What would you think if...

[JimF-LowBari]

1 minute ago, MarimbaManiac said:

Depending on the type of music being performed and the venue? MANY. 

Nowadays every major concert hall is fitted with a speaker projection system, either because they are presenting electroacoustic music or to combat issues with the venue itself. 

I'm a composer and sound engineer that has worked sound or had pieces played in many professional and university venues around the country. Unless a group is performing in a great sounding hall, or playing only classical rep (pre-modernism), amplification and sound design comes into play more often than not. In fact, with the exception of a SMALL sub-set of new music (symphony orchestra, wind band), lots of composers specifically call for amplification in their scores. 

What you're describing is quickly disappearing, especially with the push for ensembles to play less "dead white guy music"

Ever do any work with concert halls built during the Depression? My colleges concert hall and one in a nearby town were built then and have some horrible dead spots. The one nearby hosts off Broadway shows and learned hard way not to sit up front at ends of the rows. College dead spots mostly under balcony.

[Eleran]

On 8/8/2019 at 1:31 PM, ShortAndFast said:

Professional orchestras and opera companies hire sound engineers. Full stop.

https://nyphil.org/about-us/artists/lawrence-rock

Your Google skills are marvelous.  Your reading comprehension skills, however, need improvement.

• The NYPhil engineer handles RECORDINGS and BROADCASTS and "live audio" on tours (i.e.  remember those outdoor concerts in the park already discussed).   
• The Chicago engineer is RECORDING the concerts.
• The MetOpera is engineering "broadcasts for radio, movie theater screenings"

They are NOT manipulating sound then feeding it to the audience in the hall.

 

 

Edited August 9, 2019 by Eleran

[MarimbaManiac]

Just now, JimF-LowBari said:

Ever do any work with concert halls built during the Depression? My colleges concert hall and one in a nearby town were built then and have some horrible dead spots. The one nearby hosts off Broadway shows and learned hard way not to sit up front at ends of the rows. College dead spots mostly under balcony.

The hall at the school I did my first Masters was built during that time period, and has a HORRIBLE resonance at around 200hz. It becomes impossible to hear anything in that range, so we mic most performances and balance it manually. 

[MarimbaManiac]

2 minutes ago, Eleran said:

Your Google skills are marvelous.  Your reading comprehension skills, however, are pathetic.

• The NYPhil engineer handles RECORDINGS and BROADCASTS and "live audio" on tours (i.e.  remember those outdoor concerts in the park already discussed).   
• The Chicago engineer is RECORDING the concerts.
• The MetOpera is engineering "broadcasts for radio, movie theater screenings"

They are NOT manipulating sound then feeding it to the audience in the hall.

 

 

Again, you're being willfully obtuse. 

Yes, that's exactly what happens, depending on the venue, the group, and the rep that they are playing. 

[ShortAndFast]

Just now, Eleran said:

Your Google skills are marvelous.  Your reading comprehension skills, however, are pathetic.

• The NYPhil engineer handles RECORDINGS and BROADCASTS and "live audio" on tours (i.e.  remember those outdoor concerts in the park already discussed).   
• The Chicago engineer is RECORDING the concerts.  Not mixing for the live audience.
• The MetOpera is engineering "broadcasts for radio, movie theater screenings"

 

 

I'm not trying to trick you here, I'm encouraging you to read more about the subject. Most, maybe all, professional orchestras and opera companies use electronics and amplification. Including live performances in their primary concert halls. You can dig into each company to learn where/when/why. 

 

[Eleran]

5 minutes ago, MarimbaManiac said:

Again, you're being willfully obtuse. 

Yes, that's exactly what happens, depending on the venue, the group, and the rep that they are playing. 

Have you even been to hear the NYPhil or MetOpera, live in their houses?

[JimF-LowBari]

16 minutes ago, MarimbaManiac said:

The hall at the school I did my first Masters was built during that time period, and has a HORRIBLE resonance at around 200hz. It becomes impossible to hear anything in that range, so we mic most performances and balance it manually. 

Lol years back was invited to see off Broadway musical at the local theater and sat up front at end of row. Sat there due to age of Joe who invited us and bought the tickets.Theater loans out “speaker on a stick” for hearing impaired and he had one. He was the only one who heard the whole play. All night it was “Joe... what’s so funny... I missed it”.

Think lot depended where the actors stood on stage too but not sure

Ok it’s the massive theater in Hershey, PA few blocks from the stadium that USED to have Corps shows. 

At least we had good seats for Victor Borge few years later 😂

Edited August 8, 2019 by JimF-LowBari

[MarimbaManiac]

4 minutes ago, Eleran said:

Have you even been to hear the NYPhil or MetOpera, live in their houses?

No, not really an Opera guy, and I find most large orchestras to be pretty conservative in their programming, so I generally steer clear. When the newest music you're playing is Barber or Varese, you have a problem with programming. 

That being said, as ShortandFast mentioned this is a pretty standard practice today, depending again on the venue itself, and the rep that is being played. The musical community as a whole has embraced technology (with the exception of more classically focused conservatories). It's a brave new world. 

Edited August 8, 2019 by MarimbaManiac

[Fred Windish]

9 minutes ago, Eleran said:

Not only is that a huge, sweeping generalization, it's one which I do not feel is correct.   Please remember that the VAST majority of DCI members all got their start in high school marching band.  DCI is just a natural progression.  And I don't think anyone here is going to say that they are joining their high school marching band because it is a "rock star" experience.   Playing in front of a bunch of parents, friends and alumni is not a rock-star audience.  Even at finals, the lower half of DCI gets a marginal crowd at best. Just because members continue to sign up does NOT mean they love all this crap that is being foisted on them by designers.

I can out you in touch with at least one member ...

It’s a metaphor for the dreams of every young person. Maybe better had I written “Every young person dreams to be a star of something.”  

The tension expressed here need not be about change.  That will continue on.  I think it’s more a matter of remaining relevant, and getting these, and future changes ‘right.’    I have confidence they will, and then move on to something else. Whatever that is will likely stumble at first, too!

( I’ve worked with thousands of young people, after studying them for years and years)

 

[ShortAndFast]

10 minutes ago, Eleran said:

Have you even been to hear the NYPhil or MetOpera, live in their houses?

Yes to both. 

With high-end companies, it's usually about improving the audience experience or doing what the repertoire requires. They don't obnoxiously amplify Brünnhilde - she doesn't need it! But those tuned anvils in Das Rheingold are probably getting some help (if they are not completely pre-recorded).

Edited August 8, 2019 by ShortAndFast