Stories
Slash Boxes
Comments

SoylentNews is people

posted by Fnord666 on Tuesday December 26 2017, @04:07PM   Printer-friendly
from the quiet-please dept.

Arthur T Knackerbracket has found the following story:

It was a bright, frigid morning in Ann Arbor, Michigan, two weeks before the University of Michigan let out for winter break, and the college town's numerous coffee shops were abuzz with the gentle tapping of keyboards, the whooshing of espresso machines, the occasional chatter—and the tinny strains of 1980s and '90s pop hits.

It's that last element of the sonic landscape that drives Gina Choe and Libby Hunter crazy. Standing just inside a cavernous cafe where The Smiths' "How Soon Is Now?" competed with a sizzling griddle, jostling coffee cups, and echoing voices, Choe said, "I came in here once, and [the music] was everywhere around me. Everyone was talking more loudly—I couldn't even hear my friend."

As Choe checked a decibel meter on her phone ("65, the level of loud conversation"), Hunter mentioned that the last time she was here, she had asked a counter worker if the music could be turned off. "The manager came over to my table, and she was really nice, but she said no, because of the 'atmosphere.' It's amazing how afraid they are to not have music."

Hunter, a retired middle-school music teacher, and Choe, a 2017 Michigan graduate who is working in a research lab while she prepares to apply to medical school, do not travel in the same circles, and might never have met at all had they not come together over a mutual love of quiet spaces—and a loathing for piped-in background music.


Original Submission

 
This discussion has been archived. No new comments can be posted.
Display Options Threshold/Breakthrough Mark All as Read Mark All as Unread
The Fine Print: The following comments are owned by whoever posted them. We are not responsible for them in any way.
  • (Score: 3, Interesting) by RS3 on Wednesday December 27 2017, @03:38PM

    by RS3 (6367) on Wednesday December 27 2017, @03:38PM (#614757)

    MostCynical, you're upholding your username spectacularly! I respectfully disagree with many of your points, mostly on grounds of over-generalization.

    Most small bands (ie, one or two singles, maybe an album, some radio play) can't afford a sound guy.

    Generalization. What does "can't afford" mean? How much $? If a band is good enough, and the drive distance / parking / venue / crowd nice / decent / free food, you'd be amazed at how cheaply I'll work. Like I already stated, I'm in it for the music; for the sake of music being as good as it can be, and that strongly includes doing everything I can to give the musicians a good experience: correct mics, mic placements, monitors, monitor mix, stage layout, etc. Many musicians are taken aback by my accomodating attitude toward them- they're used to very mean jerk "sound guys".

    Also, think of the investment. 1 bad sound person will wreck your music. Only the tone-deaf, drunks, family, etc. will be your fans.

    I've done gigs where the band had a "tech rider" that specified they might bring a sound engineer, and if they do, he/she runs sound, or they don't play.

    I have my own mixers. No beer nor any other thing has been spilled. All controls work, no scratchies.

    Yes, as sound systems get better, smaller, more portable, more efficient, I'm seeing more and more bands have their own. Sometimes run it themselves from the stage, and it ends up being better than many "sound guys'" mixes, but still out of balance. I've suggested to several that they could find someone local, like me, who can clean up their mix from out in the room (phone / tablet remote control).

    I do know, and have met, and worked with several female audio engineers.

    Starting Score:    1  point
    Moderation   +1  
       Interesting=1, Total=1
    Extra 'Interesting' Modifier   0  
    Karma-Bonus Modifier   +1  

    Total Score:   3