Meyer Leo
- Thread starter Stephen Robertson
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Re: Meyer Leo
Probably the only live elements are his mic and maybe some sound effects he adds from time to time.
Not like the 'ol days when you had to have a person playing every instrument or making every sound-you know-real music------------------------
I remember when they started adding this statement to ticket stubs "Tonights program may include prerecorded music". Something you don't see these days--------
If it all had to be truly live-I wonder how many actual artists would be out there?
Just when it is not live-but rather prerecorded. Does the audience really think he is "making" all that "music" while dancing around-or do they even care?
Probably the only live elements are his mic and maybe some sound effects he adds from time to time.
Not like the 'ol days when you had to have a person playing every instrument or making every sound-you know-real music------------------------
I remember when they started adding this statement to ticket stubs "Tonights program may include prerecorded music". Something you don't see these days--------
If it all had to be truly live-I wonder how many actual artists would be out there?
Re: Meyer Leo
I've done sound for Bassnectar a few times and I can tell you right now that he's doing a lot more than "mic and maybe some sound effects." The guy works hard onstage. He's got a ton of gear in front of him and he actually uses it. It's not an act a la Justice.
Re: Meyer Leo
I have heard plenty of loud systems; it can be loud, and still sound weak. I think this is a perfect example of a system that is technically capable, but sounds poor. I've heard older peavey subs that have similar tonality. Plenty loud, but no richness or flavor. The meyer system has the tonality of the first part of a train whistle, sort of a hollow, distant sound.
Have you ever noticed how sound guys who can mix compensate by turning everything up until your ears bleed? Same concept. Full sail syndrome on a grand scale.
I have heard plenty of loud systems; it can be loud, and still sound weak. I think this is a perfect example of a system that is technically capable, but sounds poor. I've heard older peavey subs that have similar tonality. Plenty loud, but no richness or flavor. The meyer system has the tonality of the first part of a train whistle, sort of a hollow, distant sound.
Have you ever noticed how sound guys who can mix compensate by turning everything up until your ears bleed? Same concept. Full sail syndrome on a grand scale.
Re: Meyer Leo
While I don't see this system as anything like a 'game changer', I think it is also fair to say that its almost certainly not as bad as some of the Meyer-hate in this thread suggests.
Its time for us engineers to face the fact that at this level, there is no bad PA anymore. D&B, L'acoustics, Meyer, etc... This is all top flight kit. Assuming it works and is setup properly, you cannot blame the gear.
We all have our preferences, and Meyer isn't one of mine, but if I turn up to a big hang of Leo and can't make my clients sound good (considering they are good, and the console is good, and I know what I'm doing...) then its time to look for a new career...
While I don't see this system as anything like a 'game changer', I think it is also fair to say that its almost certainly not as bad as some of the Meyer-hate in this thread suggests.
Its time for us engineers to face the fact that at this level, there is no bad PA anymore. D&B, L'acoustics, Meyer, etc... This is all top flight kit. Assuming it works and is setup properly, you cannot blame the gear.
We all have our preferences, and Meyer isn't one of mine, but if I turn up to a big hang of Leo and can't make my clients sound good (considering they are good, and the console is good, and I know what I'm doing...) then its time to look for a new career...
Re: Meyer Leo
With all due respect, you clearly don't understand what goes into that type of music production. Base your ideas on more than assumptions in the future. I've worked on shows with a number of electronic music producers for both production and event management and the amount of work that goes into producing the content is more than you can imagine. Just because the process is more efficient than making "real music" as you call it, it doesn't diminish the tedious mastering and refining work that is required. Do you not realize how much sampling is utilized in all types of music? Most basically, it uses different sounds but still calls for virtually all of the elements needed to create any other type of music. The only difference is how it is presented in live formats. It takes a very musically conscious ear to do what they do live. I'm not sure if you're aware but it's not a 2 hour piece of recorded music they're playing.
With all due respect, you clearly don't understand what goes into that type of music production. Base your ideas on more than assumptions in the future. I've worked on shows with a number of electronic music producers for both production and event management and the amount of work that goes into producing the content is more than you can imagine. Just because the process is more efficient than making "real music" as you call it, it doesn't diminish the tedious mastering and refining work that is required. Do you not realize how much sampling is utilized in all types of music? Most basically, it uses different sounds but still calls for virtually all of the elements needed to create any other type of music. The only difference is how it is presented in live formats. It takes a very musically conscious ear to do what they do live. I'm not sure if you're aware but it's not a 2 hour piece of recorded music they're playing.
Re: Meyer Leo
Ya Ivan! All that sitting around wasting studio time playing back and stealing real musician talent sources while over dosing on coke and red bull takes REAL talent. Kevin put your ass hat on and sit in the corner. If you think that pushing play on a fucking denon is the same as bleeding hands and hours of practise from a very young age to hone your musical talent, you really are in for a rude awakening(with all due respect)
Re: Meyer Leo
All I was saying is that the artists are not ?making the music on the spot".
You can take a number of "normal musicians" and put them in a room and just "jam" and some great stuff comes out of it-nothing but a basic instrument no planning-no overdubs etc.
They do it "on the fly". You can't do that with the EDM type events.
That is all I was commenting about-was the fact that it is not "live" (in the classic sense) but rather prerecorded with some special effects or other prerecorded bits mixed in.
I didn't say anything about the effort that goes into the production. Yes it can be a lot.
All I was saying is that the artists are not ?making the music on the spot".
You can take a number of "normal musicians" and put them in a room and just "jam" and some great stuff comes out of it-nothing but a basic instrument no planning-no overdubs etc.
They do it "on the fly". You can't do that with the EDM type events.
That is all I was commenting about-was the fact that it is not "live" (in the classic sense) but rather prerecorded with some special effects or other prerecorded bits mixed in.
Craig Hauber
Sophomore
Re: Meyer Leo
I have done quite a few of those shows. Lots of tables with gear on them, a spaghetti mess of cables and a couple guys running around pressing various buttons on different samplers, percussion pads and ableton laptops.
I actually like quite a bit of the music,
-but the actual "performance" of it is boring. (not that different than watching a mix session in a studio)
There's a reason the light and video shows are awesome, gives the audience something cool to look at. They probably wouldn't notice if the performers just pressed play on a CD recording of last week's show and left the stage
I have done quite a few of those shows. Lots of tables with gear on them, a spaghetti mess of cables and a couple guys running around pressing various buttons on different samplers, percussion pads and ableton laptops.
I actually like quite a bit of the music,
-but the actual "performance" of it is boring. (not that different than watching a mix session in a studio)
There's a reason the light and video shows are awesome, gives the audience something cool to look at. They probably wouldn't notice if the performers just pressed play on a CD recording of last week's show and left the stage
Re: Meyer Leo
Most of the TOP 10 DJs do the critical events with a prerecorded sets and just ACT DJing. That is a fact. Because they can not guarantee a flawless performance.
Now go compare that with a live performance of some complicated symphony. That takes practice and effort for decades. Pressing buttons and not be able to repeat it same each time??? Please!?
Most of the TOP 10 DJs do the critical events with a prerecorded sets and just ACT DJing. That is a fact. Because they can not guarantee a flawless performance.
Now go compare that with a live performance of some complicated symphony. That takes practice and effort for decades. Pressing buttons and not be able to repeat it same each time??? Please!?
Top 10 COMMERCIAL DJs you mean, DJs should never have become rock stars. That said, I don't care what your feelings are on the genre, guys like Carl Cox mixing four decks is impressive from a technical standpoint (without using that sync crap too!)
Re: Meyer Leo
I am pretty sure i can get a professional pianist do that same job within 3 months practice. Can Carl Cox play Mozart in 3 months?
I am pretty sure i can get a professional pianist do that same job within 3 months practice. Can Carl Cox play Mozart in 3 months?
Re: Meyer Leo
I remember a reality TV show on Channel 4 in the UK a number of years back that took a cellist and turned her in to a club DJ in a month. Not Carl Cox standard, but impressive... What wicked spell turned a cellist into a club DJ? - Telegraph
Now, with three months practice...~~:smile:
Stu
I remember a reality TV show on Channel 4 in the UK a number of years back that took a cellist and turned her in to a club DJ in a month. Not Carl Cox standard, but impressive... What wicked spell turned a cellist into a club DJ? - Telegraph
Now, with three months practice...
~~:smile:Stu
Re: Meyer Leo
I'm sure it's possible, we have a rental set of CDJ1000s and after a few weeks of messing around I was able to beatmatch between two songs with a decent success rate. I just think that there is a lot of ground to cover between being able to clumsily mix between two songs and keeping 4 tracks in sync at one time.
I remember a reality TV show on Channel 4 in the UK a number of years back that took a cellist and turned her in to a club DJ in a month. Not Carl Cox standard, but impressive... What wicked spell turned a cellist into a club DJ? - Telegraph
Now, with three months practice...
Stu
I'm sure it's possible, we have a rental set of CDJ1000s and after a few weeks of messing around I was able to beatmatch between two songs with a decent success rate. I just think that there is a lot of ground to cover between being able to clumsily mix between two songs and keeping 4 tracks in sync at one time.
Re: Meyer Leo
Check out The F*** Buttons "performance" at Glastonbury, there's nothing to look at apart from the light show, just a couple of guys bent over a table full of gear. Watching the FOH dude or the security crew would be more entertaining.
I have done quite a few of those shows. Lots of tables with gear on them, a spaghetti mess of cables and a couple guys running around pressing various buttons on different samplers, percussion pads and ableton laptops.
I actually like quite a bit of the music,
-but the actual "performance" of it is boring. (not that different than watching a mix session in a studio)
There's a reason the light and video shows are awesome, gives the audience something cool to look at. They probably wouldn't notice if the performers just pressed play on a CD recording of last week's show and left the stage
Check out The F*** Buttons "performance" at Glastonbury, there's nothing to look at apart from the light show, just a couple of guys bent over a table full of gear. Watching the FOH dude or the security crew would be more entertaining.
Re: Meyer Leo
Go see a real DJ play. Someone like Carl Cox (on 4 decks) or Ritchie Hawtin or RJD2. Stand behind them on stage so you can see very clearly what they are doing. There's no press play and fist bump Deadmau5 bullshit going on. Yes, there are a ton of dance music posers out there going through the motions or mixing synced tracks with Abelton Live or Traktor. But there are also many many DJ's and live electronic performers who's skills are simply amazing.
I know a ton of DJ's of a wide variety of talent. I have spent a lot of time behind the decks myself (before I started my sound company and still had time for things besides work and sleep) and I can tell you that mixing on 4 turntables or CDJ's without sync is REALLY REALLY hard! Honestly even just consistently beat-matching 2 decks with smooth mixes is not so easy, and I've heard plenty of top DJ's slip up on occasion.
That being said, the true sign of an incredible DJ is track selection. A great DJ will read the crowd and play the track that the dance floor needs to hear in that moment. And that kind of performance will rarely be seen on a big stage where a flawless preselected set of greatest hits is expected. For a truly interactive dance music experience you will usually need to go to the seedy dark nightclubs that feature underground talent.
Go see a real DJ play. Someone like Carl Cox (on 4 decks) or Ritchie Hawtin or RJD2. Stand behind them on stage so you can see very clearly what they are doing. There's no press play and fist bump Deadmau5 bullshit going on. Yes, there are a ton of dance music posers out there going through the motions or mixing synced tracks with Abelton Live or Traktor. But there are also many many DJ's and live electronic performers who's skills are simply amazing.
I know a ton of DJ's of a wide variety of talent. I have spent a lot of time behind the decks myself (before I started my sound company and still had time for things besides work and sleep) and I can tell you that mixing on 4 turntables or CDJ's without sync is REALLY REALLY hard! Honestly even just consistently beat-matching 2 decks with smooth mixes is not so easy, and I've heard plenty of top DJ's slip up on occasion.
That being said, the true sign of an incredible DJ is track selection. A great DJ will read the crowd and play the track that the dance floor needs to hear in that moment. And that kind of performance will rarely be seen on a big stage where a flawless preselected set of greatest hits is expected. For a truly interactive dance music experience you will usually need to go to the seedy dark nightclubs that feature underground talent.