the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
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- bloke
- Mid South Music
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the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
At intermission during a concert today – and doing the same show today (as a run-out at a smaller venue - with far fewer microphones and far less amplification), we (low brass) laughed at ourselves, because we realized that – at the other two concerts, which were at a huge concert hall (where legion microphones, amplifiers, and speakers were in place) - that we had literally been competing - volume-wise (back at the other place) - with ourselves.
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Re: the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
I always enjoy(not, lol) when you are performing when "they" decide to mic/amplify only certain sections in the ensemble, and then "they" are surprised by the results
Conn 25J
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Holton Monster 3+1 EEb
Faxx 24AW
- bort2.0
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Re: the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
Wait say what? Orchestras are mic'ed and amplified? I thought those mics were just for the radio broadcasts.
- bloke
- Mid South Music
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Re: the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
Memphis S.O. Christmas show:
M.S. Chorus, single and multiple soloists, MD narration/introductions, ballet dancers doing several Nutcracker selections, etc…
The sound guys miked the orchestra as well…(??)
If the hall had been “dead“, it might have been easier for us to interpret, but all of that sound was whooshing out into the hall - and then back to our ears…
… at the somewhat more acoustic run-out performance on Sunday, my bass trombone buddy and I discovered how loud we had been playing the last B-flats in the show - syncopated, at the very end of the show on the short little “We Wish You a Merry Christmas”, encore… just about “Tannhäuser loud” …but it fit, so…
…the little version of the Christmas song with a soloist – where I switched to euphonium towards the end… about 0% as nerve-racking on the run-out, because everything could be heard in real time, and - the horns being only 30 feet away, instead of 50 feet away…and their sound previously bouncing off the back of the hall - I could tell precisely where to place all the beginnings of all my sounds…and - with the MD about thirty feet closer to me at the run-out - he actually noticed my little euphonium “simple phrase” , and gave me a wink and nod.
M.S. Chorus, single and multiple soloists, MD narration/introductions, ballet dancers doing several Nutcracker selections, etc…
The sound guys miked the orchestra as well…(??)
If the hall had been “dead“, it might have been easier for us to interpret, but all of that sound was whooshing out into the hall - and then back to our ears…
… at the somewhat more acoustic run-out performance on Sunday, my bass trombone buddy and I discovered how loud we had been playing the last B-flats in the show - syncopated, at the very end of the show on the short little “We Wish You a Merry Christmas”, encore… just about “Tannhäuser loud” …but it fit, so…
…the little version of the Christmas song with a soloist – where I switched to euphonium towards the end… about 0% as nerve-racking on the run-out, because everything could be heard in real time, and - the horns being only 30 feet away, instead of 50 feet away…and their sound previously bouncing off the back of the hall - I could tell precisely where to place all the beginnings of all my sounds…and - with the MD about thirty feet closer to me at the run-out - he actually noticed my little euphonium “simple phrase” , and gave me a wink and nod.
- Three Valves
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Re: the problem with electronic amplification of a orchestra in a hall designed for acoustical performances
This is outrageous!!
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- bloke (Mon Dec 13, 2021 8:55 am)
Thought Criminal
Mack Brass Artiste
TU422L with TU25
1964 Conn 36k with CB Arnold Jacobs
Accent (By B&S) 952R with Bach12
The Fourth Estate is the Fifth Column
Mack Brass Artiste
TU422L with TU25
1964 Conn 36k with CB Arnold Jacobs
Accent (By B&S) 952R with Bach12
The Fourth Estate is the Fifth Column