Ray Kimber

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About Ray Kimber

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    DCP Rookie

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  • Your Drum Corps Experience
  • Your Favorite Corps
    Blue Knights

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  1. Many posts ago someone invited me to attend an event in Texas in July. I replied my acceptance of the offer, but I haven't noticed any email or other contact from the person who posted the invitation. If possible could that person contact me? ray@kimber.com with kind regards, Ray
  2. This article came across my news feed this morning. The thought occurred to me that any DCI Show has a mixture of Intellectual Property possibilities. IIRC there was a corps who marched in silence for a portion of their program https://www.prosoundweb.com/intellectual-property-or-not-who-really-owns-your-console-show-file/
  3. Hi Keith, This OP has read each reply with interest. While I don't intend to return to the Ogden Event I have considered how to selectively participate to bring some of my (perhaps wrong) understanding of how to add reinforcement to a sound. I operate on the premise that you can't reinforce a sound unless you can record the sound. What I mean is to accomplish the 2 tasks separately. First learn how to record a certain sound. Second premise is you can't reinforce a sound unless you can playback the recorded sound. I think it is a ratcheted learning experience..., if you get better at
  4. I accept. I could offer to do the same short demonstration that I presented years ago at USITT (United States Institute of Technical Theater) to visually show how 2 (or more) microphones "hearing" the same acoustic event and then electrically mixed together will have a permanently embedded steady state "flange" distortion. Using a small speaker on a stand playing a sine wave towards 2 microphones spaced about 4' apart on stands positioned in a row in such a way that a small adjustment of the mixer gain allows the output to be nulled. The mixer output is fed to a oscilloscope that has a
  5. Some marching history from Utah. Bruce Bastian was the director of BYU marching band for a while, IIRC the band was struggling. Bruce might have been the/a father of software to plot marching patterns. https://en.wikipedia.org/wiki/Bruce_Bastian
  6. Hello, As a noob I am missing some pieces to this puzzle. Could someone kindly tell me who (or what) is "pope Dan"? And I would like to read the Bluecoats Pandora's Box open letter. Kind regards, Ray
  7. I appreciate you posting this aspect of mallet players. I might be wrong, but my understanding was, in regards to loudness, there were 2 problems with such instruments. First the player had to resort to a playing technique that was not good for the player. Second the instrument suffered. I had some long brainstorming sessions with various persons.and formulated a game-plan. Determine how loud a single instrument could be played with proper player technique and still respect the limitations of the instrument. Record and measure in a space with minimal reverberation, at a reasonable dis
  8. I have attentively read every reply to my original post. I have learned some aspects that were unknown to me, I appreciate the opportunity to learn and hear from so many. From time to time I started typing a bit more of the story, it ended up being quite lengthy. I attempted to post the reply but was getting some error messages that I guess might be because of the length. So I have put my comments on a website. Here is the link to it http://weberafterdark.com/dcpfollowup/ Best regards to all Ray
  9. I want to post some additional info but I am getting an error 403? is there a length restriction? it is all typed text
  10. The High Altitude SACD received several reviews. Including these 3 from the same site. https://www.hraudio.net/showmusic.php?title=6171#reviews http://www.sa-cd.net/showtitle/6171 Here is some information from a company we use. https://nadac.merging.com/history IMHO I consider the silence (dynamic range) between the notes to be more difficult/critical to record and playback than the notes themselves. From the visual picture of various sampling rates/methods you might see why I eventually settled on DSD. This picture is at 1XDSD, and would be the rate we used for the
  11. The Corps Encore Show ran for years before I even knew anything about drum corps. At some point the Ogden show failed and there were no shows in Ogden for a few years. My connections at the university, the community, my staff and my money were used to restart the Ogden show. My contributions might have been counterproductive, minor or even unnecessary to the re-start and continue the Ogden show, I don't know enough to make that call. What I do know is that myself and (paid) staff from my company were the first ones waiting for the arrival of the first corps, and the last person to leave.
  12. For several years my delight with Drum Corps has been waning. My first experience with Drum Corps was in 2004 at the invitation of Dr. Thomas Root. It was electrifying for me. The sound had majesty, grace, and purity. I went to the souvenir trailers and purchased every CD I could lay my hands on. The quality of the recordings were much more variable than quality of the Corps on the field. None of the CDs were electrifying to me. Then for many years I endeavored to record all those elements, with various success. Along the way I provided yearly support for the Ogden Corps Enco
  13. Well here we are at CES Las Vegas in Venetian 34-207 with a quite nice system having lots of fun playing music. System cost is a bit over $400,000 EMM with Ed Meitner is in the display with us and we are using the Sony SS-AR1 Loudspeakers with a very positive response from attendees. Graemme Brown of Zen Mastering is here along with engineer, Aaron Hubbard. Also frequently in our booth is Claude Cellier from Merging - merging.com It would be nice to shake the hand of any members of this forum, so please introduce yourself if you visit. We just had a visitor who is heavily involved with a C