One n Done

What would you think if...

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8 minutes ago, E3D said:

The main issues for me even after all these pages is - does the brass judge really only judge the acoustic performance? So it is obvious but lets say I am new to all this , but where are the brass judges located in relation to the performance. On the field or in the stands. 

The brass judge is on the field behind the speakers. So I assume it's pretty straightforward to distinguish between "stuff I hear in front of me coming from the players on the field" and "stuff I hear behind me coming from the speakers".

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7 minutes ago, E3D said:

the subjective bit about rhysthmic intent is part of the discussion that I don't trust. 

Another thing is - I wish the interviewer would have asked the sound guy / aka cirque guy his age. :lol:

The main issues for me even after all these pages is - does the brass judge really only judge the acoustic performance? So it is obvious but lets say I am new to all this , but where are the brass judges located in relation to the performance. On the field or in the stands. 

Complete and utter bull, especially in The Can where one can BARELY hear the acoustic performance in light of the massive Goo created.

Something like "I'm going to ignore that car speeding into the intersection because I'm only supposed to be judging how well that person stays in the crosswalk."  It's against human nature and auditory rationality.

 

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10 minutes ago, JimF-LowBari said:

Would love to know how many mb use mics, sound board and ear buds like I am reading here. 

Here in central NJ I'd say that all (or nearly all) HS marching bands use amplification of the front ensemble, and often stationary microphones for soloists (from brass to flutes).  Many also occasionally use clip-on microphones for individual soloists staged away from the sideline.  Soundboards are usually manned by the band director or an assistant director (i.e. an adult, since that question will probably be asked).

And frankly (though Mike at West Windsor will disagree), the vast majority of A&E does not represent an improvement in sound in my opinion.

Edited by Eleran

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1 minute ago, ShortAndFast said:

The brass judge is on the field behind the speakers. So I assume it's pretty straightforward to distinguish between "stuff I hear in front of me coming from the players on the field" and "stuff I hear behind me coming from the speakers".

I thought I made it clear that I KNOW where the brass judge is located. I don't think with the reverberations etc that they can totally distinguish acoustics. 

I was subtly hinting at the other judges who are not judging from the field. Do they have a GE to account for? 

Edited by E3D

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7 minutes ago, cixelsyd said:

Not surprised.  I recall last year, when SCV made the effort to route solos to the nearest speaker, they were rewarded by those duelling baritone solos being absent from webcasts because Flo only picked up their central speakers.

To this point I think FLO either need to make sure that there is a mic on each speaker, Some corps have up to 5 Speaker Stacks.. or the need to move their Tall Boom mics off the Field and into the stands to catch the sound coming off the field and the speakers combined.. 

Because the designers are not going to sacrifice the artistic integrity to appease the FLO Viewers, They are designing their shows to have maximum effect for the Judges and the paying audience that is live at the show.. 

Edited by Glenn426

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1 hour ago, MikeD said:

Crown's singing in 2004 as a great step forward.

I should have put money down on the odds of you coming in to praise that show.

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12 minutes ago, Eleran said:

Here in central NJ I'd say that all (or nearly all) HS marching bands use amplification of the front ensemble, and often stationary microphones for soloists (from brass to flutes).  Many also occasionally use clip-on microphones for individual soloists staged away from the sideline.  Soundboards are usually manned by the band director or an assistant director (i.e. an adult, since that question will probably be asked).

And frankly (though Mike at West Windsor will disagree), the vast majority of A&E does not represent an improvement in sound in my opinion.

Interesting... haven’t checked my local scene in decades as not a band competition fan unless I know someone. But within a few mile radius have schools with a high average family income that can fund raise like crazy. Also have an inner city school fighting like crazy just to have a music program so no compete and God knows how the students get the instruments and time to practice

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1 hour ago, MikeD said:

The interview last evening was excellent, IMO. I totally disagree about corps sounding "under water". I love the sound today. As in any era, a few corps have issues with the sound, some are amazing and others are someplace along the spectrum. 

To some degree since 2004 and especially since 2009, large swaths of the audience are getting a far worse audio experience than those in the best seats. Yes, there has always been some degree of this, but no way in the 1980s or 1990s would such a prominent element of a show as, say, Blue Devils' "Bevor Dada da war, war Dada da. Dada ist eine altertümliche, vierbeinige Armbrust, die ein Hündchen an der Leine führt. Dada hat Schwingen, die gewaltiger als hundert Urwälder sind. Dada sieht manchmal einem Menschen aus Torf mit Augen aus wurmstichigen Äpfeln ähnlich. Trotzdem ist Dada jeden Tag schöner als der vorhergehende." been nearly inaudible where I was sitting at Finals in 2012. But it was. It was so faint the person next to me didn't even realize it was there. But it was so prominent in the center -- and on the Fan Network -- that it was the subject of major complaints here.

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58 minutes ago, Glenn426 said:

I am starting to doubt this..

Some of the sound patches Especially in the Second Movement of Bluecoats show,, has continuous sound that last for an entire Phrase...

I'm starting to think that they might have sound patches that are pre-recorded to last an Entire phrase. So the isolated Entrances in the Drum Talk section for example are a grouping of 4-5 individual sounds with negative (silent) space inbetween..

And that those Sound patches are also triggered to coincide with "scene" changes from the main board where Individual Mics are turn on or off along with Level changes on the mics.. 

Yes, that's very easy to do in Mainstage/Ableton or whatever they are using to trigger their effects. You can adjust the attack/release envelope to fade smoothly between files and then add leeway on either side of the attack to deal with fluctuations in time. It's very simple to make many sound files/samples sound like one continuous gesture. 

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39 minutes ago, garfield said:

Complete and utter bull, especially in The Can where one can BARELY hear the acoustic performance in light of the massive Goo created.

Something like "I'm going to ignore that car speeding into the intersection because I'm only supposed to be judging how well that person stays in the crosswalk."  It's against human nature and auditory rationality.

 

Or they are standing on the field behind the stacks. Spent much time in that position at LOS? You can hear the horns just fine from that position. 

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