Goes To Eleven Corollary

Sequel to GoesToEleven:

Those who know something of the controls existing on audio equipment, know that in addition to the controls which regulate how much output a single instrument, mic, deck, or other inputs to the system driving the speakers, there exist a control usually labeled "Master". Its function is to increase the volume to the final output to a higher or lower level while maintaining the proportional balance between all of the inputs. If the "Master" has a top number of 20, one can conceivably turn it "up" to twenty.

Can one go further? Certainly. One can add amplifiers which have greater output, until the listeners experience physical pain. If all of the inputs are cranked to 10, there is no way to make any separate one any louder than it is relative to the others, unless one employs larger and more expensive mixers that have controls between the individual inputs and the master which allow a change of balance, irregardless of the setting of the instrument, including the exclusion, increase, or decrease of its level to the final output.

Good musicians set their equipment at a level which the audio engineer can manipulate to maintain a "good" sound. Evidently Marty posing as an audio engineer, rather than a good musician, or perhaps the band does not have one. There exists a parallel to this in balancing management and software development. One should be content in doing what one does best.

I am presuming the use of "irregardless" here, since it is not a word (think, "March On Irregardless"), is meant as a jest. That's my story and I'm sticking to it. -- MartySchrader