Ray Kimber

Time to Say Goodbye, after 15 years

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2 hours ago, Jeff Ream said:

hockey was great til they added helmets

Dentists certainly would agree with that. :tongue:

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7 hours ago, Ray Kimber said:

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.  This is true even when some some corps arrived days early in Ogden, and true even when some corps stayed some days after the show.  Year-round we tried to identify and fulfill various wants and needs of the corps when they were in Ogden.  I don't know if anyone on DCP has any first-hand experience with the Ogden show during my involvement.

I was intrigued with the possibility of capturing the sheer magic of the live acoustic performance in a recording.  My attitude about any recording is that it is like trying to can/bottle sushi, you can't do it.  But there is a difference between pet food and Albacore so I wanted to at least have recordings that failed in new ways.  I have some wonderful friends in the audio industry, both on the consumer and the professional side who assisted me.  I did post about those early recording experiences, called IsoMike here on DCP, I kinda liked some of the results. YMMV  Technically we pushed the envelope (and budget) of every single factor.  The last (unreleased) recordings we did are in 4XDSD 4.0 surround.  We played back some of those raw master files at various audio shows with systems costing high 6 figures.  I don't know if anyone on DCP has ever experienced one of my 4.0 playback demonstrations.  I don't know if anyone on DCP were present, in the Ogden recording booth, when we did recordings.  Again, I don't know if my recording efforts were counterproductive, minor or even unnecessary.

Finally, what does "OP" mean?

If I am not mistaken, I think I heard your recordings of Robert Silverman in DSD at the Rocky Mountain Audio Fest in 2017. I was awed to say the least. 

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7 hours ago, garfield said:

I'm... not... sure... if... I... should... chuckle... or...

wait til that episode drops

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One of the Orlando years there was a DCI exhibit at Epcot with various memorabilia.  Included was a letter to DCI from an irate fan complaining about all the things he didn't like and explaining why he was through with DCI.  

On the last line of the letter, he requested a copy of next year's schedule.  

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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 High Altitude SACD, an SACD can't store more than 1XDSD.  However we did switch to the higher resolution 4XDSD a few years ago, which is not supported by an SACD disc.  We did take a first foray into vinyl resulting in the following review

https://positive-feedback.com/reviews/music-reviews/chopins-last-waltz-robert-silverman/

I have been using a few terms to describe Direct Stream Digital (DSD)   1XDSD is the same as DSD64, the original DSD sampling rate and the only rate used on an SACD   4XDSD is the same as DSD256 aka as Quad rate DSD, not to be confused with Quad sound which is 4-channel surround sound aka Surround 4.0  While I like DSD, I acknowledge that DSD has detractors.

There are a few mini documentary videos which can be located by searching IsoMike or IsoMike Blue Knights

As always YMMV

 

 

Edited by Ray Kimber

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18 hours ago, ThePlanets said:

For those of you who have been around a long time...

Do the electronics/props add more to the "dirt" of an early season show/performance? 

No... the electronics add dirt to performances throughout the season.  So do trips - I mean tarps.

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1 hour ago, Ray Kimber said:

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 High Altitude SACD, an SACD can't store more than 1XDSD.  However we did switch to the higher resolution 4XDSD a few years ago, which is not supported by an SACD disc.  We did take a first foray into vinyl resulting in the following review

https://positive-feedback.com/reviews/music-reviews/chopins-last-waltz-robert-silverman/

I have been using a few terms to describe Direct Stream Digital (DSD)   1XDSD is the same as DSD64, the original DSD sampling rate and the only rate used on an SACD   4XDSD is the same as DSD256 aka as Quad rate DSD, not to be confused with Quad sound which is 4-channel surround sound aka Surround 4.0  While I like DSD, I acknowledge that DSD has detractors.

There are a few mini documentary videos which can be located by searching IsoMike or IsoMike Blue Knights

As always YMMV

 

 

So, we know what you'll be doing during your time "away" from drum corps.  

😀

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3 hours ago, skevinp said:

One of the Orlando years there was a DCI exhibit at Epcot with various memorabilia.  Included was a letter to DCI from an irate fan complaining about all the things he didn't like and explaining why he was through with DCI.  

On the last line of the letter, he requested a copy of next year's schedule.  

Worked a DCI/YEA show in Maryland, circa 2000s,  for several years. One guy... same guy, every year... would come up to me and gripe about the corps and the stuff they were doing. :blink:

"Oh... so-and-so is here. Okay, let's play our 1972 shows to keep him happy!!!"  :tongue:

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13 hours ago, garfield said:

There is a calculation in every change in business practice that measures the impact on "keeping clients" vs. "getting new clients". 

But as has often been pointed out, drum corps has not been run like a business.

I wish your statement was true.  But when I look at the latest evidence of the DCI mindset (the strategic plan posted on DCI.org), I find a curious thing about "keeping clients".  When it is "partners" or "sponsors", there is talk about keeping them engaged, even limiting attrition to less than 1%.  But there is no evidence DCI thinks about retaining fans, or even believes they can limit their attrition.  It is as if DCI has accepted that misleading/misguiding stat about the 3.5 year fan lifespan as irrefutable science, and have been planning ever since for the post-audience dystopia.

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On 10/15/2019 at 3:34 PM, Ray Kimber said:

 

 My first experience with Drum Corps was in 2004 at the invitation of Dr. Thomas Root. 

I sat next to Tom Root 50 years ago at the Minnesota All-State Band Camp.  He played tuba, and was fresh out of the University of Minnesota as a student clinician.

I was a trombone player, a few years younger than Tom.

You can always appreciate the good memories you had when you enjoyed drum corps some years back.

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