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City: Gainesville
State: Florida
Country: US
Signup Date: 1/27/2006

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Tuesday, November 13, 2007 

Category: Music
Hosted By: Backstage Lounge
When: Saturday Nov 17, 2007
at 9:00 PM
Where: Backstage Lounge
1315 S. Main Street
Gainesville, Florida|10 32601
United States
Description:
Backstage Lounge

Click Here To View Event
Tuesday, June 26, 2007 

Current mood:  chipper
Category: Music

Hey Now, my name is Ric and I'm the house audio engineer/tech at the Backstage Lounge in Gainesville, Florida. When you come to the Backstage please bring all instrument (Line) cables with you as we do not care any in-house to loan you. Also we do not have RCA or 1/8" TRS connectors. Our DI boxes are pro and use ¼" to XLR to send signal to down the snake to F.O.H. so please bring any adapters you need to plug keyboards, samplers, or other line devices into these ¼" inputs. Also, we have approximately 6 DI boxes and that is all we normally need. If you have a large rack of keys/samplers or other line devices, email me or bring a sub mixer (i.e. Mack 1204, etc). One other thing to keep in mind, this is a mono system. It's been that way for many years and will be that way until the entire system is upgraded. Please be able to provide a mono signal without loss of program material as it doesn't make sense to waist two input channels at house just to sum to mono. One other thing, we have 4 power strips around the stage. Please bring your own (if needed) as these are for everyone and not just your gear. See Myspace.com/eddiecstechcrew pic for the stage plot and aditional information. Thanks again and email me if you have any questions. I'm looking forward to working with you and have a great show! --Ric--

Myspace.com/Ric97

Myspace.com/eddiecstechcrew

Skycosound@hotmail.com

PS I don't bring my personal gear so if you show up and don't have it; I most likely will not either. The club is not set up for personal ear monitors however email me if you would like to use them and I see if I can work them in.

Currently listening:
Sailing the Seas of Cheese
By Primus
Release date: 14 May, 1991
Thursday, June 14, 2007 

Current mood:  nostalgic
Category: Music

And now for yet another of Ric's audio engineers crazy tips to help improve the show...

If you don't already have one, cut a hole in your kick drum slightly off center to the right preferibly with a inside diameter of  3 1/2" so a mic can be place in/up to it. Unless you like that fashonable carboard box sound that was all the rage in the 70's disco era .

That is all....

 

Currently listening:
Pure Disco
By Various Artists
Release date: 08 October, 1996
Thursday, April 05, 2007 

Current mood:  sad
Category: Life

 We at the Backstage had the honor of working with Officer Corey Dahlem of the The Crown Vics Band. We are very saddened by his tragic passing and feel sorry for his family.  Below is a picture and article from the Gainesville Sun.


Photo Sharing and Video Hosting at Photobucket


..>..> ..> ..>..>..>

GPD lieutenant injured after UF victory dies..

Those who knew him say Lt. Corey Dahlem was more than just a dedicated member of the Gainesville Police Department.

He was a mentor, a friend, a music lover and - above all - a devoted husband and father.

"You always look for the nice things to say when something like this happens," said Lt. Bart Knowles at GPD. "But he was genuinely one of the nicest guys you would ever meet."

Dahlem, 45, died at 2:51 p.m. Wednesday at Shands at the University of Florida from injuries he sustained when he was struck by a drunken driver while on duty after the University of Florida men's basketball team won the national title Monday night, according to the Florida Highway Patrol

Most of the postgame revelers had been cleared from W. University Avenue when the accident occurred just after 2 a.m. Tuesday. Dahlem and another officer were crossing the road when a black pickup driven by Austin John Wright, 21, of Atlantic Beach pulled onto W. University near the 1500 block, struck Dahlem at the intersection of NW 17th Street, and then continued westward, FHP said.

Wright nearly struck two officers on motorcycles before two additional officers were able to box in his truck and arrest him after he turned on to NW 19th Street, FHP said.

Breath tests on Wright later indicated his blood alcohol level was nearly three times the limit of 0.08 used to determine a charge of driving under the influence, FHP said.

Wright had three passengers in the vehicle with him at the time of the accident: Norman Berry Taylor, 19, of Venice; Jamie Lynn Mullis, 19, of Jacksonville; and Shelly Ann Floyd, 19, of Atlantic Beach, according to the Highway Patrol.

Wright could face a charge of DUI manslaughter for his role in the accident, according to FHP Lt. Mike Burroughs.

Dahlem underwent several surgeries following the accident, but officers and friends who visited with him and his family after the crash knew he was not expected to survive. He suffered severe injuries to his brain and upper torso when he was struck.

A decision was made to remove Dahlem from life support, and throughout the day Wednesday rumors circulated that the lieutenant had died, although the hospital continued to report he remained in critical condition.

Shortly after 3 p.m., a call went out to officers from dispatchers that Dahlem had died at 2:51 p.m. at Shands at UF.

"Police, by nature, are problem solvers, and right now, we don't have that ability," said Lt. Keith Kameg at GPD. "So our focus will be toward the family. This is not well-traveled ground for us as an agency."

Dahlem's name was added Wednesday to the list of Gainesville Police officers who have died in the line of duty posted on The Officer Down Memorial Page. The group is a nonprofit organization that honors America's fallen law enforcement officers and maintains the site where people can send in information and remembrances.

Three other officers were already on the list, with Dahlem's name appearing beneath that of Officer Scott Baird, who died from his injuries after he was struck by a vehicle on Feb. 12, 2001. Baird, 23, had been trying to remove a batting cage that had been dragged from a field at Gainesville High School onto NW 16th Terrace when the accident occurred.

Dahlem, who was born in St. Petersburg, was a 22-year veteran of the Gainesville Police Department. He started as a uniformed patrol officer in 1985 after graduating from Florida State University with a degree in criminology.

Dahlem's loyalty to the garnet-and-gold Seminoles was a well-known fact around GPD, and one that fellow officers ribbed him for regularly.

Knowles said he recalls a time when Dahlem trusted him to care for his dog while on vacation. Unfortunately, the dog broke his leg while in Knowles' care, providing an all-too-tempting opportunity to expose Dahlem to some Gator spirit.

"My wife painted the cast orange and blue," Knowles said with a laugh.

Longtime friend Bob Carpentieri said he was neighbors with Dahlem for many years, and the two families bonded over their love of the Seminoles. He said a group of friends from the neighborhood would get together once a week to talk FSU sports in what they called their "Seminole Klatch."

"If you're lucky in your life, you meet a handful of genuinely beautiful souls, and he was one of them," Carpentieri said of Dahlem. "I don't think he had a malevolent bone in his body."

Dahlem steadily moved up the ranks at GPD, hitting corporal in 1992, and then sergeant in 1995. Once becoming a sergeant, he spent time as the head of personnel, and then turned his skills toward developing GPD's Data Trac Room, which is used to track crime trends and analyze data.

In November 2003, Dahlem went back to patrol, but this time as a lieutenant. And he usually worked the midnight shift.

"He loved the midnight shift," said Lt. Will Halvosa, who was hired at GPD at the same time as Dahlem. "He just thought sleep was overrated."

The midnight shift also gave Dahlem more time with his family.

"His passion, honestly, was his family and kids," Knowles said. "He was one of those kind of guys who would literally do everything to make sure his kids had what they needed."

Lt. Keith Kameg at GPD said Dahlem also enjoyed the mentor role that the midnight shift allowed.

"Midnight shift is where we have most of our younger officers, so you're always in a teaching mode," Kameg said.

Early in his career, Dahlem acquired a nickname that never let go. Knowles said a picture circulated around the station one day that depicted Dahlem as a kid dressed up for Halloween with a group of friends. The theme was utensils, and Dahlem was the spoon.

"Instantly his nickname was Spoon," Knowles said.

The nickname would later spawn more nicknames for Dahlem's children, such as teaspoon and teacup.

And most of his peers knew Dahlem loved to play guitar, which he did on a regular basis with a group of friends in a band dubbed "The Crown Vics" - a play on the Ford Crown Victorias that are commonly used as patrol cars.

"The best thing you could say about Corey is he was the guy who would give you the shirt off his back," Kameg said. "If you needed help, all you had to do was ask."

Dahlem's family in Gainesville included his wife, Sally, and his two grown children, Brandon and Katie.

A visitation for Dahlem will be held Saturday from 1 to 5 p.m. at Trinity United Methodist Church, 4000 NW 53rd Ave. Funeral services will be Monday starting at 11 a.m., also at Trinity Methodist, with graveside services immediately following at Forest Meadows Cemetery, 4100 NW 39th Ave.

In lieu of flowers, the family is requesting donations be made to the Corey Dahlem Benevolent Fund at the First Credit Union of Gainesville, 412 E. University Ave.

Currently listening:
Knocking on Heaven's Door
By Arthur Louis & Eric Clapton
Release date: 02 November, 1999
Wednesday, January 17, 2007 

Category: Music

This is from another club in Florida (Larger than the Backstage) which is fustrated with bands whom lack responcibility. Sounds like a few we have seen lately...

--Ric--

Date: 1/16/2007


Read Bulletin
From: Maximum Bands


Date: Jan 16, 2007 11:11 PM
Subject BANDS THAT DON'T PROMOTE, ARE LAZY, AND NOT ON TIME...
Body: It's been close to 3 months now for the Wed. Rock Solid Pressure Showcase night at Bourbon Street in New Port Richey and we have had some great success, bands that come from over 2 - 3 hours away and bring a buslooad of people....
but we still have some miserable failures.

Why?

Simple

Some Bands don't promote, are lazy, and have a terrible slacker mentaility.
They show up late for load in, have no clue where to be...or how or..when (they are all given explicit instructions weeks beforehand).
Then only 3 people show up for them... and then come the lame excuses!

"It's so "hard" to bring people out on a Wed." (BullS#$@% - you dream of becoming a star, nothing is given to you, it's hard work, beg, plead, work the street, phones...get people there)

"It's so far from Tampa to come here (actually it's a lousy half hour up 75 to 54 to the club)"

"My Guitarist is driving all the way from Orlando" (his problem, you knew weeks ahead of time when to be there)

WAH WAH WAH..SNIFFLE SOB CRY

ALL OF YOU SLACKERS THAT WILL NEVER BE IN THE CLUB AGAIN ARE LUCKY I DON'T POST YOUR BAND NAMES TO EVERY CLUB OWNER IN THE STATE.

I'm amazed! You get paid, you get seen by a label rep., you can get your music on a syndicated radio show, you can sell your merch., you can win recording time, you can get interviews in magazines, you might get in a major label showcase in the fall, you get to play in a great club with a huge stage/light show/2 green rooms....

and you can't get 10 people to show up?!


But there have been bands that have done everything right, kicked ass, brought tons of fans, and now they are getting weekend shows, opening for National acts, are being pushed to labels...


So my rant is over for now.

I do this night because I really care about local music. I am a musician myself and write and play my own stuff. I could care less about the small % I make. I'm more happy about a band like Berwick from last years Gig of a Lifetime Contest getting signed at the RSP showcase than that.

Could be you too this year...

Rich
Maximum Bands
The Best Damn Legal Booking

Currently listening:
Wake Up and Smell the Coffee
By The Cranberries
Release date: 23 October, 2001
Friday, December 15, 2006 

Category: Music

Gainesville Bands - Post your show flyer (Remember to include GainesvilleBands.com on it)
Rock 104 -WRUF FM radio
100.5 FM The Buzz - Gainesville's Rock Alternative
Alligator Mag - local Mag that goes to the clubs and has 30,000 + readers
Gainesville Sun - newspaper (The SCENE MAGAZINE) section
Satellite Mag - local Mag that goes to the clubs and has 35,000 + readers

Wednesday, December 06, 2006 

Current mood:  frustrated
Category: Music

I have notice an opportunity in the music realm for some guitarists who need words of advice with their sound & performance. This is by no means a put down, only a helpfull tip to enhancing your performance and our listening enjoyment.
 
 1. Have your guitar set up (i.e. Intonation!).
2. Buy a tuner and use it
3. Make sure your cord works or buy a new one along with a spare to take to shows.
4. Check your speakers in your rig. If they are blown, replace them.         
5. Have your clean and dirty amp levels the same.
6. You will hurt everyone's ears if you have you amp too bright. Pay attention to your sound as none of us like a weed eater on steroids for the "Ultimate" guitar sound
If you do these things, you will sound like a pro vs. a beginning student!
 
 
--Ric--
Currently listening:
20th Century Masters - The Millennium Collection: The Best of Yngwie Malmsteen
By Yngwie Malmsteen
Release date: 24 May, 2005
Friday, March 03, 2006 

Current mood:  geeky
Category: Music

Greetings, in trying to educate people like ourselves who strive to have a better knowledge of the workings of audio, I have brought up this topic to dispel some ideas that are believed by many however are not true. Many people in our business, due to lack of experience, believe that if you have a larger "power amp" that your guitar rig/ bass rig or even PA will be louder. This however is just not true. Therefore, I bring you the law of physics in it's scientific form and then I'll break it down to laymen's terms. So without further ado, the Inverse-square law: is any physical law stating that some physical quantity or strength is inversely proportional to the square of the distance from the source of that physical quantity. This is a physics law that is the rule that helps explain why sound gets softer as it gets further away from the sound source. As the wave disperses from a source, the energy from the original noise keeps expanding over a larger and larger sphere. Since there must be conservation of energy, as the sphere gets larger each point on the sphere actually contains less energy. At 1 meter from the sound source, the sound wave contains a certain amount of energy. At 2 meters from the sound source, that same amount of energy must now be spread over a larger area.

 

What does this all mean??? Well as you double you're distance from your speakers (i.e., 1 meter - 2 meter - 4 meter - 8 meter - 16 meter and so on) you loose half of your volume (= -3 dB). Here's an easy example, if your speaker(s) are putting out 120 dB 1 watt/1 meter at 2 meters you will have lost 3 dB @ 117 dB 1 watt/2 meters. We as humans hear linearly and perceive this 3 dB loss as half the volume. This means at 32 meters, which is about 100 ft from the stage you will be at 105 dB. Keep in mind that this is in a perfect world with no boundaries. Therefore, you ask, "what do I do to increase the volume?" Add more amplifiers? - NO! You double your speakers. Every time you double your speakers, you add 3 dB of volume. Therefore, you have one left and right speaker cabinet putting out 120 dB 1 watt/1 meter and you add another identical left and right speaker cabinet you have just added 3 more dB to your volume and as I mentioned above we perceive that as doubling the volume. Keep in mind you may need another power amp to run those speakers but it has no effect on the volume. This holds true to guitar rigs. Need more volume, make it a full stack or double it again (yes another full stack would be double) and you have added 6 dB to your volume. By the way, do not bring two full stacks on a stage I'm working. My ears cannot take it. So there you have it, double your distance loose 3 dB, double your speakers, and add 3 dB. Keep an eye on this Blog, as I'll be adding more Tech talk info soon.

--Ric--

Currently listening:
Tales From the Punchbowl
By Primus
Release date: 06 June, 1995
Monday, February 13, 2006 

Category: Music

I've noticed that many singers need to work on their use of a microphone. Here's some do's and don'ts so you can be heard and project. No matter how much I EQ, you are the ultimate sound source. Just as I mic a drum or guitar, I start with my source and make sure the mic is in the right place and location. You as the singer control mic placement and projection so here are some tips to make you stand out in the crowd!!!!

--Ric--

 

Microphone Types


Transducer Types: Dynamic and Condenser

Beginning to understand how microphones work will help you to understand their sonic differences. A good place to start is transducer types because every mic, whether wired or wireless is either dynamic or condenser.

 

What's a Transducer?

Live performances typically use a mix of dynamic and condenser mics.

Monitors became especially important for singers, who found it much easier to sing in key when they could hear themselves without having to scream. It also allowed bands to play more gigs by saving the singer's voice from the trauma of having to constantly compete with the rest of the band.

 

And Now, A Word About Phantom Power

Condenser mics receive their power through the mic cable from the input of the device to which they are connected, such as a mixer or mic preamp. This is called Phantom Power.

Phantom power is a DC voltage (generally ranging from 11 to 52 volts) that powers a condenser mic's electronics and, in certain models, provides a polarizing voltage for the capsule. Most often, a mixer supplies phantom power, but it can also be supplied by a separate, dedicated power supply.

Most condenser mics can operate with phantom power voltages ranging from 11 to 52 VDC.

 

Transducer Types and Frequency Response

Dynamic and condenser mics have different frequency response characteristics. Dynamic mics tend to be "shaped", meaning there are more peaks and dips in the frequency response. Condenser mics are typically "flatter", and have more extended high frequency response.

 

What this means:

If you're looking to accentuate mid-range frequencies in vocals or increase intelligibility, a dynamic mic might be your best choice. Most of us associate this sound with full throttle rock and roll. On the other hand, if you want your sound to cover a wider (high and low) frequency range, e.g. to better represent your voice, or achieve a more "realistic" sound, a condenser mic might be a better choice.

Again - it's a matter of experimentation.

 

This One's Easy: Pickup Patterns

 

Proximity Effect and What to Do About It

The bass response of all directional microphones is increased as the signal source - your voice - comes closer to the mic capsule. This is called Proximity Effect and it becomes apparent at a range of one foot and increases as the distance of mouth to mic decreases.

For speakers or singers with high or thin voices, proximity effect can boost the bass, filling out the sound.

 

How to Work the Microphone

 

Holding the Microphone

Seems like a natural thing, doesn't it? However, how you hold a microphone so that only your voice goes into it, and not the other sounds that you don't want to pick up, is a science and not an art, no matter what you see on MTV. Keep the microphone close to your lips. You won't get the effect you want with a microphone an arm's length from your mouth.

Why?

The first reason is the inverse square law. If you hold your mic a half inch from your lips, it receives a given amount of sound energy from your voice. Move it twice as far-one inch-and it receives one-fourth as much energy. That extra half -inch takes away three-quarters of the efficiency of your sound system. While good mic technique does include "working" the microphone, singers that fully extend their arm when reaching for that climax, are usually doing it for dramatic effect. Small changes in distance from your mouth can result in very dramatic changes in sound level.

Second: When you move the mic away from your lips, you must turn up the microphone level at the mixer to be heard, and more unwanted sound enters the mic. When sound from a monitor speaker enters the mic, we know the earsplitting screech as feedback. Keeping the mic close to your mouth minimizes feedback.

 

Mic Handling Tips

 

DO

- Hold the microphone steady.

- Mount on a stand to reduce handling noise

- Hold it short distance (no more than 3" -4") away and point it somewhere between the nose and mouth.

DON'T

- Wave the microphone around.

- Press it to your chin.

- Cover the microphone by holding it at the ball grille.

 

Microphones and Monitors

Until more musicians adopt in-ear monitors, stage or floor monitors will continue to have a presence in live performance. Now, the goal becomes getting the best possible Gain before Feedback.

What It Is and Why It's Important:

Gain before Feedback is the amount of gain (amplification) that can be achieved in a sound system before ringing or feedback occurs. In live performance, you generally want as much of this as you can get.

To keep vocal microphones from picking up sound from the floor monitors that are facing you and other musicians onstage, place the monitor angled towards the least sensitive side of the microphone. With a cardioid pattern microphone, place the monitor directly behind the microphone.

 

Personal Choice

 

For most singers, the most important thing to remember in choosing a microphone is that it's completely personal. How it sounds, how it looks and how it feels are really the most important factors.

Some general guidelines to remember:

Decide on a condenser or dynamic microphone.

Keep the mic in close proximity to the sound source (voice) and as far away as practical from unwanted sound sources (such as loudspeakers or instruments) to reduce feedback.

Reduce pop (explosive breath) sounds by holding the mic either closer or farther than 3 inches from the mouth (because the 3-inch distance is worst) or by using a pop filter.

Reduce handling noise and stand thumps by using mic stands and accessory shock mounts.

 

Feedback: Fact and Fiction

One of the most commonly asked questions in professional audio are "What microphone can I use that doesn't cause feedback?" The answer to the question is, of course, that no such microphone exists. Feedback results from a combination of many factors, including loudspeaker placement, microphone placement, the frequency response of both devices, and room acoustics.

What is feedback?

Feedback is characterized by a sustained, ringing tone, which can vary from a low rumble to a piercing screech. Echoes and reverberation caused by room acoustics, as well as ground buzz and other extraneous noises, is not the same thing as feedback, and cannot be cured in the same manner.

What causes feedback?

Feedback occurs whenever the sound entering a microphone is reproduced by a loudspeaker, picked up by the microphone, and re-amplified repeatedly. The familiar howl of feedback is an oscillation that is triggered by sound entering the microphone. The easiest way to create feedback is to point a microphone directly into a loudspeaker. (I don't recommend you try this!) Placing the microphone too close to the loudspeaker, too far from the sound source, or simply turning the microphone up too loud exacerbates feedback problems. Other contributing factors are too many open microphones, poor room acoustics, and uneven frequency response in either the microphones or loudspeakers.

 

What can I do about feedback?

The single easiest way to reduce feedback is to move the microphone closer to the desired sound source. Additionally, using a directional microphone (cardioid, supercardioid, etc.) will typically increase the amount of gain before feedback. Reducing the number of open microphones with an automatic mixer will also improve the situation. Try to keep microphones and loudspeakers as far away from each other as possible. Lastly, acoustically treat the room to eliminate hard, reflective surfaces such as glass, marble, and wood.

When all of the above solutions have been exhausted, the next step is to look towards equalizers and automatic feedback reducers. A common technique used by sound engineers is "ringing out" a sound system by using a graphic equalizer to reduce the level of the frequencies that feedback first. After the techniques described in the above section have been applied, slowly bring up the system level until you begin to hear feedback. Now go to the equalizer and pull down the offending frequency roughly dBA. If the feedback is, a "hoot" or "howl" try cutting in the 250 to 500 Hz range. A "singing" tone may be around 1 kHz. "Whistles" and "screeches" tend to be above 2 kHz. Very rarely does feedback occur below 80 Hz or above 8 kHz. It takes practice to develop an ear for equalizing a sound system, so be patient. After locating the first feedback frequency, begin turning up the system again until the next frequency begins ringing. Repeat the above steps until the desired level is reached, but do not over equalize. Keep in mind the equalizers can only provide a maximum level increase of 3 to 9 dB. Parametric equalizers, though more confusing to the novice user, allow for more precise control of feedback frequencies. A graphic EQ allows the user to cut fixed frequencies with a fixed filter width. A parametric EQ allows the user to isolate specific frequencies and adjust the width and depth of the filter.

Automatic feedback reducers will accomplish the same results as above. They find and cut the frequencies that are feeding back automatically. The same precautions listed above apply to feedback reducers as well as equalizers. Automatic feedback reducers are very helpful in wireless microphone applications. Remember that microphone placement is crucial to eliminating feedback, and the temptation to wander away from the ideal microphone position when using a wireless is great. If the performer gets too close to a loudspeaker, feedback will result; a good feedback reducer will be able to catch and eliminate the feedback faster than a human operator.

Proper implementation of the above techniques will go a long way towards eliminating feedback in your sound system. Do not rely solely on equalizers or feedback reducers, and remember that feedback results from more than just the microphone!