pistolpete Posted December 10, 2007 Share Posted December 10, 2007 Frank's best line in the article "Try arranging the music better and playing it with a semblence of relative dynamics." Quote Link to comment Share on other sites More sharing options...
KingJoeVII Posted December 10, 2007 Share Posted December 10, 2007 I like Frank's comment about the two-minute sound check. Imagine a Broadway show that opens the curtain without quite knowing whether the audio is going to work or not, or with a less-than-top notch audio engineer at the controls. That show would not last long. I agree that is it very difficult to pull off, however difficult does not mean impossible...far from it. As amplification is used in more venues, sound engineers are going to get better at adjusting things to fit each venue. It will just come with experience and training. Besides, marching bands have been doing this for years and seem to have things down pretty well... I have one major issue with voice and amplification and that is the way it is not judged . I think this was covered on here over the summer, but I would think that it would be the responsibility of the GE music guy to decide if the voice is used effectively or not...granted it is not sound coming out of a horn, but it still would fall under his jurisdiction Quote Link to comment Share on other sites More sharing options...
skajerk Posted December 11, 2007 Share Posted December 11, 2007 I agree that is it very difficult to pull off, however difficult does not mean impossible...far from it. As amplification is used in more venues, sound engineers are going to get better at adjusting things to fit each venue. It will just come with experience and training.But it's not just the venue that has to be taken under consideration. The show conditions will change daily from show to show. Indoors/outdoors, dry/humid/wet. What works in Stanford wouldn't necessarily work the same in SoCal, Phoenix, San Antonio, Allentown, Orlando or Indy.Besides, marching bands have been doing this for years and seem to have things down pretty well...Well. I've seen a few programs that I wouldn't put in this category. Quote Link to comment Share on other sites More sharing options...
KingJoeVII Posted December 11, 2007 Share Posted December 11, 2007 totally dont want to get into this again...but here it goes But it's not just the venue that has to be taken under consideration. The show conditions will change daily from show to show. Indoors/outdoors, dry/humid/wet. What works in Stanford wouldn't necessarily work the same in SoCal, Phoenix, San Antonio, Allentown, Orlando or Indy. Well besides the fact that the indoors/outdoors question is a matter of venue...environmental conditions havent been and will continue to be less of an issues for two reasons: 1. Atmospheric conditions dont really have that much effect on amplificaton...sure if it is a little more humid it may sound a bit "boom-ier" but nothing that would make the show unlistenable. Also anything that affects how the sound is projected from amps goes the same for horns, and drums, so it would be an issue across the board. 2. It is not like Corps are perofrming "Atlas Eclipticalis" (a piece by Cage where every performer in an orchestra is mic-ed)...the majority of the performance does come through un-amped. Well. I've seen a few programs that I wouldn't put in this category. I've seen a few programs that use silver Dynasty horns that I don't like...that doesnt mean that using silver dynasty horns is bad Quote Link to comment Share on other sites More sharing options...
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