Don't these fart-huffing jackasses understand that I actually need to read my e-mails to plan physical meetings with other flesh-based entities?
It's difficult for me to fathom how someone could risk their work getting fucked up by non-deterministic software.
To me, it's not worth the risk or the hassle to set up and babysit a piece of software that might get shit wrong when I can just do it correctly in the first place.
This piece reads like an essay version of the poem A Supermarket in California --- I believe it's meant to be reflective and introspective, not informative.
Hell yeah, I remember listening to The Dollop about this dude and realizing he was part of the reason for all the POW/MIA flags when I was growing up lol
Absolutely nothing wrong with supplementing or replacing drums with samples! I have a friend who's a very accomplished engineer and musician, and they do it for pretty much every project.
Weird microphone tricks (e.g. a 57 on a kick drum) are just stopgap solutions when there are no other options, kinda like replacing a bad kick drum sound --- the most important part is to trust your ears and have fun!
Slightly off center and almost touching the grill is pretty standard placement for micing a cabinet, I think! I usually try to make a tangent line between the 57's capsule and the cone of the speaker.
I'm right there with you about the B52 on a kick drum --- that's definitely my preference too unless the kick drum doesn't have a port, in which case I usually go for a D112.
One could mic an entire band using just 58s and 57s, if push came to shove. Live sound can be a weird thing lol
Two or three inches up from the bottom-center of a non-ported kick drum works in a pinch, but never tried it with a ported head.
I believe I've seen a bass cab mic'ed similarly as well, though I for sure saw a Beta 58 (not a 52) used for this purpose quite a few times by pointing the center of the capsule directly at the bottom-center edge of the speaker ---- looks like partially mic'ing the wood, but I remember it worked really well!
I thought the same and then got a recent-ish car that had an "automatic" setting to dim or engage the high beams. It's terrible. Taking tight corners on a dark rural road, they dim because the sensor detects the car's own headlight reflection off of the trees, defeating the purpose.
So, I think a bunch of dipshit city folk leave the high beams on (in the city where they aren't fucking necessary) and let the "automatic" setting handle it, poorly.
I learned how to drive in a rural area where using the brights is normal when you get out of town, with the caveat that you have to pay attention and switch back when cresting a hill or coming around a corner.
Not a dad, but an ex that wound up with three after the split many years ago --- OP's meme strongly channeling the current girlfriend, but holding strong that my one remaining old man doesn't want a cat friend lmao
I normally just ask them nicely to turn down, if they can do so without sacrificing tone, and otherwise encourage them to point their amp towards the curtains.
I've definitely seen some folks prop their amps to angle them toward their heads from time to time --- I'll start working that suggestion in for sure, since every little bit of db decrease will help in that small room.
I also want to get a set of ClearSonics or similar for cymbal wash. May not be able to use them all the time (stage real estate is at a premium), but they would be nice to have.
At my home venue, I have no protection. If you fuck with me---particularly within the first twoish songs of a set---my usual response is to look them dead in the eye and say, "Where do you work? I'm going to come to your job and help you on Monday." And that usually scares them off.
Sometimes, I feel bad about it and will find and apologize to that person later, explaining why I reacted like that.
My favorite is when it's a local/college-age band and parents are around. Or spouses of older band members. "No, I can't get her vocal any louder because she's whispering six inches from the microphone and Jimi Hendrix up there is blasting his amp at 11."
All this said, it's a common misconception that "asshole" is the default mode of operation for a sound engineer. It's just that the job is fucking stressful, and if you catch us at the height of that stress, we will react poorly. I've definitely come across a few grumps, but most folks are nice on average --- kinda have to be so that people will want to work with you. Most of us just want to work with the team to make a good show happen.
To your original point, it's 100% true that the better the artist, the better/easier the mix. Can only polish a turd so much before it crumbles.
I have a masters in an academic field, but my profession is sound engineer. I learned the trade like an apprentice, but my academic background really helps my main job as a production manager --- lots of organizing and communication to handle on the business side.
I think a common misconception of (live) sound engineers is that we're always partying, but this shit is work, especially if you find yourself on the road.
I think so too! I'll let her know you agree :)