Thanks everybody. All your comments are very helpful. I knew I could
count on you! I'm weighing my options.
On Sun, Jan 14, 2018 at 12:12 PM, Linda S. Mrosko <elmerosko(a)gmail.com>
wrote:
> I have a good mixer, two large speakers & stands, lots of wires -- and
> they all weigh a lot, but they work great for large rooms full of people
> and outdoor venues. However...
>
> I occasionally have smaller events in smaller rooms with fewer people
> where the band is acoustic and so am I. I find myself straining my voice
> to be heard by the dancers and I'm tired of screaming.
>
> I used to have a karaoke system, but found it inadequate (and I couldn't
> plug my wireless headset into it). Are there smaller, less heavy, less
> cumbersome systems you carry around? I want to be able to plug my computer
> into it when I have an event that's not live music or just to use it to
> amplify my voice over acoustic music (7-8 musicians) -- a couple of small
> but lightweight speakers.
>
> Help!
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
> *102 Mitchell Drive*
>
> *Temple, Texas 76501*
>
> *(903) 292-3713 <(903)%20292-3713> (Cell)*
> *(903) 603-9955 <(903)%20603-9955> (Skype)*
> *contradancetx.com <http://www.contradancetx.com>*
>
> *www.zazzle.com/fuzzycozy* <http://www.zazzle.com/fuzzycozy*> (Dance
> buttons, t-shirts, & more)*
>
--
*Looking forward,Linda S. Mrosko*
*102 Mitchell Drive*
*Temple, Texas 76501*
*(903) 292-3713 (Cell)*
*(903) 603-9955 (Skype)*
*contradancetx.com <http://www.contradancetx.com>*
*www.zazzle.com/fuzzycozy* <http://www.zazzle.com/fuzzycozy*> (Dance
buttons, t-shirts, & more)*
On 01/14/2018 10:12 AM, Linda S. Mrosko via Callers wrote:
> Are there smaller, less heavy, less cumbersome systems you carry
> around? I want to be able to plug my computer into it when I have an
> event that's not live music or just to use it to amplify my voice over
> acoustic music (7-8 musicians) -- a couple of small but lightweight
> speakers.
>
>
Things that I've encountered in the wild:
* Quite Carr-ied Away, the house band for the Roseville
(Sacramento-area) English Country Dance, uses a Bose L1 to provide
sound. It's more than adequate for a single caller (though you might
want to use a small mixer to provide more flexibility in terms of
adjusting voice tone response) with a laptop or some other device for
tunes, plus it sounds really good.
<https://www.sweetwater.com/store/detail/L1Compact?gclid=EAIaIQobChMI7qzFhpr…>.
I've noticed that this technology is mature enough that lower-cost
knockoffs (such as the Harbinger MLS800) are now available. The main
shortcoming of these systems is that they're really meant more for a
coffeehouse or house concert setting, where you have folks seated in
chairs. The sound can be more easily blocked by folks standing in front
than you'd find with speakers on stands.
* Most MWSD callers and round dance cuers that I know use purpose-built
gear from Hilton, combined with Yak Stack speakers. Because it's
designed for the MWSD trade, its frequency response tends to emphasize
human voice over other instruments, but that may be more a function of
the speakers that I've noticed being used more than anything else --
think about the old 6x9" speakers with whizzer cones that you used to
see in car sound systems in the '60s and early- to mid-'70s. It also
uses 1/4" inputs for mics, rather than XLR, and 1/4" outputs for passive
speakers, rather than Speakons, if that matters to you. Finally, MWSD
gear tends to be really, really pricy when compared to comparable pro
audio gear these days -- a Hilton mixer/amp, Yak Stack speaker, and the
stand, case, and cabling for same can set you back $2k or more.
<https://www.hiltonaudio.com/store/c4/Hilton_Sound_Systems.html>.
* For gigs where it's just me and a sound source, I use an Alto TS212
powered speaker with stand and a small mixer. The speaker is more bulky
than it is heavy -- Its carbon fiber enclosure is lighter than either my
Yamaha A12 passive speakers or my Behringer B212D powered speakers, much
lighter than similar powered speakers from Mackie or QSC, and sounds as
good as the Yamaha with a Crown amp and better than the Behringer.
For small mixers, if it's just me and a digital device of some sort, I
use one of these:
<https://www.sweetwater.com/store/detail/Mix8?gclid=EAIaIQobChMI8LqLy63Y2AIV…>
if I'm on a stage, or one of the new Behringer shoebox-size digital
mixers with an app on my phone if I'm going to be dancing.
--Nick
I have a good mixer, two large speakers & stands, lots of wires -- and they
all weigh a lot, but they work great for large rooms full of people and
outdoor venues. However...
I occasionally have smaller events in smaller rooms with fewer people where
the band is acoustic and so am I. I find myself straining my voice to be
heard by the dancers and I'm tired of screaming.
I used to have a karaoke system, but found it inadequate (and I couldn't
plug my wireless headset into it). Are there smaller, less heavy, less
cumbersome systems you carry around? I want to be able to plug my computer
into it when I have an event that's not live music or just to use it to
amplify my voice over acoustic music (7-8 musicians) -- a couple of small
but lightweight speakers.
Help!
--
*Looking forward,Linda S. Mrosko*
*102 Mitchell Drive*
*Temple, Texas 76501*
*(903) 292-3713 (Cell)*
*(903) 603-9955 (Skype)*
*contradancetx.com <http://www.contradancetx.com>*
*www.zazzle.com/fuzzycozy* <http://www.zazzle.com/fuzzycozy*> (Dance
buttons, t-shirts, & more)*
I have never danced this dance, or even the one it derived from.
Might I suggest that what you are seeing is due to ambiguity of what you
mean to the un-initiated.
If there is an even number of couples, everyone participates in the 1st
Pullby.
Then on the Right Diagonal Pullby everyone but the two Men on the ends
participates.
Then @ B2b,
"With the one across (opposite sex), pull by left (!) and turn alone"
If I'm across from my partner, does this mean I Pull By?
(I would hesitate there, because single couples at the end don't usually
participate...)
It seems pretty clear you do, but again, not knowing I would probably
hesitate and that would be
the same as falling seriously behind, causing the next couple having no
place to go because there is this couple in the way.
(Hey, I did what you said and stayed where I was...)
This seems a slight case of "Do what I mean, not what I say".
What you didn't say is:
"At the end, if you are facing your partner, you are in for the pullby
across."
As for a single couple at the end who wants to join in,
they should be facing each other across the set, next to the opposite sex.
<https://www.avast.com/sig-email?utm_medium=email&utm_source=link&utm_campai…>
Virus-free.
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On Thu, Jan 4, 2018 at 11:07 AM, Ryan Smith via Callers <
callers(a)lists.sharedweight.net> wrote:
> The rule for the end-effects on this one is surprisingly simple:
> "If nobody gives you their hand, don't go anywhere."
>
> The messiness usually comes from people feeling like they should be going
> somewhere, similar to what happens with a diagonal chain or right & left
> through. This is just different enough that people don't think to stay put
> if there's nobody there.
>
> The end result is that as you're going off the end and back in that:
> pull-by-left: everyone moves
> pull-by-right: gent stays put
> pull-by-left: pull by with partner
> pull-by-right: lady stays put
>
> If you have an odd number of couples, there will be a couple out at the
> end which gives you a slightly different sequence, but in principle it's
> the same.
>
> On Thu, Jan 4, 2018 at 3:49 PM, Kalia Kliban via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> Hi all,
>>
>> I recently called Beneficial Tradition for the first time and noticed a
>> consistent hitch in the dance at the top of the set. It was probably
>> happening at the bottom too.
>>
>> I was doing the variant with no wave balance in the A1, just Women
>> allemande L 1x and P swing. Though the transition from the pull-bys in the
>> B2 to that L allemande worked well inside the line, it was always funky at
>> the ends. I'm speculating that that's because folks coming out of the
>> pull-by pattern into empty space at the end were tending to head in a
>> consistent incorrect direction.
>>
>> Those of you who have called this dance a lot, have you noticed the same
>> issue? How do you teach the B2-A1 transition to minimize the confusion and
>> end effects?
>>
>> Kalia
>>
>> ps Happy New Year, everyone!
>> _______________________________________________
>> List Name: Callers mailing list
>> List Address: Callers(a)lists.sharedweight.net
>> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
>
Sorry, I should have been more specific/clear: the ladies’ role has 4 pull by actions, plus a final allemande….for a total of 5.
Linda
On Jan 5, 2018, at 11:47 AM, Bill Olson via Callers <callers(a)lists.sharedweight.net> wrote:
> A really really GREAT dance by Dan Pearl! Yeah, the "end effects" are mostly created by dancers doing something they weren't instructed to do! Pointing out that the dance is a double progression during the walk through (to those who are actually listening) is helpful I've found. It gives dancers a better idea where they will end up even if they DO get confused. Admittedly that's a little trickier if you start with a couple waiting out. But in that case, you can at least note that there will be a couple waiting out at the end each time the dance starts..
>
> HNY everyone.
>
> bill
>
>
> From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Bob Green via Callers <callers(a)lists.sharedweight.net>
> Sent: Thursday, January 4, 2018 11:00 PM
> To: Kalia Kliban
> Cc: Caller's discussion list
> Subject: Re: [Callers] Beneficial Tradition
>
> I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
>
> (https://www.youtube.com/watch?v=gBwjTWK3-4g)
>
> Happy New Year,
>
> Bob
>
>
>
>
> Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
>
> Kalia
>
> ps Happy New Year, everyone!
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
I have also found that it helps to point out that the ladies’ role has a total of 5 pull by actions, while the gents’ role has 4.
Linda
On Jan 5, 2018, at 11:47 AM, Bill Olson via Callers <callers(a)lists.sharedweight.net> wrote:
> A really really GREAT dance by Dan Pearl! Yeah, the "end effects" are mostly created by dancers doing something they weren't instructed to do! Pointing out that the dance is a double progression during the walk through (to those who are actually listening) is helpful I've found. It gives dancers a better idea where they will end up even if they DO get confused. Admittedly that's a little trickier if you start with a couple waiting out. But in that case, you can at least note that there will be a couple waiting out at the end each time the dance starts..
>
> HNY everyone.
>
> bill
>
>
> From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Bob Green via Callers <callers(a)lists.sharedweight.net>
> Sent: Thursday, January 4, 2018 11:00 PM
> To: Kalia Kliban
> Cc: Caller's discussion list
> Subject: Re: [Callers] Beneficial Tradition
>
> I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
>
> (https://www.youtube.com/watch?v=gBwjTWK3-4g)
>
> Happy New Year,
>
> Bob
>
>
>
>
> Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
>
> Kalia
>
> ps Happy New Year, everyone!
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
A really really GREAT dance by Dan Pearl! Yeah, the "end effects" are mostly created by dancers doing something they weren't instructed to do! Pointing out that the dance is a double progression during the walk through (to those who are actually listening) is helpful I've found. It gives dancers a better idea where they will end up even if they DO get confused. Admittedly that's a little trickier if you start with a couple waiting out. But in that case, you can at least note that there will be a couple waiting out at the end each time the dance starts..
HNY everyone.
bill
________________________________
From: Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Bob Green via Callers <callers(a)lists.sharedweight.net>
Sent: Thursday, January 4, 2018 11:00 PM
To: Kalia Kliban
Cc: Caller's discussion list
Subject: Re: [Callers] Beneficial Tradition
I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
(https://www.youtube.com/watch?v=gBwjTWK3-4g<https://nam01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.youtu…>)
Happy New Year,
Bob
Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
Kalia
ps Happy New Year, everyone!
_______________________________________________
List Name: Callers mailing list
List Address: Callers(a)lists.sharedweight.net<mailto:Callers@lists.sharedweight.net>
Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/<https://nam01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.mail-…>
I have seen it called as a Sicilian Circle, which eliminated the end effects.
-------- Original message --------From: Bob Green via Callers <callers(a)lists.sharedweight.net> Date: 1/4/18 6:00 PM (GMT-05:00) To: Kalia Kliban <kalia.kliban(a)gmail.com> Cc: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Beneficial Tradition
I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
(https://www.youtube.com/watch?v=gBwjTWK3-4g)
Happy New Year,
Bob
Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
Kalia
ps Happy New Year, everyone!
_______________________________________________
List Name: Callers mailing list
List Address: Callers(a)lists.sharedweight.net
Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Hi all,
I recently called Beneficial Tradition for the first time and noticed a
consistent hitch in the dance at the top of the set. It was probably
happening at the bottom too.
I was doing the variant with no wave balance in the A1, just Women
allemande L 1x and P swing. Though the transition from the pull-bys in
the B2 to that L allemande worked well inside the line, it was always
funky at the ends. I'm speculating that that's because folks coming out
of the pull-by pattern into empty space at the end were tending to head
in a consistent incorrect direction.
Those of you who have called this dance a lot, have you noticed the same
issue? How do you teach the B2-A1 transition to minimize the confusion
and end effects?
Kalia
ps Happy New Year, everyone!
