct Hard, ‘dun’ Koud, steriel

Line arrays in de praktijk Geluidsbedrijven : logistieke voordelen Riggers: meer routine en minder sjouwen System-engineeers: grotere controle over geluid Mixers & bezoekers: geluid is ‘dichterbij’ & hard Festivalorganisatoren: voorkomen geluidsoverlast Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

De Technologische Cultuur van Geluidssystemen Cultuur  technologie Voorbeeld: luidsprekertechnologie & line arrays Technologie  cultuur & gedrag Voorbeeld: mixing consoles & digitale mixer Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Veranderende praktijk van het mixen Mixer in de jaren ’50: Techneut & diplomaat Stereo & multitrack recording veranderde status en rol van de mixer: Status: mixer deel artistieke proces Rol van de mixer: Mixen als kunst: aural thinking Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

It’s more challenging with analogue consoles. Especially when you’re not familiar with it. Then you have to get to know the machine, explore it’s limits. I think the best live-sound comes from these experiences, because you are forced to make quick choices, to pinpoint the sound in an earlier state than with more familiar or digital consoles. Jeroen ‘Ebs’ Ebskamp, system-engineer / FOH-mixer Ampco

Ties van de Werff (Maastricht University) – VPT, 7 mei 2012 Well, the monitor-man is very important for every band. You have to keep the band happy on stage before anything, the happier they are, the better they play. Part of the job is not technical, but talking to them, understand them, always watch hem… that’s very important: when they look, they want to see you looking at them. So you have to make yourself seen. Once you get to know the band well, it’s easier. Phil ‘SidePhil’ Wilkey, monitor-mixer Incubus

Ties van de Werff – Thesis Symposium CAST, 27 th June, Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

You have to do your job well, because they hear everything. Before, you could cheat a bit but now you have to do it properly. Because with in-ears you hear absolutely everything, you have to mix good. Phil ‘Sidephill’ Wilkey, monitor-mixer Incubus I now have the console I always wanted, and always the same rack of effects. So if I screw up now, it’s only me that’s responsible. That was different back then. Then you could blame everything, form the power-hub to the audience. CJ Otten, FOH/mixer, VanVelzen

Samenvatting Digitale technologieën veranderen de praktijk van het mixen Meer meten=weten En: ‘zachte kennis’ (ervaring, sociale skills) Maar: grotere verantwoordelijkheid Praktische voordelen voor verschillende partijen wegen zwaarder dan het geluid zelf Meer controle, zekerheid en continuiteit op het podium door digitale technologieën Ties van de Werff (Maastricht University) – VPT, 7 mei 2012

Controle, zekerheid & voorspelbaarheid: rock ‘n roll! Geprofessionaliseerde & gespecialiseerde industrie: touring circus Live = studio (maar dan echt) Horen + kijken = authenticiteit Liveness = nearness Ties van de Werff (Maastricht University) – VPT, 7 mei 2012