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| Awesome Practice Pad Kit up for grabs! | | | 
drumdog
349 posts (4 today)
0 Awards
13 June 2006
| I own a small regional sound company called Metrosound. We mostly work in NYC. Our clients range from small/medium size promoters to groups putting on special events/benefits, etc to clubowners, on a install/maintenance basis.
One of our specialties is combining a live performance such as Tito Puente, George Benson or Roy Ayers within a DJ/house music (club/dancing) context. Usually the artist is a singer, Like Grace Jones, Patti Labelle, or Jocelyn Brown, but I'm especially proud of working for Tito. (May he RIP) Another great percussionist I worked for is Luisito Quintero. He is incredible, a drummer's drummer.
My Pro Audio mentors were Jim Toth, Kevin Hartmann, and Lewis Feldman, among others.
As a drummer, my last teacher was Neil Larravie way back in High School. Haven't had much (any) formal education since. My favorite instruments are drum set, timbales, and dumbeks. I learned dumbek from a guy named Ahmed when I was about 8 years old. Now I play multiple (1 to 5) tuned dumbeks on custom stands, an arrangement I made up for an acoustic band I play in. I find that two A's and two G's in Octaves (a high and low A drum, and high and low G) sometimes with a C drum works for almost any key the band might be in. Does that sound pretentious? I just like it to be musical. I like to work little melodies in sometimes. I hate out of tune, off key or just bad sounding drums. That ain’t workin’, babe!
| | Message posted 2067 days ago |  IP Logged |
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drumdog
349 posts (4 today)
0 Awards
14 June 2006
| Did you see that DVD of Tom Dowd's life story? I was rivited.
I read Roger's column every month in Live Sound magazine, too. I usually go and buy or listen to whatever music he might happen to mention. Between him, Steven St. Croix in Mix and random Fletcher musings I read online, I pretty much stay in a state of wide-eyed audio fantasia. Until the phone rings, of course.
I have a pair of Mackie HDR2496 recorders, and I'm trying to get more and more flight time on them, whenever I can, but Live Sound is what pays the bills here. I plan to build a recording studio when I can raise the money. I have a 1885 brick schoolhouse building with 14' ceilings right next door just waiting for me to get off my ass! I already have a pair of RCA BA6A's in storage and a pretty cool mic collection. | | Message posted 2066 days ago | IP Logged |
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drumdog
349 posts (4 today)
0 Awards
15 June 2006
| One of the first things we can do to protect our ears is to refuse to work for cheap. And sometimes I'll give them a big discount if I can run the sound without 'help' from the guest engineer. I don't mind the concept of teamwork and some limited collaboration, but I'm not eager for a walk-on to totally displace me unless I already know and respect them as true audio engineers. I realize that is not workable for common situations, in the daily trenches we face. I let a lot of the dumb, tiresome stuff pass me by.
The situations that work for me are those where I'm in complete control of the sound, as either chief engineer, sound designer, installer or tech director. Then SPL levels don't get nuts. But I do still carry earmuffs and earplugs, although they come out for the artist's set (!)
...unlike some other engineers I've seen in action.
Alan | | Message posted 2065 days ago | IP Logged |
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drumdog
349 posts (4 today)
0 Awards
16 June 2006
| That happened at my last gig, for the singer Roisin of the band Moloko. At one point during the set the clubowner/promoter finally complained, and I had to jump in and try to repair the mix and the gain structure. I was being too nice, I guess. The artist's manager/engineer was kind of a cool guy, so I let my guard down.
-Alan | | Message posted 2064 days ago | IP Logged |
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