perc2100 Posted September 8, 2009 Share Posted September 8, 2009 This weekend I drove up to Los Angeles to see the L.A. Phil at the Hollywood Bowl. I had never attended a concert there, and I was curious to see how the Phil sounded in such a large outdoor venue (seats around 18,000). Plus, John Williams was conducting movie music (most of it his), so as a movie nerd I HAD to see/hear John Williams conducting the L.A. Phil playing HIS music for 2 1/2 hours! Needless to say, they were incredible. And they were mic'ed. In the percussion section alone, there were about half a dozen mic's, and many individual instrments were mic'ed (for example bass drum mic'ed with the sub turned up). There were also several over head mic's around the orchestra (for example there was a mic maybe a foot away from a tuba bell). Of course there were several large speaks stacks on the side of the stage. The mix was pretty much dead on, and I was impressed with the sound. When there were solosists (they played music from Catch Me If You Can complete with original soloists on vibes, bass, and alto sax) they sound was perfect, and the overall sound of the Orchestra was great. Obviously there are HUGE differences between a professional orchestra and drum and bugle corps (the largest of which being the stationary orchestra vs. the on-the-move/spread out drum corps), but there are also similarities. The orchestra is comprised of instruments not meant to be played in a large outdoor stadium: same as drum corps. The 'argument' is that the orchestra has to be mic'ed in order for paying customers in the 'cheap seats' to hear the music: same as drum corps. While their difficulties were minimal compared to drum corps, it was done at an (obviously) very high level and went off flawlessly. Is there reason to have hope for DCI mic'ing/electronics? I think so. Obviously no drum corps has come close to dialing in their mix the way the LA Phil does, but it seems to get better every year. On the whole, just about everything in drum corps is crazy, and the demands on a sound man are no different. But I think that things will continue to improve (especially being in the same indoor arena for the next several years). If the LA Phil can sound incredible at the Hollywood Bowl (with instruments not made for outdoor projection), then there is hope that drum corps mic'ed can sound great as well. There are obsticles, and drum corps obviously need to have trained/professional staff to work the sound if we have any hope (I personally think that most of the problem lies with drum corps not taking the sound engineer position serious enough to hire the best person. Think what would happen if they gave the same consideration for the sound engineer as the rest of the instructional staff), but I think it can be done well. Quote Link to comment Share on other sites More sharing options...
Michael Boo Posted September 8, 2009 Share Posted September 8, 2009 Asymmetrical drill was illegal?? Shhhhh. No one is supposed to know. Quote Link to comment Share on other sites More sharing options...
audiodb Posted September 9, 2009 Share Posted September 9, 2009 Obviously there are HUGE differences between a professional orchestra and drum and bugle corps (the largest of which being the stationary orchestra vs. the on-the-move/spread out drum corps), but there are also similarities. The orchestra is comprised of instruments not meant to be played in a large outdoor stadium: same as drum corps. What? Last time I checked, the whole point of drum corps selecting drums and bugles as their primary instrumentation was because they were designed for the outdoors. The 'argument' is that the orchestra has to be mic'ed in order for paying customers in the 'cheap seats' to hear the music: same as drum corps. This is even more wrong. Amps in drum corps are not for the "cheap seats" at all....in fact, the fans seated outside the 35 yard lines have more trouble hearing the pit than in the pure-acoustic days. There are no speakers aimed at the "cheap seats". Amps are for the people in the press box seats....you know, the ones in the green shirts. There are obsticles, and drum corps obviously need to have trained/professional staff to work the sound if we have any hope (I personally think that most of the problem lies with drum corps not taking the sound engineer position serious enough to hire the best person. Think what would happen if they gave the same consideration for the sound engineer as the rest of the instructional staff), but I think it can be done well. Oh, what a relief. So after adding mics, mixers, amplifiers, PA speakers, a rat's nest of cable, synthesizers and other assorted electronic instruments, all we need to make it work is for every corps to hire a professional sound reinforcement engineer? Great! We can use the revenue from all those new fans these changes attracted to pay for that. Oh, wait.... Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted September 9, 2009 Share Posted September 9, 2009 maybe big enough amps for everyone in the stands to be able to hear it( not counting when it drowns out the corps) Quote Link to comment Share on other sites More sharing options...
Mello Dude Posted September 9, 2009 Share Posted September 9, 2009 maybe big enough amps for everyone in the stands to be able to hear it( not counting when it drowns out the corps) Wait, I have figured out. Everyone in the stands can now wear those headsets like you get at those 3d films where the sound is piped to everyone....not if only the batteries hold up the whole show. Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted September 9, 2009 Share Posted September 9, 2009 good idea...but seriously. if DCI wants to charge $125 to sit out in no mans land, and amps are only aimed at the box, the fans are getting screwed. Quote Link to comment Share on other sites More sharing options...
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