The FLO of sound

[Terri Schehr]

51 minutes ago, cixelsyd said:

OMG, that is so sad.  

I still prefer the blast zone... but I keep my hands free so that I can plug my ears during heavy electronic passages.  I think my hearing is okay, because I can still hear the amps just fine!

I went to an ENT last year because my left ear was crackling.  I decided after he said significant hearing loss, a move was in order.  Oh well.  It was a “blast” while it lasted. 

[kevingamin]

I think the issue, non regional and championship events, is that FloSports (not just FloMarching) outsources the jobs related to producing these telecasts to local/regional freelancers. I recall seeing job postings from Flo related to BOA events, so it wouldn't surprise me if they did the same for regular season DCI shows. As a result, you have people who are most likely not familiar with the activity who are running the boards, cameras, and mics. Add to that the data compression every streaming service uses to minimize bandwidth usage and the results are...well, we've seen and heard the results.

[Jeff Ream]

15 hours ago, Fred Windish said:

Such as it is, I am pleased to receive programing from Flo Marching Arts channel. At this point of life, drum corps directly to my living room is best. You probably noticed, with advancing age comes a decrease in tolerance for things!

For now, I do remain patient with audio from Flo broadcasts. Why? 

Because Flo technical teams are being asked to produce a standardized, excellent quality aural representation of a ‘moving target’ that widely varies in speed, strength, and capability. Sometimes indoor, often outside. High end pro stuff, or Mattel? Difficult challenge, no doubt.

In addition, I suspect Flo technicians are largely inexperienced, underpaid, and as I have witnessed, not placed in position and set before a couple hours before showtime.

Our DCI corps need to consider standardizing more of the processes leading to a finished product, I think. A product more reliable to the task faced by Flo.  I’m not a musician, nor a sound engineer. But ask the following questions.

Would there be benefit to one, designated by DCI, standardized electronic set-up?  Same size, quality, and brand components? The ‘Official Sound Equipment provider for DCI,’  so to speak.

One, decibel-limited standard for all. Same size speaker arrays, mics, and sound boards? Same (as much as practical) everything related to electronic reproduction?  

Put another way, neutralize the challenge Flo technicians face wherever they set-up, whatever group is presenting? 

Thoughts?

 

 

 

no benefit at all. then you're forcing every corps to use the same product, same company, and no bells and whistles that makes them unique.

[Jeff Ream]

15 hours ago, waliman4444 said:

I suggested this 2 years ago on here and was told by a host of DCPers that it was impractical because it would limit some of the more financially well off corps , from using more sophisticated electronics that might not work well with one designated system..unless FLO can come up with a multi user system that would interface qualitatively with all the corps' electronics, it might be a difficult task...btw, I too would like to see this standardized system.

coversely as i said then and now, it could hurt the corps not as financially sound to get whats needed

[Jeff Ream]

3 hours ago, kevingamin said:

I think the issue, non regional and championship events, is that FloSports (not just FloMarching) outsources the jobs related to producing these telecasts to local/regional freelancers. I recall seeing job postings from Flo related to BOA events, so it wouldn't surprise me if they did the same for regular season DCI shows. As a result, you have people who are most likely not familiar with the activity who are running the boards, cameras, and mics. Add to that the data compression every streaming service uses to minimize bandwidth usage and the results are...well, we've seen and heard the results.

and zero training so they know what they are getting into

[deftguy]

It is not up to the corps to adjust their shows for the streaming production team. It is up to the production team to adapt and adjust their production values to the production. You get what you pay for when it comes to a video production team. When you don't have the money to pay for a quality production staff, you get what you get. 

[waliman4444]

7 hours ago, Jeff Ream said:

coversely as i said then and now, it could hurt the corps not as financially sound to get whats needed

Which is why I think the onus is on FLO to develop, rent or buy software somewhat like UNIX in the 70's, that can interface with multiple sound systems regardless of brand name...leveling the playing ground as it were...peace

[cixelsyd]

5 hours ago, deftguy said:

It is not up to the corps to adjust their shows for the streaming production team. It is up to the production team to adapt and adjust their production values to the production. 

The problem with the "adapt and adjust" approach is that you have to experience the problems before you can adapt to them.  It guarantees that a portion of every corps show will be marred by unbalanced sound.

[JimF-LowBari]

5 hours ago, waliman4444 said:

Which is why I think the onus is on FLO to develop, rent or buy software somewhat like UNIX in the 70's, that can interface with multiple sound systems regardless of brand name...leveling the playing ground as it were...peace

Watch those 4 letter words fellah…😆

Signed/ former Unix system admin until I got tired of people yelling at me 😫

[BigW]

14 hours ago, Jeff Ream said:

and zero training so they know what they are getting into

Hmm... A former student of mine and his Dad as well as an old family friend work in this field. One was with ABC developing a lot of the initial tech-NASCAR in-car cameras, etc. Later on, they started outsourcing to companies like my Father and Son friends work with because frankly, the travel's exciting, and the money was fantastic, but the intense travel can wear you out unless you like it. Not many people can do this stuff at any level, let alone at a professional, competent top end level. They wouldn't have their arrangements with ESPN/ABC, NBC, TV Globo, et al. unless they were really good at it.

 

The outsourcing company they work for covers the various Pro Sports, the Olympics, Cycling events, Helping with the David Letterman/Paul Newman stunt with the balloons, Helping Robert Ballard and David Cameron set up the video when the send stuff down to the Titanic... they're very, very professional. And... they demand and get a ton of money for their services. My friends involved live nicely.

The questions I have would be this:

I have a sinking feeling Flo is getting people who aren't as top end to do it. To do so would be very expensive. VERY, very expensive. I know for fact Cameron shelled out beaucoup to the gofer in Newfoundland to get stuff for the trip to the Titanic. Most of us would have loved to be paid that money and given a nice rental car to drive to hardware stores and the Wal-Mart for stuff.

 

Also, it sounds to me that they're tossing in these people without any chances to test anything beforehand audiowise. One thing I do know from listening to the guys I know is that stuff needs to be tested when you're into unfamiliar territory. Once they understand what's needed, how it's needed, what kind of equipment is needed, then they can attack the problem professionally and consistently. They solve problems. They're very smart, adaptive, and innovative.

 

Reading between the lines, they've never sat in a venue with a corps for any significant time to test everything out, have they? Testing to find issues, try and corroborate to solve the issues...but that time takes real money. Serious money It would arguably take rehearsal time away, but if it's audio, the Guard could get things done while the rest of the ensemble plays. If it's the front ensemble, just test that. 

 

Just my mulling on the matter. Until they can sit down and hammer out solutions regarding hardware and software directly testing, this will continue to be painful.