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2003 Finals CDs Review


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Can anyone write a review of the rest of the top 12 performing corps? B)

Or the rest of the corps on there, that would be really great too.

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One thing to keep in mind (as I learned last week in an email discussion with someone from DCI) - although the CD's include Finals performances, corps have the option of picking which performance (quarters, semis, or finals) to include on the set. Remember BD 1989?

You really can't be judgemental on the placements based on these recordings. They were geared to give us the best performances of the season.

Just enjoy the shows!

Edited by Wildabeast
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Hey Phreak, what I mean is you are disallowing the style in improvisation of certain players, like maybe an Ornette Coleman or a John Coltrane that used nasty sounds as part of their style. Those are sounds that need to be emulated and practiced. Even in a jazz band rehearsal ( i HATE the term stage band - itsn't a wind ensemble on stage as well??) or performance, if you are saying that a certain sound is bad, but is styilistically correct, where does that leave the student?

By your post, it sounds like you're implying that playing with a bad sound could be considered 'stylistically correct' for Phantom's classical show... :angry:

Playing with a sound with a little bit of edge on it would be stylistically correct for parts of Phantom's show, such as wild nights 1, the end of wild nights 2, and parts of ostinato. Not necassarily a bad sound under those circumstances, just an angry or feiry sound where having a mellow sound wouldn't make any sense. I mean, honestly, would having a totally mellow sound at the section where the drums are breaking through the hornline at the end of wild nights make any sense? I don't think so, but if you do, youre entitled to your opinion.

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This is also incorrect. The only thing that will happen when sound reaches two mikes at different times is what is called the "Precedent effect". The means whichever sound arrives first sounds the loudest. The closest mike will pick up the most sound and will record the intensity of the sound loudest, the furthest one away will pick up less sound with reduced amplitude and intensity.

I don't think you said anything in your entire post that was correct, but this quote is the biggest laugh of them all.

To make a long story short, a clean snareline can be made to sound "dirty" by inappropriate selection, placement and/or mixing of microphones. And that's just one of a long list of problems that inept audio engineers can cause.

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One more thing regarding recordings and their infalibility. Is there anyone who derives as much satisfaction from hearing the recordings as they do from hearing the same corps live? Probably not. And that's all the evidence I need of how much the recordings distort reality.

One problem with your logic. Live you are hearing and SEEING the corps. Using both the eyes and the ears has a smoothing effect on both. In other words, you hear less detail while the eyes are processing the visual, and the you see less detail win processing the audio. That is the way the ear/brain works. Take away the visuals, and the audio portion comes to the forefront revealing more detail. This is less brain processing and allows for greater concentration. Try watching a movie in 5.1 digital without the picture, and with the picture and you will know what I mean. :grrr:

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This is also incorrect. The only thing that will happen when sound reaches two mikes at different times is what is called the "Precedent effect". The means whichever sound arrives first sounds the loudest. The closest mike will pick up the most sound and will record the intensity of the sound loudest, the furthest one away will pick up less sound with reduced amplitude and intensity.

I don't think you said anything in your entire post that was correct, but this quote is the biggest laugh of them all.

To make a long story short, a clean snareline can be made to sound "dirty" by inappropriate selection, placement and/or mixing of microphones. And that's just one of a long list of problems that inept audio engineers can cause.

For our purposes, we can assume sound travels at a fixed, yet finite rate through the air, so if a snareline is slightly closer to one mic than it is to another, not only will there be an intensity difference between the two mics, but the sound will reach the more distant mic later than it will the closer one. If the two mics are mixed with equal intensity on the recording without any correction for the sound delay, then the same impulse generated by a snare hit becomes two signals a small distance apart on the recording, giving the illusion of dirt. You can simulate this effect without recording equipment if you listen a line out in the open, versus near a wall...the echo from the wall won't line up with what the line plays, making the line sound dirty.

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I got my CDs yesterday, and they're flat awesome. Of all the shows on the discs, I've been totally blown away by the Cavaliers. A lot of people say the music isn't very engaging, but I think their book this past summer was one of their best.

Overall, from top to bottom, there was so much quality this past summer. Just a great CD set.

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