bawker Posted August 29, 2006 Share Posted August 29, 2006 Well, if no one "cares about the recording"...guess it's time for DCI to stop offering the CD's and trying to make money off of them. :) Quote Link to comment Share on other sites More sharing options...
Storkysr Posted August 29, 2006 Share Posted August 29, 2006 OK forgive my ignorance, maybe this has already been addressed but why can't the recording mics be placed near the intended sound focus center? i.e. the "box". The pits could then be appreciated for their balance as intended and the mics would usually be in back of the majority of crowd noise. Quote Link to comment Share on other sites More sharing options...
Carl306 Posted August 29, 2006 Share Posted August 29, 2006 Pits suck moose ####!!!!!! :P Quote Link to comment Share on other sites More sharing options...
dalazz Posted August 29, 2006 Share Posted August 29, 2006 Well, if no one "cares about the recording"...guess it's time for DCI to stop offering the CD's and trying to make money off of them. :) Are you serious? This is why I don't post here. I spend time trying to explain why we do it the way we do it and someone comes on and takes one phrase I say out of context. Did you even read my post? I said it's the recording engineer's job, not the "pit sound guy's" job to make the recordings sound great. By your logic, we should have the corps arc around the mic after finals to make the best recording possible. I do this for a living. At least respect that I **might** have half a clue when it comes to recording. I would at least do the same for you. If anyone cares to get REAL information, email me (dt@dtay.com). This is obviously not the right place to give it out. Quote Link to comment Share on other sites More sharing options...
bawker Posted August 29, 2006 Share Posted August 29, 2006 Are you serious? This is why I don't post here. I spend time trying to explain why we do it the way we do it and someone comes on and takes one phrase I say out of context. Did you even read my post? I said it's the recording engineer's job, not the "pit sound guy's" job to make the recordings sound great. By your logic, we should have the corps arc around the mic after finals to make the best recording possible.I do this for a living. At least respect that I **might** have half a clue when it comes to recording. I would at least do the same for you. If anyone cares to get REAL information, email me (dt@dtay.com). This is obviously not the right place to give it out. No, I'm not serious. That's what the :) means. Quote Link to comment Share on other sites More sharing options...
dalazz Posted August 29, 2006 Share Posted August 29, 2006 No, I'm not serious. That's what the :) means. Oh... ok, then disregard. All is well again. Quote Link to comment Share on other sites More sharing options...
jdheere Posted August 29, 2006 Share Posted August 29, 2006 I like the idea of trying the recording with unidirectional condensers above the front sidelines and mixed with omnidirectionals closer to the pressbox. Maybe they already do this, I don't know... Ken? You out there? Quote Link to comment Share on other sites More sharing options...
drumcat Posted August 29, 2006 Share Posted August 29, 2006 When you've got 6 people standing 5 feet in front of you with boom mics and such, no, it's not going to be a balanced recording without a LOT of work on a studio mixing and for how quick DCI is putting out recordings, I doubt that's happening. There were times pre mic when I did lose the pit while sitting in the top of the stands at DCI finals and it's much better now. I think maybe DCI should play around with recording from different places other than RIGHT in front of the pit at regionals and shows and find the best place to mic corps. Heck, each corps may even need to be recorded from a slightly different area at finals. If we're paying people to do recordings though, even to stand and hold a boom mic, why not hand them a "script" so they know where they need to be. Right in front of the timpanist may not ALWAYS be the best place to record from. Consider that my buck and change. Forgive my complete and full disagreement with your statements. #1 - a ton of work is put into those mixes. Don't ever believe for one second that this isn't the case. #2 - The mics work very well where they are. They are in the optimal position for recording corps on the field, and for replicating their environment. They even have an LFE mic - bet you didn't know that... #3 - they do have a "script". If you watch "The Beat" in Season Pass, you'd see that. #4 - maybe having a boom near the tymps is to ensure balance, since tympani players tend to, ummm... not make themselves match the ensemble at times. Not you though, right? ;) Quote Link to comment Share on other sites More sharing options...
drumcat Posted August 29, 2006 Share Posted August 29, 2006 Corps should not be held responsible for the quality of the recording, nor should they be asked to change their setup that they've been using successfully for the entire year. Even when the pit wasn't amplified (yes, there are times that we actually bring the faders down) the pit was too loud on the recording. I'll disagree with you here. Corps must be responsible to the extent that it is their chronicle. If given a choice, do you think SCV's amps would have blasted the theater? Well, they changed the direction they were pointed in subsequent nights... The sad part is that we've been talking about how keyboardists don't have to play with lower heights... those faders reduce the need for a wide range now. Just play mf-f, and let the sound guy fix it. It really cheapens the situation. Reinforcement, to me, is making the instrument louder by a linear factor, not "as you go". You can make all the arguments about balance you may want to, but the systemic use of board operators DURING a show is most definitely a reduction in the needed skills of pitsters. Quote Link to comment Share on other sites More sharing options...
kusankusho Posted August 29, 2006 Share Posted August 29, 2006 The sad part is that we've been talking about how keyboardists don't have to play with lower heights... those faders reduce the need for a wide range now. Just play mf-f, and let the sound guy fix it. It really cheapens the situation. Reinforcement, to me, is making the instrument louder by a linear factor, not "as you go". You can make all the arguments about balance you may want to, but the systemic use of board operators DURING a show is most definitely a reduction in the needed skills of pitsters. Worse than that - to me it's cheating. If bass #4 overplays a part it's noticed and commented on. Why should a vibe player have that same mistake covered up by a staff member? Quote Link to comment Share on other sites More sharing options...
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