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<blockquote data-quote="Per SÃ¸vik" data-source="post: 65060" data-attributes="member: 1285">Re: What does &#039;MI&#039; mean?The sound business serves two purposes, one commercial and one cultural. As far as commercial considerations go, there has to be a fair balance between promotor earnings and expenses. If someone gets greedy, others suffer. If the big sound provider makes the promoter loose money, the big sound company won&#039;t have a customer. If the greedy promoter screws the ticketholders with crappy sound, there won&#039;t be an audience next time. It sorts itself out eventually.The cultural considerations are to me much more important, and in that respect I couldn&#039;t care less if the sound provider makes any money. When the sound budgets get in the way of the culture, good, inexpensive equipment can be the saviour. Not good for the pro, but the audience isn&#039;t there to listen to your mixing, your desk, your outboard and your mains, they are there for the performer. Of course the audience wants good sound and a mix that is right for the performer, and pro equipment and pro operators go a long way to ensure that the performer gets what he/she deserves and what the audience deserves, but when all this professionalism makes live culture too expensive to be performed and enjoyed on a regular basis, culture dies.</blockquote>

[QUOTE="Per SÃ¸vik, post: 65060, member: 1285"] Re: What does 'MI' mean? The sound business serves two purposes, one commercial and one cultural. As far as commercial considerations go, there has to be a fair balance between promotor earnings and expenses. If someone gets greedy, others suffer. If the big sound provider makes the promoter loose money, the big sound company won't have a customer. If the greedy promoter screws the ticketholders with crappy sound, there won't be an audience next time. It sorts itself out eventually. The cultural considerations are to me much more important, and in that respect I couldn't care less if the sound provider makes any money. When the sound budgets get in the way of the culture, good, inexpensive equipment can be the saviour. Not good for the pro, but the audience isn't there to listen to your mixing, your desk, your outboard and your mains, they are there for the performer. Of course the audience wants good sound and a mix that is right for the performer, and pro equipment and pro operators go a long way to ensure that the performer gets what he/she deserves and what the audience deserves, but when all this professionalism makes live culture too expensive to be performed and enjoyed on a regular basis, culture dies. [/QUOTE]

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