[Gary Eickmeier]

"Gary Eickmeier" wrote in message
...
Got a job shooting a hi def band video. We used 2 cameras - I was back
camera getting the steady establishing shot, partner was shoulder mount on
stage getting close-ups. I used my trusty Canon HV20, and man, what
beautiful video. Even tho it was drizzling rain, it looks just superb, and
my sound is equally good. Used a separate mike on camera, stereo Teac.
Also
copped a track from the sound board, and is that ever weird. We don't
usually like to take their sound, because it just sounds so Tron like - no
audience applause, just the musical instrument and mike feeds from the
stage. What was more disappointing about the board sound was that it was
dead straight mono. Phooey. I always wondered about that - whether they
were
clever enough to mix the PA sound in stereo. Guess not. Maybe it doesn't
matter.

Anyway, will do a mix of each track and cut in the close-up stuff, and
should be a great little video for them. Should get us an editing gig too.

Gary Eickmeier

I'm going to jump in and respond to my own post and elaborate a little.

Here is what is curious to me: I thought this music was terrific. They are
called the Level 10 Band, and you can get a CD from them called Crossover. I
think that THIS is what I would have preferred jazz/rock fusion to be like.
It was jazz with a backbeat that was irresistable.

So here is the problem. I would love to record them myself with my newfound
3 spaced omni technique, but there is no point in microphone techniques with
this group. Everything they do is electronic, from the electric bass to the
midi keyboard to the close-miked drum kits. Even the sax is miked, to keep
up with the volume of everything else. So there is no acoustic sound of this
group, and there is no stereo. At least not in the classic definition of
solid, three dimensional space being captured by miking techniiques for
relay to a two or three channel speaker system in the audiophile household.
The best we could do with a group like this would be to pan the various
feeds to different locations along the soundstage, maybe add some processing
so that the drums sound a little further back, add some reverb, etc. What
you would end up with would be a pleasant sound with a lot of bass, but it
wouldn't be auditory perspective in the sense that we usually talk about.

You guys have experience with recording this kind of thing? What is industry
practice? Do the soundboard roadies ever attempt to mix the sound
reinforcement system in stereo, or am I being introduced to the new reality
of mono?

Gary Eickmeier