Well, things are moving along nicely on the project, and excitment is buildng. As mentioned before, the mid-show interview with Music Director/Conductor David Amado is completed, save for some editing based on what happens at the concert itselft.
On Tuesday, the script I wrote for the voice-over was approved by DSO, and sent to Jack Moore to read on Wednesday. Jack (ever the pro!) turned it right around and did a great read, with a few extra touches that really make the production shine (and my job a little easier). I’ve since tweaked it a bit and put it on the timeline in my editing software (Samplitude/Sequioa) for the broadcast template.
So now, we’ve got all the talking we need for the broadcast: a beginning, a middle and an end. We just need some music!
This afternoon, I’ll be leaving with all my recording gear and heading over to the Grand Opera House in Wilmington, for a 4:30 load in. The plan is to be set up and ready for a 7:30 start of tonight’s final dress rehearsal. Then the REAL work begins. We’ll be using most of the available 24 tracks to capture the entire orchestra, the audience, and whatever else needs to be recorded.
The goal for today is to capture everything and bring it back here for a preliminary mix – for backup and possible repairs, depending on how everything goes at the concert itself. (I’ll spend most of Friday, Dec. 30th working on this. ) This also helps for the final mix in that we’ll have overall levels set, tracks and effects assigned, etc. The more time we can save on the back end, the better.
So that’s the latest from here. If I have internet access, I’ll update again from the rehearsal tonight.
Thanks for following along!
I’m excited to announce we’re recording the Delaware Symphony Orchestra LIVE at their New Year’s Eve Gala this Saturday, December 31st at the Wilmington Grand at 7:30 p.m. and turning it around overnight for a 2 p.m. broadcast on WRTI on NEW YEAR’S DAY, January 1st. (The countdown begins when the music stops around 10 p.m. That’s roughly 16 hrs to get it completed and on the air. No pressure!)
I hope you’ll follow along with me here as I update our pre-production progress, recording the dress rehearsal, and then the concert itself at 7:30 on New Year’s Eve. The VO script is now written for the broadcast, (hosted by WRTI’s Jack Moore) and Music Director/Conductor David Amadao has already sat down for an intermission interview at WRTI’s studios. (That’s already “In the can” and ready to go for the middle of the broadcast.)
You can read more about the concert here: http://www.delawaresymphony.org/specials.htm
I’ll be checking in again soon with more updates during the week, so stay tuned for what happens next….
A recent article/blog by composer Nico Muhly started me to think a little more about my own line of work: Recording live Classical, Jazz and World Music. More specifically, the recording of new compositions, usually commissioned by an orchestral, choral, operatic or theatrical group.
If you’re a composer of modern classical music, or if you play in an orchestra that presents world premieres of new music, take a moment and read this link before going any further here. It’s a good read and well worth your time:
My take on it:
I was just a little surprised at the state of affairs Muhly describes for getting one’s work recorded, even just for archival use. I see things a little differently on my side of the “virtual” studio glass. I was under the perhaps naive opinion that most new works do get recorded, at least for posterity, study & and future reference. (I guess that’s obvious for me, isn’t it? I’m only hired after permission/funds have been granted to record.) These days, only a hermit living in a cave for the last twenty-odd years would believe these recordings are done for profit or monetary gain. The music world has seen quite a few changes in the last two decades, and we all know that very few recordings turn any kind of profit. It’s now more of a promotional tool or cultural artifact than a profit generating device.
Long before I became a full time producer/engineer, I also worked as a musician and occasional composer for hire. Nothing very serious, or in a professional orchestra, but in some areas that my work could (and sometimes did) be used for commercial purposes. (This was back long before anything but cassettes and the nascent CD would start to change things forever…) To this day, I totally and completely understand the feeling of loss (and sometimes even outrage) when someone takes one’s work without permission. Believe me, I’m still not really over this whole “download for free” stuff that most under-30’s think is perfectly fine today. I doubt I ever will be, but it’s a fact of life these days, and I have made an uneasy truce with it.
For the last 24 years or so, I’ve made my living primarily as a recording engineer/producer, and have had the honor of recording traditional music as well as hundreds of new commissioned world (and local) premieres. I can’t speak for other recording engineers in this business, but my philosophy has always been (with the permission of the artists, orchestra/management, etc. of course) to provide the composer(s) with copies of their work. Heck, it’s just good business to say hello and introduce myself early in the process, trade contact info, and make sure the composer gets to hear their work (and mine!) The cost of a blank CD is nothing compared to the good will and camaraderie that goes with this sort of thing. (And, I have never, ever, put static noise or silence into a work every 20-30 seconds to render it unplayable, nor has anyone ever asked me to do so. What is up with THAT? Seriously!?)
After reading Muhly’s take on the situation, I’d like to add my own .02 about getting a work recorded.
Firstly, one should be aware that there are in general three kinds of groups that perform commissioned works, and each have their own rules about recordings:
1. Professional (ie: unionized) Orchestras, Choral Groups and ensembles, performing in halls with professional (also union) staff.
2. Mixed professional and semi-professional ensembles with top-level musicians working without a contract per se, in non-union halls, churches and auditoriums.
3. Community or school-based, non-paid and/or non-auditioned groups, often with additional pickup or select professionals for day-hire.
In all cases, with all three groups, the best (and most respectful to the musicians) way to insure your work will be recorded is to specify everything ahead of time in the contract you sign with the parties commissioning your work.
You’ll find out right at the start what is allowed and what is not, what is affordable and what is out of the question. You may even find miscommunication within the group as things go along, but an early documented conversation with all parties is your best insurance should things get sticky.
For example, Group 1 – the professional orchestra (and its management up top) – may be recording their performances anyway, often in a negotiated contractual agreement with everyone (musicians, staff, etc,) and will likely be making an archival-use-only recording of the work. Copies will be limited, so it’s always best to check on this early; often a simple email to the engineer handling the work can get you right to the heart of the matter. You may have to pay for the raw media (blank CD, USB stick, etc.) and you’ll probably have to sign a release form, but you’ll know long before going into the situation what is and what isn’t going to happen. You may also have to wait for artistic approval from the music director and/or soloists for copies to be released. The better your working relationship with these folks, the better your chances for archival copies, at least.
Tip: Asking about a recording the day of the final dress rehearsal – or worse: after the concert is over – will likely get you nowhere fast. Plan ahead! I can tell you from experience; it’s one thing to make an authorized copy for you as it’s happening or immediately thereafter; it’s quite another to be fielding requests for copies of events that happened months ago. Most busy orchestra staffers – and their engineers – have their hands full with current projects and aren’t always caught up on back archives.
If there’s no budget for recording – and you’ve not put it in your contract – then chances are slim to none that a Group 1 type professional orchestra will allow you to even put up a portable two-track hand-held recorder under any circumstances. It’s simply not allowed, and one has to know this ahead of time. It’s only fair to the labor agreements with all parties involved, regardless of one’s views of the value of the recording. You just can’t do it that way. It’s a fact of life in today’s professional musical world.
Moving on to Group 2 – more is possible in this scenario if everything is handled properly. In a perfect world, again, the musicians must be informed ahead of time that one (or all) of the works on the program will be recorded; perhaps just the concert itself, or perhaps including the final dress rehearsal as well. Depending on the arrangement with the musicians, there may be an additional fee. We all know these things can end up as commercial recordings, broadcasts and even soundtracks. It is at this point that anyone not comfortable with the arrangement may opt out and turn down the booking. Once again, last-minute recordings foisted on the musicians are just not fair, and it’s up to the management (or whoever’s signed your contract) to make sure everyone on the stand is aware and ok with the fact that the performance is being recorded before they accept the gig.
I’ve occasionally faced upset or angry musicians who are surprised to see me setting up mic’s and stands before a concert or rehearsal. They clearly were never told there was a recording being made of their performance, or they missed the memo, and naturally many bristle (while some are thrilled) to find out a permanent record is about to made of their efforts. I’ve even seen votes taken right then and there to allow the recording to happen at all. (My batting average is about .500 on this one!)
I try to be understanding, and I have a few stock responses, including “Sorry, but I’m not the one you should be angry with.” Or, “Please discuss this with the person who contracted you”. It’s a difficult spot to be in, and I don’t like it, but let’s be honest; do they really think I’m there just to ruin their day? There’s a hundred other things I could be doing, but an irate few seem to think I’ve decided to arbitrarily lug all my gear there just to annoy them. When I’m hired to make a recording, I too assume my client has sorted everything out on their end as well.
For all three types of groups, it really does come down to planning ahead, and everyone should know ahead of time what’s going on. Again, it’s only fair to all (including ME.)
Why record anyway?
For the validity of making recordings, there are many reasons to do so beyond simple vanity. In addition to the historic value of a world premiere, (what do you think Beethoven or Mozart would have done with today’s technology when they premiered their works? Wouldn’t you like to have heard one?) everyone benefits artistically by having at least an archival recording made of the event: the people who commissioned the work, the orchestra themselves, the composer, the conductor, and on and on. I’m not talking cash money benefits of course; I don’t know any artist that at some point who doesn’t want to hear the results of their work captured for posterity or study – provided it’s not costing them future work or income.
Another fact of life with most performing arts groups is that ticket sales don’t cover the annual operating costs. Most groups depend on grants and gifts from a varied group of benefactors.
For many commissioned works, the parties paying the cold hard cash for the work often request a copy of the work, if only to preserve for posterity what their dollars have wrought. (Seems smart to me…) On the other side of the footlights, many performing groups must record works this year for grant submissions next year and beyond. It’s just simply good business sense to have a variety of recordings in their archives for the stylistically varied selections that are often required when applying for a grant. This is something that’s rarely brought out in the open by upper level orchestra management, mostly for competitive reasons (e.g.: orchestra A is competing with orchestras B and C for the same grant, which are all submitted in confidence to the same charitable organization that ultimately decides who gets the award.) In many cases, therefore, the musicians themselves don’t realize their income for seasons two or three years down the road can and often does depend on a good recording to include in a five or six-figure grant submission. Missed recording opportunities can easily turn into costly incomplete grant applications. This can make or break an entire season of performances for some lesser-endowed groups, and I’ve seen it happen first-hand. I’ve had an entire season of work lost when a struggling group didn’t get the grant they were counting on, and thus folded for the season.
We’ve all heard it, and let’s get it right out in the open now, if only for the sake of this discussion: orchestral recordings don’t make money anymore. Don’t believe me, check out what Klaus Heyman, the head of NAXOS, has to say about big ensemble recordings vs. smaller solo & duo recordings. Mr. Heyman has a fascinating and very honest opinion about how things work today. (Read it all the way through, esp for the sales numbers he talks about.)
Years ago, there were cash advances from the record companies, even for orchestral recordings. Many got paid right up front, when the album was released. It was often part of a major orchestra’s annual income. A quarter-million dollar investment on another Beethoven 5th recording could recoup its money within a few years, minimal risk. Its old news now: with the advent of digital recording, the CD, and now downloading, it all went away. But don’t feel bad; we’re not alone in our corner of this business. It’s happened all across the genres as well; not just classical, and unless your name is Bieber (Justin, that is) Gaga or Beyonce’, chances are you’re not making anything from your CDs other than promotional and archival use. (And neither of those is a bad thing!) Yes, downloads are doing well, but again, nothing to sustain the bottom line of any serious performing arts organization.
It’s a hard and bitter pill to swallow for recording musicians who remember firsthand the good old days; they’ve spent their entire lives and careers perfecting a craft that only a seemingly few now truly appreciate. The world has changed, and the methods of capture, storage and delivery have diminished the perceived value of the recordings, possibly forever. In that light, I’m still surprised here in 2011 when this reason – “monetary gain” – is hauled out as an excuse to ban a recording. Sorry, but it just doesn’t wash anymore. Aside from the necessary ethical correctness of alerting a hired musician about the recording of your performance, trust me, no one is making a profit from the sales of physical recordings.
But there is an upside. What it has done in many ways is returned the focus to live performance. That’s a big fundamental change that’s happened in the last 15-20 years. People can get the recording anywhere, often for free, but it’s the real thing – live, with no net, no fakery, no props and no gimmicks – that brings people back to the concert hall.
Think of it this way: a recording is similar to (but more honest than) a movie trailer. Like what you hear? Want to experience how it’s done LIVE?
As I mentioned earlier, I fully understand the feelings of being ripped off or manipulated when an unauthorized recording occurs. That’s wrong in any scenario. But what people would be wise to consider going forward in the digital, on-demand world is that everything important should be recorded, especially now, with today’s more advanced and affordable technology. As long as everyone is informed, fees paid, waived or negotiated; the recordings should be as indispensible as program notes or restrooms for intermission.
Control of distribution of recorded material is of course paramount. Archival means archival. No YouTube uploads without permission, no iTunes sales without a contract, no cell phones, hidden 2-track Zoom recorders or what have you. But honestly, and I say this with love and respect to every hostile musician who still thinks the presence of a microphone or recorder is going to take money out of their wallet: when done properly, it can mean the very survival and health of live music. Recordings are preserving your legacy, they are helping put butts in the seats in the very halls you play, thus creating more opportunities for you to continue to work and play such great music, in a live setting.
Unauthorized recordings aside, can we really afford NOT to record?
I had a real sonic treat this morning, courtesy of WRTI, in my car at 107.7 FM, down here in Wilmington, DE.
My first music of the day was a good one: Gustav Holst’s “Brook Green Suite”.
What a nice trip back in time for me, hearing this lovely work again. Not only is this a fine work for string orchestra, it’s one of the first pieces of classical music I professionally recorded, as part of the live remote crew with “Magnetik Productions”. At the time, (it was probably mid-’84, ’85?) and we were recording the Chamber Orchestra of Philadelphia, although back then they were called: “Concerto Soloists”).
It was a remote recording at Lang Memorial Auditorium at Swarthmore College, with the gorgeous spring/summer view of trees and flowers, through the 3-story glass wall in the back, and the works for those recording sessions included Bernard Herrmann’s “Psycho Suite” and Gustav Holst’s “Brook Green Suite”.
Although I was classically trained on the piano, and had been to many concerts by then, it was still a revelation for me; hearing such an amazing chamber ensemble playing such beautiful music up close, setting up the mics, running cables, then hearing it all in the control room. What a revelation!
All in glorious analog technology, too: straight to 15 IPS analog Ampex 456 tape, Neotek Elite console, MCI-JH-110 2-track machines, no noise reduction, and no digital converters, either.
Isn’t it amazing how a piece of music can transport you anywhere in space or time?
True Storeis, #1
After over 35 years of professional experience, I have a long list of clients and stories that go with them.
This is an ongoing retelling of these stories as they occur to me. Some are good, some are bad, some funny, some bizarre, but honestly, they’re all ALL TRUE. Lots of folks in these stories are no longer with us, while many still are. I have no intention of harming anyone, their legacy, or causing problems for their estates. In borderline cases, or where I don’t want to really embarrass anyone, the names maybe be changed to protect the guilty. For the most part, this is all pretty much what happened, as I remember it….
#1 Hal Prince and previews/pre-production of “Parade”. (Originally “I Love a Parade”) in Philadelphia.
In 1996, I was doing a lot of projects for the American Music Festival in Philadelphia, from Cabaret to live sound reinforcement, to recordings, and so on. One of the things that AMTF did well was champion new plays and productions. Hal Prince was a good friend of the company CEO, Margorie Samoff, and it came to pass that Hal was going to come to town to direct a “workshop” (script in hand, no sets/scenery) production of a new musical with the working title: “I Love A Parade.” (Eventually simply called “Parade” – book by Alfred Uhry and music and lyrics by Jason Robert Brown.)
This was big stuff, since Philadelphia had long ago stopped being any kind of pre-Broadway tryout. Folks “in the know” were really freaking out (in a good way) that Mr. Hal Prince (the king of Broadway!) was coming to direct this. I was hired for “Sound design”, as folks in the theater biz call it: running the sound system, following the score, handling live sound for the singers and making a rough demo recording afterwards. Fair enough; this would be at the tiny, intimate 200-seat Plays and Players theater on Delancy Street in Philadelphia, and as for live sound; I was amazed they’d want to mic it at all. (The cast was going to be seasoned B’way singers, on their days off/vacations, doing this tryout for fun, experience, and a favor to Hal.) Always up for a challenge, I jumped in with both feet. (I knew Hal Prince only by his works and reputation; I was just fine with everything)
Before long, certain “staffers” and handlers of Hal Prince began to ratchet up the intimidation machine; Hal will want this, Hal will want that. Someone even went as far to tell me that, in all likelihood, Hal would probably at some point stop the production, and ream me out for something or other involving the sound. They said: “Just take it in stride, don’t worry about it, he does it to everyone.” I figured Hal was either impossible to work with, or he had a lot of incompetent folks handling his production needs. (Personally, my BS-detector starts going off whenever yes-men start this kind of nonsense. As it turned out, it was most likely the latter.)
We started production on the work, with my sound system and 16 microphones at the ready, including 12 rented wireless lavalier microphones someone ordered; for all of the principles and a few bit players. I was shocked and a bit worried: you folks are telling me we need TWELVE wireless mics for a cast of 18-20, accompanied by two pianos and a drum kit in a theater that holds 200 people, for a private audience?!?!? I could feel my gut tightening already…..
Soon enough, the week of rehearsals leading up to the performance was underway. I met the cast, the composer/music director, and most of all, Hal – Mr. Prince. He turned out to be a lovely man, nothing at all what I’d been warned about. We fell into a good working relationship quickly, and I was Johnny-on-the-spot in getting soloists up in the mix, following the script, and giving Hal his very own monitor at his producer’s table, stage left.
Troubles began soon enough, though, as the production got louder, and louder, and….louder! Some cast members would sing full voice, others were “marking”, and some simply hadn’t learned their parts yet. To be honest, they all had singing jobs to go back to; so it was a little like pro sports: all completely understandable. As anyone who’s worked in live sound might have suspected, it was fast becoming a case of “more me” in the mix for everyone, as the mix volume climbed and climbed. One of his handlers told me Hal was having some hearing issues at the time, and although we did everything we could to make him comfortable, trouble was brewing, and Hal was getting cranky.
By the second day, this wonderful new musical was going from a simple “reinforced” type of sound to live pop/rock, and it was making folks (including Hal and myself) really uncomfortable. Cues became more and more urgent, and little touches and subtleties were rapidly being lost in the overall din. A fine little musical/acoustic experience was turning into a blaring, ugly mess. An exasperated Hal finally turned to me during a break and said: “Good lord, why does this have to be so LOUD?!?!? Can’t we do something about this?” I said: “I thought you wanted everyone mic’d individually?” He said: “Hell no!!!! “I” didn’t ask for that. THEY told me it was necessary. I remember when people just SANG naturally, to a full house, with little or no mics at all. I HATE this stuff.” I said, “Hal, I couldn’t agree more. Let’s talk!”
We never quite figured out who “they” was, but I offered Hal a solution based on my operatic and classical recording experience. Since no one was really moving around (or dancing, etc.), we created a chorus “zone” with one stereo mic pair for all the accompanying singing, and solo spots for the big numbers. (If memory serves correct), we dropped most (or all?) of the wireless lav mics, and went with solo mics on stands, in front of their music stands, since everyone was working from a score. Suddenly, the sound opened up again, people could be heard, the noise floor dropped, and the production moved forward. Hal was again happy. So was I!
Two other anecdotes come to mind from this experience; The first was the sheer number of major Broadway producers, directors – movers and shakers – in the audience for the two big tryouts, in this tiny little theater on Delancy Street in Philadelphia. I don’t recall the entire list (and wouldn’t reveal them here anyway), but the general consensus what that if someone dropped a bomb on the theater that day, Broadway would have gone dark for a long, long time.
The other story is my favorite moment of the entire production: One day about midway through the week (and probably while we were still “fixing” the above sound issues), a break was called, and most folks left the building for lunch. Hal chose to “eat-in” and work on some cues with the musical director, and I stayed behind as well, with a lot of sound “housekeeping” issues to deal with. Of course, the lackeys and wanna-be’s got lunch for Hal, and ignored the rest of us. I was resigned to an empty stomach for the afternoon until Hal looked up from his own sandwich, (a turkey club, I think) and said: Hey, what are you eating? I said: “nothing; looks like I’m fasting.” Hal said: “well, here; take half of mine; I don’t want all of this anyway.”
So, there I was; sharing lunch on a make-shift table top over some theater seats with Mr. Hal Prince. I have never forgotten this simple act of kindness from one of Broadway’s giants. (And Hal probably doesn’t even remember it!) He could have munched away, gone about his business, and ignored my situation. Instead, he was down to earth and gregarious enough to simply split his sandwich and chips with me. So much for advance reputation, and so much for lackeys and sycophants.
I believe everyone starts with an “A”, works down from there. I also believe everybody puts their pants on one leg at a time in the morning, too.
Anyway, thanks for lunch, Hal! (Nice musical, too. It opened successfully on Broadway in 1998 as “Parade”, followed by numerous touring versions. I still have the raw demo cassettes around somewhere.)
Time Travelling Again…
Even during this hectic, crazy time of year, I had two unexpected trips back in time to the 1970’s, both about as different as could be.
The first was a pleasant surprise; I got a CD copy in the mail from an old friend who had found a cassette tape of a band I had performed in, back around 1975 or so, in my younger days in the clubs. Thinking it was just a dub of tapes I already had, I wasn’t expecting much.
It turned out to be a live recording of a club date that I didn’t have in my archives. Even the though the recording itself was horrible by today’s standards (noisy cassette, auto-level recording, too close to the guitar amp, etc.) I could still make out the songs, the various band-members who were singing on them, and the in-between song patter.
The drummer (and lead singer) Peter Wells, is no longer with us, sad to say, and I’ve lost contact with the bass player (Rob Viola) and the guitarist (Dal Bauder). Even so, the energy, excitement and exuberance just pops out of the songs – everything from the Doobie Brothers to the Beatles to Chicago to Stevie Wonder. This band was FUN, and made some great music. (Dal, you were SMOKIN HOT on that Strat, buddy!) I really miss you guys! Would love to get in touch with them and catch up, and give them copies of this and the other masters I saved from those days.
The other fun trip back in time was also a labor of love; I’m involved with the newly-launched Bruce Montgomery Foundation, and I have been working on restoring some of Bruce’s works, as well as making CD and DVD copies of his various projects from his amazing and varied career.
One of Bruce’s CD private compilations contains a work commissioned by William Smith and the Philadelphia Orchestra, entitled “Herodotus Fragmnets” – an orchestral and choral piece, inspired by the futility of war, dating back to the days of Sparta and Thermopylae in Greece. The recording is from the work’s premiere performance with the Philadelphia Orchestra, in the Academy of Music conducted by William Smith on April 28, 1970.
I don’t have any production notes with the original analog master tape, but judging by the logo sticker on the box, I’m sure it was recorded by none other than my predecessor at Magnetic Recorder Reproducer Company, Mr. Albert Borko.
I never met Al; I came to the company when it was rechristened “Magnetik Productions” in the mid 1980’s, but it’s thrilling to hear something done correctly. (It sounds like it could have been done yesterday, actually.)
Nice job to all! I’m humbled to be helping preserve the work of Bruce Montgomery, William Smith, and Al Borko….and a little bar band playing rock’n’roll in a smokey club somewhere in Willow Grove, PA.
This topic has been on my mind for a long time, and on the auspicious occasion of my age now matching the speed limit in most states, I present it here. You may find these things as annoying as I do.
What jump-started the topic for me again was a recent blog entry, from “Life’s a Pitch”. Read this list, and then come back “after the jump”.
Ok, now that I”ve said it; “After the jump” is one of my new pet peeves. What the HELL does that mean??? What jump? Who’s jumping? Is there a big invisible hole I’m missing somewhere? Half the time I see this sort of thing on Yahoo, AOL news, whatever; there’s nothing even remotely resembling a “JUMP”. Once in a while, there’s a video clip. Is THAT what they’re talking about? Who started this nonsensical phrase?
I for one am NOT jumping. It doesn’t make it more exciting, and it doesn’t spruce up a lame news story. Get over it. No one’s jumping; up OR down. This is the first of many new web-based phrases we need to excise. Just stop saying it, right now.
Another one – this from the music biz – is an expression used when an artist or group releases a new CD. Some advertising wanna-be coined the phrase “Drops” and now it’s grotesquely overused, let alone silly and inane. So-and-so’s CD “DROPS” today. Oh REALLY….. reminds me of BIRD-POOP dropping, or something falling out of the bottom of a box. Another image that comes to mind is bad sales: If a CD is DROPPING, wouldn’t that imply it’s falling off the charts?!??! Just another BS term made up to impress us with something ho-hum. Drop it, indeed. My clients RELEASE CDs, and it works just fine for them. (Of course, with all the doom & gloom predicted for the CD industry in general, most music releases now go out as digital downloads more than physical CDs, so maybe this one will just crawl off and die somewhere, hopefully ignored and forgotten.)
Another expression that drives me batty – and should be banned from the face of the earth for at least 10 years – is any phrase that includes these two words: “Literally Skyrocketing”. AAAAAAAAAAAAiiiiiieeeeee!!!! It’s like having a screwdriver shoved in my brain, any time I hear this, esp on TV news reports, at least once a week. My mind thinks of a fireworks display, and someone has linked the item in question (Gas Prices, Inflation rates, Summer temperatures, Susan Boyle CD sales, etc.) to this phrase. “Prices at the pump are literally skyrocketing today“…….Uh, no, they’re NOT. Not unless you have tied a trash can filled with pyrotechnic devices to the thing and lit the fuse.
Seriously, can’t news reporters and journalists agree on an indefinite moratorium of this meaningless phrase and find a better way to say: “Going up” ?
Here’s another ridiculous expression you’ll hear when you’re travelling on an airline, although I have to credit George Carlin for this: “…until you’ve reached your final destination.” Say what!? The word “Destination” contains the very core word: “Destiny” in there. Final/Destination are mutually inclusive terms. You DONT NEED FINAL in the phrase. Too many words.
One makes “Connections” along the way to our “Destination”, but one doesn’t make several “Destinations” before reaching the “Final” Destination. If there IS such a thing, I think we call it “DEATH”, don’t we???
Now, lest you think I’m just a total grouch, I do enjoy and appreciate the act of turning a noun into a verb. (Things like: “He googled her name to see if they were related”, and “She just friended him on Facebook.” ) New technologies, and new situations. I have no problems with that. Here’s a good article about the fine art of “Verbing” here:
Two more come to mind; the first is that tired old chestnut: “…waiting online at the bank.” I remember Johnny Carson and others of his day using this expression, (was it a NY or LA thing?) and it always felt wrong to me then, as it does now. Doesn’t one wait IN a line? Even more so these days, when using a computer involves getting ON-line. Minor quibbling, to be sure, but it still bothers me whenever I hear it.
I’ve saved my biggest peeve for last: The term “Reaching out” is currently the most annoying and over-done, “new” phrase going. I remember when “reaching out” to someone was a big deal emotionally; you’d reach out to someone for a serious favor, a handout, a charitable contribution. You might even “reach out” to a stranger, a competitor or even an enemy in some special dire situation. To me, it’s a serious act of connection, to be saved for special, important situations.
But when I get an email from an organizaton that just wants my business, or time, the bile starts to rise in my throat. Just this past week, a client’s secretary emailed me, to “reach out” to me to make an appointment. Arrrrggg….what she REALLY meant to say was she was contacting me to set up an appointment. Period. Please, there’s no need to get all warm & fuzzy on me just to set up a meeting! A while back, an old high school colleague (who really SHOULD know better) used the same phrase: He was “reaching out” to me. At first I thought he wanted a contribution to a charity; turns out he really want to just “CONNECT” to work together on a project. Why didn’t he just say so?
Anyway, that’s a few of the most annoying ones, off the top of my head, and I’m sure I’ll add more when I remember them and have time to post here.
Here’s to sane and sensible expressions, old AND new!
PS: Not very terrible, but already overused nonetheless: “At the End of the Day” has all but replaced “When All’s Said and Done”. Got any more? Respond here; maybe we can make a list and call it “Chicken Soup for the Lame Phrases”. Or something.
Well, it’s been a while since my last blog post. I’ve been remiss; got busy and caught up with work, clients, family etc., and haven’t been posting much. I’m hoping to fix that in the next couple of weeks, during the summer break.
As the 2009-2010 season wound down, we had a number of clients wrap up their season with some excellent concerts and events. I can’t say enough good things about our wonderful clients who’ve bravely toughed-out the last 18 months in this insane economy. Since so many organizations have to plan far ahead, the Arts in general suffered a slower, more protracted “punch” after the big stock market crash. There were lots of changes and shake ups (witness the Kimmel Center’s re-shuffling this past spring!), but it’s looking like that old saying still holds: “that which doesn’t kill you only makes you stronger” – or something like that.
The Bucks County Choral Society and St. Thomas AE Gospel Choirs performed a joint concert on June 5th and received some great press in for their efforts. (read Annette John-Hall’s review here: http://www.philly.com/philly/news/local/95836954.html Happy to say, we fit it all onto double-CD set, which is now available to all choir members. This one’s a keeper!
We also captured the debut of new music director Dirk Brosse’ with the Chamber Orchestra of Philadelphia, in a pair of family concerts in Bryn Mawr and at the newly renovated Baptist Temple Concert Hall in Philadelphia. HD Videos of the entire concert are now up and online at The Chamber Orchestra’s YouTube site. You can see the entire concert here in separate clips: http://www.youtube.com/results?search_query=chamber+orchestra+of+philadelphia&aq=3
We’ll be recording more of the perforances there at the new hall; look for more videos online as they’re recorded in the 2010-2011 season.
On the heels of editing that, our tireless and dedicated video producer/director Matt Conant completed a promotional video (“Don’t You Want MORE?” ) for Longwood Gardens, who’ll be hosting the APGA conference next season in Fall, 2010 and everyone’s thrilled with the result. View the clip here:
This past week, we recorded the Ocean City Pops performance of Mozart’s “Requiem” on July 11th at the performing Arts High School on 6th St., and we’ll be back to record the Three Tenors concert on the Music Pier on the 25th.
Last but not least, we’ve moved our off-site archive storage to a beautiful, new climate controlled site in Wilmington, which makes for faster turn-around times when retrieving clients’ tapes for revisiting old projects, making new copies, etc. (No more elevators; we’re on the ground floor with an outside entrance, literally next to the entrance door. Sweet!)
Hope everyone is keeping cool and enjoying the down-time before the fall season starts!
More as it happens…
Ok, with a name like JoeCo, how could I resist?
Seriously, it had nothing to do with the name; I was hooked on this box and what it could do for us the moment I saw it at AES last fall in NYC. I wanted one as soon as they got the bugs out and had them in production in the USA. I had dumped our clumsy Fostex 24 tracker a while ago, and was in the market for something with high track counts for our larger concert recordings and soundtrack work. The JoeCo Black box is perfect for our needs.
Our first offical use of the box was Saturday, May 1st, and my assistant Charlie Kaier got his feet wet with it quickly; we recorded a double bill at the Kimmel Center’s Perelman theater, recording the final night of Jazz Upclose, show #5, with vocalists Denise King and Vanisaa Sante, each with their own bands. We run a 1-to-1 27-pair split from the onstage mic lines, with our own console backstage, so the JoeCo couldn’t be easier to implement with 24 insert (or balanced line) inputs, via D-25 connectors.
Just a little bit more techie info for those wanting to know more: It’s a stand-alone, single space rack unit that uses your own USB 2.0 Hard drive (Formatted to FAT32) and very little else. User controls are all on the front panel, and the users manual takes about 15 minutes to master. We were up and running fast; as soon as we got the console & mic cables plugged in. It’s really that simple.
Afterwards, back in the studio, all the files came up as standard broadcast .WAV files (in our case, 24/44, but it will go as high as 24/96, 24 tracks, with no issues.) MIxing in Sequoia was a breeze, and the files worked perfectly; the sound is flawless and totally transparant. Aside from a few minor issues with the control buttons (look for more in a MIX review to come soon, from Mix’s Technical Editor Kevin Becka), the JoeCo Black box does exactly what it’s supposed to do, without a glitch or hitch anywhere.
One more pic of the JoeCo black box from the rear, with more info at: http://www.joeco.co.uk/main/products.html#
(Thanks and a big shout-out to Ben Porter at Sweetwater for getting our unit out quickly and in time for the gig!)
On April 29, 30 and May 1st, I travelled to Baltimore to record Marin Alsop and the Baltimore Symphony orchestra, featuring a world premiere work by Jonathan Leshnoff, entitled: Starburst, as well as Violinist Gil Shaham in a performance of Stravinsky’s Violin Concerto in D Major and last but not least, the mighty Rachmaninoff Symphony #2, which will be edited and posted online for BSO fans and subscribers. What a wonderful orchestra; great staff and hall. The Meyerhoff is a gem of space to perform and record. Bravi!