Re: Valerian Vinyl

In article <g%Gkj.283709$8Q7.114553@xxxxxxxxxxxxxxxxxxxxxxxxxx>,
Iain Churches <IainNG@xxxxxxxxxxx> wrote:


"Dave Plowman (News)" <dave@xxxxxxxxxxxxxxx> wrote in message
news:4f63abae85dave@xxxxxxxxxxxxxxxxxx
In article <xmokj.283207$qU3.189675@xxxxxxxxxxxxxxxxxxxxxxxxxx>, Iain
Churches <IainNG@xxxxxxxxxxx> wrote:


Take a look at any of the books that deal with studio layout. Alton
Everest, John Woram.Even Tremaine has a chapter on this. If you think
about it, the optimum brass/saxes/woodwind setup is obvious, I did
not think ít up.

But a TV show isn't all about a 'studio layout' anymore than a live
event is.

No indeed and that is one of the reasons why TV shows often
sound so awful. Have you ever wondered why live events often
sound much better?

Have you ever wondered why live events 'sound' better than any recording?

Sounds like you always want to 'improve' on nature?


What is natural about the woodwind sitting at the front
in a recording? For a concert, they sit immediately behind
the strings because their acoustic volume is less than the
brass.

A jazz orchestra has strings?

Oh yes indeed. The Paul Whiteman Orchestra was the very
first jazz orchestra. Six violins.

Which wouldn't be heard against open brass etc. In a purely acoustic
environment you use an arrangement of the music that allows the quiet
instruments to be heard. With multi-miked SR this isn't always the case.


But I was talking about a concert or symphony orchestra as
well you know.

That I'm not sure, Iain. You jump around all over the place to make your
'point'.


Have you not observed the difference in stage layout between classical
orchestras and dance bands of the '20s onwards?

It started long before the 1920s. Take a look at sketches
from the Baroque era, and read what Thomas Arne had
to say circa 1760.

What have I just said about jumping all over the place?

Were you not required to study the history of music?

Another snide comment noted...

Early classical setups work especially well in studio recording.
The specialist Decca label L'Oiseau Lyre used them
often to very good effect.

What are you discussing, Iain? Or is it just one of your lectures again?


But as soon as you start to record, or use any SR,
the matter needs to be carefully reconsidered.

In this case we're not talking about a sound only recording. A TV
performance is closer to a live event.

Indeed. hence my mention of SR.

Right. So you've finally understood something. Tell me how a small strings
section is normally miked up for SR?


Ted Heath (bandleader not politician) used to say that
the saxophones were the children of the orchestra, and
had to sit at the front. They needed his direction. Then
when the red light went on, and they began to play, most
of the players shut their eyes. It wouldn't have mattered
where they sat! Only small changes were necessary to
give the section a lot more bite and tighten the whole
sound of the band, due solely to much reduced leakage.

So Heath ignored your 'advice' regarding the brass behind the ww when
on stage? As did every other similar band leader? Wonder who was
correct...

I was talking specifically about recording. This setup was
also used on the many public concerts recorded by
Decca.

Surely you realise that Ted Heath was long before my time?

So you're now only referring to things in 'your' time? Like Baroque? ;-)

[snip]

--
*Go the extra mile. It makes your boss look like an incompetent slacker *

Dave Plowman dave@xxxxxxxxxxxxxxx London SW
To e-mail, change noise into sound.
.

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