Post by Deleted on Jan 5, 2016 18:58:17 GMT
Mind you John, the majority of mixing engineers at concerts are either frickin deaf or too drunk/stoned to worry that the drummer is actually in the band or the vocalist is doing a very poor impersonation of David Covernote bloody grim most of them.
One Jurno currently scribing for a national mag is a classic player of repute I have spent many an hour with him discuss the the finer points of imaging / staging, realistic protrayal and how he feels he sounds when we play back his recordings.
He plays in a string quartet, and his reinstatement is positioned very close to his head therefore his ears and he judges his audio by his own standard of reference, his playing as its his own reference so to speak.
Now a while ago we recreated one of his concerts within a public setting with a number of members of the public sitting and listening after recording we played back the piece they had just performed.
This chap was sat mid way back around 10th row in a 300 seat venue, his remarks were ' I sound nothing like that!" so we asked other members of the listening panel to comment, which ranged from Wow that is so real, to couldn't hear a bloody thing, its a bit screechy, absolutely nothing like it!
This is about perspectives and how people perceptive how bands, orchestra's musicians, performers sound in a given environment.
We moved said Jurno around the venue untuil he felt it was sound very close to how he felt his playing sounded.
Strangely enough he was in the front row sixth seat from the right, his preferences were simple, realistic dynamics and speed, tonal quality and the timing of the others in four piece ensemble nothing more.
Spatiality, imaging, staging depth and linearity were not on his radar as from his perspective these are not traits he recognizes while performing.
Timing too has a very different meaning in relation to playing in an Orchestra as to a drummer / bass player keeping a really tight rhythmic cohesion to the song both very different, but both equally important.
He did struggle with the concept of timing in a rock band for a while!
All grist for the mill.
One Jurno currently scribing for a national mag is a classic player of repute I have spent many an hour with him discuss the the finer points of imaging / staging, realistic protrayal and how he feels he sounds when we play back his recordings.
He plays in a string quartet, and his reinstatement is positioned very close to his head therefore his ears and he judges his audio by his own standard of reference, his playing as its his own reference so to speak.
Now a while ago we recreated one of his concerts within a public setting with a number of members of the public sitting and listening after recording we played back the piece they had just performed.
This chap was sat mid way back around 10th row in a 300 seat venue, his remarks were ' I sound nothing like that!" so we asked other members of the listening panel to comment, which ranged from Wow that is so real, to couldn't hear a bloody thing, its a bit screechy, absolutely nothing like it!
This is about perspectives and how people perceptive how bands, orchestra's musicians, performers sound in a given environment.
We moved said Jurno around the venue untuil he felt it was sound very close to how he felt his playing sounded.
Strangely enough he was in the front row sixth seat from the right, his preferences were simple, realistic dynamics and speed, tonal quality and the timing of the others in four piece ensemble nothing more.
Spatiality, imaging, staging depth and linearity were not on his radar as from his perspective these are not traits he recognizes while performing.
Timing too has a very different meaning in relation to playing in an Orchestra as to a drummer / bass player keeping a really tight rhythmic cohesion to the song both very different, but both equally important.
He did struggle with the concept of timing in a rock band for a while!
All grist for the mill.