As I was taking pictures this weekend I thought about how I want people to be able to use my content and thoughts. Part of this was sparked also by my recent appearance on AVNation’s AVWeek Podcast Episode 189: I Know Who To Call. Tim brought up some topics that I have both experience with and opinions about, so I shared them with everyone. I was pleasantly surprised when I was also quoted heavily in an article on Commercial Integrator as well. So it got me to thinking, what are the rights I want to reserve or share? I am currently listening to Cory Doctorow’s book Information Doesn’t Want to Be Free: Laws for the Internet Age (hardcopy). This link is to the self-published audiobook read by Wil Wheaton. One of the things I am learning from these thoughts is the question of how much do I want to share my created content.

I have already created some content obviously you are reading some now, I have have images available at that can be used. I have until now been keeping a tight leash on the images with watermarks and right click protection. I plan on keeping some protection in place, not quite sure how much yet or how it will be set up. However I want to share the information and experiences with more people. Yes, I would like to earn some money along the way, however at the moment that is not the key goal for me. I want to create things and put them out in the open for people to enjoy. I just want to know when things I create are being used.

So having said that you can see the description of the usage rights I have created at the page The idea is that if you are using my content for personal use, you may do that with attribution. If you want to use my content for commercial use, there is still licensing issues to be discussed. I encourage you to consider how you want your content handled, keeping in mind that many of the tools we are open source and are being shared as well.

I recently purchased a pair of high performance headphones. Not high performance by brand but by specifications. Yes, I know how to read them. They are rated for 10Hz to 30kHz and they are relatively flat, with variable tuning plugs to change their response curve acoustically. I decided to give them a little test run using various material in my home system. I was surprised by the results. Now first allow me to explain and indicate that this is by no means a double blind test. Yes, there are lots of things I could have done to improve it but I was still surprised with the results.  I am purposely trying to leave product and brand names out of this post as the desire is to talk about the signal flow and process. It is very easy to get into the debate of is Brand A or Brand B the better product. Instead I am just talking about the signal chain and process. I am also going to not share the number thresholds I found, each person’s needs and opinions will be different. The entire point of this is to not let the bigger number be the better number, just because it is bigger.

The basic signal flow was the following:

  • Source – 44.1kHz 16bit WAV files (1411kbps), MP3 153kbps (VBR) files, MP3 320kbps files
  • Playback Engine – iMac based, Digital Audio Workstation Software (Adobe Audition CC 2014 & Audacity)
  • Output Device – USB connected Digital to Analog converter running at 44.1kHz locked to computer sample clock. (D/A (24 Bit) 106 dB typical, A-weighted, 20Hz – 20kHz via headphone output
  • Headphone Output – 1/4″ TRS for stereo converted to 3.5mm TRS via passive adapter
  • Headphones – 10Hz to 30kHz passive devices in ear style with acoustic tuning plug at flat

So I tried a few different sample tracks. Ones that I had extracted as WAV files, same file extracted as MP3, original WAV files purchased directly from the artists, MP3 encoded by the artists. They were all well produced tracks ranging from full band rock and roll  to acoustic pieces. The artists ranged for well established musicians (Peter Gabriel, Nine Inch Nails, and Robert Fripp) to less well known musicians (Jonathan CoultonMarian Call, and California Guitar Trio). These were all tracks I am familiar with. What I would do was import the files into the audio editing software as stereo tracks, both the WAV files and MP3 files. I would place them on adjacent tracks that I could exclusively solo (screen captures at end of post). The sample rate of the project was set at 44.1kHz and 16bit to minimize coloring by the audio software resampling. This configuration allowed me to play both the MP3 and WAV track simultaneously and switch between them easily. The switches were typically very fast and with little artifacts. I found that the numbers of bits flowing had less of an impact than I expected at higher rates. I really like that many musicians are providing uncompressed formats, but Marian Call gets a gold star for providing me WAV files. (If you listen to her stuff, the typewriters are not sound effects they record them as part of the process.)

I was able to tell that there were differences between the compressed and uncompressed formats, no matter what the bit rates were for the MP3’s. However what I was more surprised was how subtle the differences were between each step or file in the process. I then took it a step further, I took the same WAV file I extracted from a CD as well as a purchased WAV file and created different MP3 streams. ranging from 320kbps to 32kbps. I used a batch converter, I did not go in and tweak each encoding as can be done with better audio editing software. I then loaded up all the files into both editing software packages and once again went through and used the exclusive or simple solo feature. I saw surprised at how far down the sample rate could be set before I found the music quality objectionable. This value changed based on the material I used. Let me say that again, the minimum bit rate value I found acceptable changed based on the material being used. Multiple points of diminishing returns were found. Yes, I understand what the numbers mean and how more data is typically better. But at the higher bit rates with good converters the differences were smaller than expected. As soon as I crossed a threshold, it was a point of no return. The number was lower than I expected as I had been applying my knowledge of the encoding processes previously, now I was just listening as objectively as possible. it also varied by the material as I indicated.

If I am listening to a podcast, does it need to be 44.1kHz, 16 bit, stereo for the human voice? I don’t believe so. Especially as most podcasts are just the human voice. Voice over IP studies have found most vocal information is in the 3,500Hz and under range. Transmitting at the higher sample rate is just wasting bandwidth and storage for the listener typically. But that is a discussion for a different time.

I still find and believe uncompressed audio files to be the best. Especially if one is tuning and adjusting an audio system. There were definitely shifts in the tonal and temporal qualities of the music. However for listening while traveling or as background sound, perhaps the lower data rates are the proper solutions. I do know that for my travel selection, encoding down to a more reasonable file size makes sense. I can place lots of music on the portable player. I am listening in an environment, especially when on an airplane, that is less than ideal. Yes, I am still keeping my music library as WAV files, yes those are my preferred format. However when I want to load up 8,561 songs for a ten day business trip onto my music player or laptop I am sated (not satiated – yes, there is a difference) with downconverting to MP3’s. I will still travel with WAV files for critical listening as well, often on an optical media.

So I encourage you to try this yourself. There is open source software such as Audacity that I used so that you can do your own tests. However like me, I believe that you will find that picking quality by the numbers of bits flowing is not always providing a full or simple answer.

This image shows the way multiple tracks were stacked and then individually soloed in Audition
Adobe Screen Capture
This image shows the way multiple tracks were stacked and then individually soloed in Audacity
Audacity Screen Capture

My loyal reader and twitter follower is aware, I just attended the InfoComm2014 convention. I found myself struggling what to do with all these business cards I had acquired. Not only the question of how long should I hang on to them, but how to get all the details into my electronic system. After looking at a few solutions, I have a request for all my readers – make the lock screen on your electronic device your QR business card.

As someone who has some nice business cards, with 10 different pictures on the cards, I appreciate and enjoy the statement and symbolism of exchanging business cards. What I do not enjoy is trying to get all the data into my various electronic organization tools. It is time consuming. First was the problem of finding a good tool to scan and then read all the data. Then comes the problem of verifying all the data that just got imported and loaded into the computer. There are pieces of software that can do this for you, but even those are not perfect and require some tweaking.  I have tried CamCard for iPhone but am not totally happy with it. The interface is pretty good, but there are short comings. I do like that one can review and edit them on the web. However one cannot easily export it from the corrected version on the web. One has to give CamCard access to your contacts to load it into your contact information. I probably sound paranoid and stereotypical but giving a Chinese company access to my contacts is not something I feel comfortable with. I do like the batch scanning option though.

I can continue talking about the various options I have used and tried. I am using Evernote Hello for my personal contact management. It does not do as good a job dealing with unique layouts on cards. It also does not include a way to include the address.

The thing I would like for more people to start using is a QR vCard. There is a protocol that allows for embedding contact information directly into a QR code. The protocol does not require actually being connected to the Internet to retrieve the information. It simply requires the receiver to have a QR code reader, many of which are free. The process is fairly simple and painless.

  1. Load a QR Code Reader onto your phone.
  2. Using the camera on your phone ingest the QR code you are interested in
  3. View the results

I have created a QR vCard that is the lock image on my iDevice. (A QR card size of 450 pixels by 450 pixels about 305 pixels from the top of the image for an iPhone 4S works.) I do not even have to unlock the phone to provide the QR code to someone. I also have a QR application (Qrafter Pro) that allows for reading QR codes from pictures. I can take a picture without unlocking my iDevice as well. If you really want to be sneaky smart, take a picture of the person also so you can remember what they look like.

To get you started, here is a sample QR code that I created online. There are also sorts of other tools available, Qrafter Pro also allows for creating the grids.

Trial QR code

Go ahead try out your reader.

Relatively easy? Simple?

Now if you will excuse me, I have to go back to reviewing scanned business cards. I think I will even update my personal cards to have a QR code.

Shout out to Linda Seid-Frembes who gave me this idea years ago – You can read more about it at her blog.

Yes, I now that this topic has been talked about before but I really think it is worth considering.

When traveling with toiletries including medications, be aware of the temperatures you are putting them through. Some medications, including contact solutions, have storage temperature ranges for the ingredients to remain potent. It is very easy to go outside of these ranges when leaving luggage in your car or checking it with an airline. I realize that there are times the extremes cannot be avoided but they should be considered and avoided. Simply bringing your toiletries with you when you are going to be at a location for an all day meeting can be helpful.

I have gotten some strange looks when I have brought my luggage into my office in the morning. However I have also had the fun of melted deodorant from leaving luggage in the truck in 100 degree sunshine. Of the two, I will take the odd looks I just simply explain about melted ineffective products.

This one might seem odd to some, but I have found it very helpful. I travel with my own bar of bath soap. I have found that the bath soaps can be very hit or miss when traveling. Some of them can be very powerfully scented, and often times with an unpleasant fragrance. Other soaps are so small that they are difficult to hold on to. The worst is when one is allergic to the soap that is provided. Some times there is no soap at all in the hotel bathroom. Don’t ask me about the last two, I just know about them.

Traveling with my own full size bar of soap, it is even allowed in a carryon, has solved much of these issues. It has been more pleasant than I expected. I am sure that other travelers will also travel with their own hair care and other products, but I don’t have enough hair for that to be an issue.

Many travelers prefer a single king size bed in their hotel room when traveling. However I believe that getting two beds has cut my chance of having a bad mattress in half. While that phrase is a little misleading I have learned a few things that cut down my chances of getting a bad mattress.

The first one that is quite apparent is that if bed #1 does not meet your standards, you can change to bed #2. This could be something as simple as the airflow in the room. Typically it is something more serious, a mattress that is not consistent as it has a phone butt spot.

A phone butt spot is the location where the typical guest will sit while using the phone. If there is a night table between the two beds, the phone is typically closer to one bed. That bed is often sit on while the person is on the phone. Yes, I realize that many people will avoid using the phone all together, but arranging a wake-up call still occurs quite a bit. That is typically where the guest will sit while making that call or arranging for pizza delivery.

In addition having two beds gives you the benefit of having extra pillows for building a fort. One also can have dinner watching TV on one bed and have the other one be clean for sleeping. The list can continue but I think you get the idea.

My faithful reader, yes I am talking to you, knows I travel quite a bit for work. I want to pass along some of my travel tips for your benefit. This one does not make sense at first but some day you will thank me.

When I travel with a laptop that I want to use in a public space. I always try to find a corner location to sit in with no one behind your back. This is helpful for the unexpected moment when you open an e-mail and it is nice and spam filled with pictures of people in various states of undress and comfort. It is also helpful when you open a Tumblr link and all the sudden the web page explodes with phalluses.

Not that either of those of happened to me, since I am sitting the corner of the airline lounge with a plant behind me and a window to my right.

More travel tips to come in the future…
( I am actually home [okay my local Starbucks] now, another travel tip is to make sure you press publish before boarding the plane… it also still applies at Starbucks)

As some of you might know in my previous life, I was an audio technician touring with various groups – some known and unknown. I also happen to have eclectic musical tastes. In the past few years I have stumbled upon some musicians through the Interwebs. I have supported some through Kickstarter, Bandcamp, buying direct, and most recently Patreon. I also have had some interesting conversations with artists on Twitter.

The most recent interaction I had got me thinking and created this post. But first the recap of the conversation with Marian Call (@mariancall and Kim Boekbinder [Impossible Girl] (@KimBoekbiner There were branches in the conversation so I tried to make it as understandable as a Twitter stream from an iPhone can be.

Me: @KimBoekbinder @mariancall i am curious why go to cities where sales are strong and not go to uncharted areas to increase audience base?

Marian: @BradfordBenn @KimBoekbinder I try to alternate. You can’t eat if you play too many uncharted areas. Strong strong weak, strong strong weak.

@BradfordBenn @mariancall Oh yeah – that’s what labels pay for. Those of us without labels can only afford to go where we are wanted.

@BradfordBenn @KimBoekbinder Touring is incredibly expensive, on the order of hundreds per day. If you don’t recover that you sink.

@KimBoekbinder @BradfordBenn My exception was the 50 states tour. I carefully planned strong and weak cities for months.

@KimBoekbinder @BradfordBenn It was a great experience and made lots of new fans, but after 9 months I wound up with $0 in the bank.

@BradfordBenn What @mariancall said. Only I have so few strong cities I can’t get far enough to increase my presence.

@mariancall @BradfordBenn Not only is tour expensive – it is exhausting. So you can’t just work another job to make ends meet.

Me: @mariancall @KimBoekbinder understand the costs of touring. Thanks for clarifications, new world since i was touring as an audio tech. Marian:
@BradfordBenn @KimBoekbinder Audio techs rule. Me:

@KimBoekbinder @mariancall still support both of you & your work and would like to see you both play live. How can i help?

@BradfordBenn @mariancall So cool. I love touring, wish I could just go and go and go.

@BradfordBenn @mariancall Where is Wonderment?

@BradfordBenn @KimBoekbinder Where are you, first of all?

Me: Wonderment is a state of mind, learning and seeing things that are interesting. I travel quite a lot for work, my home is South Bend, IN but have spent time in So Cal the past 3 months. Yes, i listen to you on planes

Marian: Sometimes it takes a couple years but we get there!
@BradfordBenn Folks who get really excited about planning a concert near them, and who can bring 30-50 people, mostly get their way.

@bradfordbenn Not to pile on you! It’s a good question. It’s a funny business, far less profit and far more risk than most folks think.

Me: @mariancall didn’t think piling on. Thanks for concern. Think having good conversation. Might even become a blog post.

Marian: @BradfordBenn Being on my email list is the first best step:  this year I won’t tour much, but I will a little.

 @mariancall yup am on the list and have already bought Sketchbook. Will get CD also cause i prefer WAV to FLAC and MP3

I know much of the things that they were talking about from my past experiences, but the scale was very different. Understanding this different economy and music sales process in this century is interesting and different from other businesses. When I travel for work and make sales calls, I often ask to go see the potential customers that are not familiar with my company. When I travel on sales calls, I can interweave existing customers with new customers because there are multiples of each in one city. For a musician that is not always possible, as there are only so many customers (fans) in each city. However the costs remain high for each city, hotel, transport, equipment rental, venue costs… etc.

You may ask, why am I sharing this post and conversation. There are a couple of reasons.

The first was that I found it interesting so I thought my reader would also. As someone involved in the professional audio industry it is very good to hear from other people involved in the process.

It reminds me why it is important to purchase music and not just stream it or download. Pay or support someone for their effort. I am not saying you have to support everyone, but support the artists that you like.

Go out and try new music, search the interwebs, branch out, you might find something you like. Go to concerts that friends have recommended. I think you get the idea.

There are more music outlets than iTunes, Amazon, and Google.

A few suggestions of some of the artists I have been supporting:

As my faithful readers know, I had a less than stellar production experience while attending the Supernatural Convention. For those of you who are not familiar, Supernatural is a television series on the CW network. The lovely wife was lucky enough to win free admission to the convention. I went along to take pictures, they can be found at (At the moment the images are very raw and still need some adjustments, so do not be surprised if there are some changes

The first thing I want to clearly indicate is that the volunteers, the people who barter their services as facilitators in exchange for tickets to various events, were great. They were all very helpful. They provided information as best they had it. Much of the disappointment is about the choices made for the audio, video and lighting equipment. I am not singling out an equipment manufacturer or brand, it is a result of using equipment incorrectly. Let me stay that again, I am not saying that any of the equipment used was inferior, I am saying that the use of the equipment was not appropriate.

First lets talk about the room to get an idea of the room. The ballroom that was used is over 15,000 square feet, it can seat up to 1,900 people for theater style use. It is 105 feet long x143 feet wide x18 feet tall, it is a large room. I do not think that the room was full to 1,900 but more likely to 1,700 based on the need for video and back stage areas.

At the front of the room was a stage about 18 inches off the floor and probably 24 feet by 12 feet. Each side was flanked by a 12 foot wide by 9 foot tall rear projection video screen. Next to each screen was a powered speaker. 1/3rd of the way back against each of these wall was another speaker. Notice that the picture I took is in focus…


I did not get backstage to see the video system but I can tell you it was standard definition at best. It was not very bright or sharp.  There was also a constant ground loop bar scrolling on the video screen. Since the speakers were out front I will say they are a 12 inch 2 way powered speaker rated at 131 dB peak with a 75 degree conical coverage pattern. The brand does not matter as it was a quality product just being asked to perform a task it was not designed for. There was also a powered 300W floor monitor on the stage for the talent and a duplicate on the front of the stage as a “fill” speaker.

There were two Ellipsoidal Reflector Spotlights against the wall on each side for fill lighting. They were basically even with the heads of the talent and were not very bright. It was low enough that they were simply plugged into a standard 15A outlet. They were not very effective at all, to the point that most times it was simply the house lights being on all the time to see the stage.

I did not see a front of house position, so I did not see how the lights, audio, and video were controlled. However I would not be surprised to see the system used in a set and forget mode as there were often problems.

The production problems started from the beginning, the video was out of focus from the beginning. It was definitely Standard Definition and then was not clear on top of that. It was just from a camera from the back of the room. I do know that there was some video processing as a few times there was text overlaid on the video image. The best way I can describe it is saying it was like 1990’s high school video. Also about once a session someone could be seen walking through the projection cone, so the backstage area did not have any clear indication of the cone.

The audio problems started very soon after the event itself. I figured the system was just having some teething pains as the show had just started. The first problem with the audio system was the entire system sounding boomy and not as clear as the equipment could provide. Much of it I think due to system trying to cover a space that is too large.

Two and a half hours in to the event and my first questioning of the system approach started. There were wireless drop outs, a dead microphone, and audience/question microphones at the edge of the room. The problem with the audience microphones being were three items in my opinion. The first was they were not loud enough in the talent foldback monitor, they were wireless when they could have been wired, and they were located so that the talent was always looking away from the main audience.

Let me explain the looking offstage comment. By placing the audience microphones at the front of the seating area and at the outer edges of the room, the talent was often looking off stage not at the main audience. The reason for the talent looking off stage was that they were being polite and having conversation and making eye contact with the question asker. The talent was doing the proper thing. The problem is that the single camera in the back of the room simply had them in profile. It kept the audience from getting to see the complete interaction.

Four hours in, the system was not sounding any better in fact it was getting more pronounced with deficiencies. I believe that part of it is the pile-on effect. The first flaw had been found so it was easier to find other ones. The use of a compressor and/or de-esser would have greatly helped the sonic performance for the guests. The audience would have had an easier time listening and there would not have been as many plosive sounds.

Fifteen minutes later the talent was literally walking off stage to listen to the guests directly as the monitor was not reinforcing the comments to the main stage. The audience comments were audible in the house system but not in the monitors. Of course there were also times that the audience microphones were not working at all.

The last presenter of the day had some audio sources with him. Now I am not going to say that I understand all of the voodoo that the talent was using with his ghost hunting audio devices. The approach was to literally have the talent hold the handheld battery powered speaker up to the microphone for the audience to hear.

One of the things I did not mention was how often there was a ground hum, it was not constant it would come and go throughout the day. It got worse during the 2nd day when the entire house left audio system was replaced by a ground hum. Yes, no audio for the left side of the house.

That night there was a Karaoke event. It was a lot of fun, but it could have easily been much better with better equipment. The same system was being used to reinforce the Karaoke event. There was no low end, the system was in full clip throughout the evening. I am not sure where the clip was occurring, it could have been the sub feed from the Karaoke system they brought in. Either way it was audibly distorted. I am very glad I had ear plugs in. Especially when the feedback started. It was not momentary feedback.

The second day started with the wireless microphone failing and needing to be replaced 10 minutes into the first session. Yes, ten minutes. Then came more feedback. It got to to the point where the presenters were making fun of the audio quality. Yes, from the stage talent was making comments about the system performance. It obviously was not the first time these problems have occurred.

The same issues occurred on the 2nd day of the event. So rather than hash through all of the issues, you can read the tweet stream at the previous blog post (Tweets against the audio machinery).

That night there was a concert with Louden Swain. There was no music audio system, it was the same system as the rest of the convention. Many times the stage volume overwhelmed the public address system. The talent was actually adjusting the aiming of the speakers to improve the sound and I think they did a decent job.

After the concert there was a limited attendance event, with a separate PA system that I believe was brought in by the DJ for the event. This system was able to keep up much better, not only was the room smaller the equipment was more suited to the use. The system was two Self powered 15, two-way system with a maximum output of 132 dB. It was much better not just for voice but for music as well.

The third day was much the same in terms of performance. However the issues with the monitors and feedback got to be so bad it was comical. One panelist asked if they were going deaf as they could not hear a single question, the audience started relaying the questions for them. During a two person panel, the talent heard so much feedback they started doing synchronized microphone movements “ringing out” the monitors to try to fix the issue. At one point during a break in the panels, feedback rang out with no talent or microphone on stage. It was so loud and painful that guests were screaming from fear and pain.

The reason I bring these up is that the audio and video system actually impacted the guest experience. No one there other than the wife knew what I do, and yet there were still conversations going on around me about the problems with the audio and video. People were talking about how bad it was, why were there so many problems, this convention happens multiple times…etc. The event became a caricature of poor audio and cheap conventions.

Many of the problems could have been avoided simply by selecting different equipment. The equipment was reputable just not the right selections for the room and use. This convention is a key example where renting a good system for the space would have greatly improved the experience. I am not naive and realize that this event is for profit and realize that by reducing the equipment costs means more profits. The fact that tickets ranged from US$650 to US$150 for all three days plus additional fees for the autographs and picture opportunities makes me feel like the frugality is unwarranted.

As some of you who follow my Twitter feed, I went to a fan convention with the wife last week. I am still gathering my thoughts and writing a blog post about the experience. However I wanted to gather all of the Tweets together in one location for those that might has missed some of the experience. So presented in chronological order and unedited are my Tweets about the event. Dates and times are Pacific Standard.


21 November 2013 20:12

For those of you who think my twitter stream is eclectic, brace yourself.

@GentlyMad is taking me to a fan convention for Supernatural…


21 November 2013 20:15

For those of you following along the link is i am looking forward to meeting @feliciaday the rest is unknown.


21 November 2013 20:24

1st tweet of #BURCON, waited in line to register and @GentlyMad’s not available yet. Could have still been drinking, watching hockey.


22 November 2013 12:27

Instead of listening to @AVNationTV live podcast @GentlyMad has taken me to #BURCON and the video is out of focus


22 November 2013 14:39

Must resist urge to go tweak audio  at this #BURCON event. I think @GentlyMad would kick me if i did. Must restrain myself….


22 November 2013 14:59

#AVtweeps how often do you change batteries at panel event? Wireless drop outs, understandable but thinking wired for question mics


22 November 2013 16:20

So at #BURCON with @GentlyMad watching video mistakes and listening to drop outs. Feel bad to be making light of other people’s problems…


22 November 2013 16:30

So this session is being brought to you  without a compressor or de-esser. Must resist the urge to go fix the mix… Hope not someone i know


22 November 2013 16:48

More guest audio in the stage monitor and perhaps less level in the house to make people talk louder #BURCON


22 November 2013 16:54

Current play back method is presenter holding speaker to microphone from  MP3 player. presenter had it, was planning to use. Line in please.


22 November 2013 19:29

#BurCon Day 1 is almost done, a karaoke dance party to go. I really hope they bring in an audio music system and not use the voice system.


22 November 2013 21:53

@cabbey yes #BURCON is using speech system for music/karaoke system. No subwoofer and no punch.


22 November 2013 22:01

Earplugs firmly in place. Much needed. Audio system: All CLIP all the time at #BURCON


22 November 2013 22:25

I really enjoy the 60Hz waterfall on the video as well. Man av at its finest


22 November 2013 23:09

If you can’t ride a fader to prevent feedback in the house system at #BURCON i can recommend some feedback suppressors.


22 November 2013 23:10

Hey #BURCON why have the stage lights so low? Photography is allowed why not allow the patrons to get good shots?


22 November 2013 23:11

Yes Snarky Mode is activated. @GentlyMad said it was allowed as long as i take pictures.


22 November 2013 23:20

Well clipping for hours has got to be good for drivers


22 November 2013 23:43

I know the purpose of reverb and autotune, it should be used on karaoke, unfortunately it is not being used at #BURCON. Ah ear plugs.


23 November 2013 10:27

Realy #BurCon the wireless mic died 10 minutes into the first session. Then feedback. Now people making fun of audio.


23 November 2013 10:39

You know the audio is a problem when @GentlyMad is looking at me knowing i want to fix it…..


23 November 2013 12:36

#AVtweeps just a friendly reminder, don’t skimp on audio monitors. Difficult to watch #BURCON talent comment on audio on stage.


23 November 2013 13:14

#BurCon audio hits continue. 60Hz hum is louder than talent. It just started…. Hmmmmmmmmmm @GentlyMad is amazed i haven’t clawed ears off.


23 November 2013 13:21

Now #BurCon talent needs to walk off stage to hand mic to audience questions. SPL keeps going up to point of ringing and slapback is louder.


23 November 2013 14:05

@brockmcginnis nope it is a live fan convention so it is the production staff. When talent makes fun of audio & video…. Well ……..


23 November 2013 14:27

@brockmcginnis yes i agree i should not slag people but the system they are using is showing its wrinkles and uncut rough edges.


23 November 2013 15:52

Best line at #burcon so far, something i swear @GentlyMad would say. “I just threw my microphone cozy at him.” By @dicksp8jr  (windscreen)


23 November 2013 16:42

there are these things called mute buttons on audio consoles. the team at #BURCON should use them as @GentlyMad is asking me questions…


23 November 2013 17:07

Literally the house left of the PA @ #burcon was no content just ground hum. Now feedback and ringing….  Sigh


23 November 2013 17:51

More audience in the monitors please #BurCon the talent can’t hear the questions. Sigh


23 November 2013 22:29

Tonight’s #BurCon question. Will @loudonswain have a PA or just the voice system. Any guesses


23 November 2013 22:49

For those of you scoring at home, and those that are alone, there is no Music PA. Just feedback, stage volume and voice PA for vocals.


23 November 2013 22:49

But i have @GentlyMad and a camera plus some cool @BorrowLenses glass so it is still all good.


23 November 2013 22:53

@mattcohen4real is doing a good job tweaking the speakers at #BurCon @GentlyMad says i can’t help. Really on both counts


24 November 2013 00:25

PA at #BurCon after party is much better than the main system. Amazing what happens when system matches  use. There is low end and headroom!


24 November 2013 14:37

No @feliciaday you are not deaf, the audio system @ #BurCon is not keeping up. I know it can be better….. Sigh


24 November 2013 19:53

#burcon really could use a high pass filter on the microphone. It is so boomy i am putting in ear plugs…. Things i do for @GentlyMad


24 November 2013 20:28

Appropriatte way to end #BurCon, dead microphone…. 2 minutes into panel


25 November 2013 18:57

@brockmcginnis @rAVeBlogSquad @stillbeingmolly i will be writing up a blog post about production at #BurCon & how it impacted event for all