I agree with you Widget. Most live albums have annoying mixes. I hate the typical loud applause; It's really bad when someone in the crowd is a little too close to the mics.
The best live albums I've ever heard are:
1.Dave Brubeck . Carnegie Hall
2. Allison Kraus . Union Station
Both exceptional.
Originally Posted by hapy._.face
Yeah, like on the Rolling Stones live LP Get Your Ya-Yas Out where that annoying chick keeps shouting, "Paint It Black! Paint It Black, you devil!"
Out.
There live show in Vegas at The Venetian Hotel was Absolutly Awesome.
Their system and mix is great.
SteelyDan was good here in colorado as well. (outdoors at the "Green")
Always fun learning more.......
Oh yeah.....forever immortalized as a dumb ass. Everyone wants her dead, I'm sure.Yeah, like on the Rolling Stones live LP Get Your Ya-Yas Out where that annoying chick keeps shouting, "Paint It Black! Paint It Black, you devil!"
Nearly every live recording has it's idiot crying out.
This brings up other questions:
What methodology are they using when they record these shows? Are they just sticking a few mics out there? Shouldn't they run it through the boards?? If I knew I was being recorded in that scenario- I would insist on it being done through the board....
...seems to me if you use several mics, and each mic is picking up a particualr instrument plus some crowd noise- the end result is too much crowd noise. (??)
Any experts on the subject??
We've got lots of knob turners, amp toters, speaker luggers, and console jockeys on this site.* Their insight would be very interesting.
My limited experience tells me that the sound engineers put thier own mikes in place to try to create the aural experience at a given ideal location in the venue rather than what's going through the boards. I call it the "Row 16" syndrome.
Someone who actually knows...?
*All terms of endearment, I assure you.
Out.
Usually, the mics on stage are split to different consoles....house and recording, with various mics placed around the venue for stage room ambience and crowd sounds. The whole idea of recording a live show is to capture the essence of the concert experience...and hopefully a great performance. As with anything...some turn out better than others. Row 16 isn't such a bad seat.We've got lots of knob turners, amp toters, speaker luggers, and console jockeys on this site.* Their insight would be very interesting.
My limited experience tells me that the sound engineers put thier own mikes in place to try to create the aural experience at a given ideal location in the venue rather than what's going through the boards. I call it the "Row 16" syndrome.
Someone who actually knows...?
*All terms of endearment, I assure you.
Edgewound...JBL Pro Authorized...since 1988
Upland Loudspeaker Service, Upland, CA
Quote from edgewound
"Row 16 isn't such a bad seat."
NOW I KNOW !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Its your head in front of me.
Oldmics-Row 17 Season Ticket Holder
Quote from edgewound
"Row 16 isn't such a bad seat."
NOW I KNOW !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Its your head in front of me.
Oldmics-Row 17 Season Ticket Holder
It's not a bad seat in the concert hall, but tends to be less than ideal in my house.
I used that term in deference to Bogen Electronics who once upon a time sold a line of Row 16 loudspeakers.
Out.
I guess I'm not old enough to get that joke.
I used that term in deference to Bogen Electronics who once upon a time sold a line of Row 16 loudspeakers..
....and how dare you pollute this site with Bogen....geez that's worse than Bose...
Edgewound...JBL Pro Authorized...since 1988
Upland Loudspeaker Service, Upland, CA
Surprisingly they are still in business... must be because they still make horns.I guess I'm not old enough to get that joke.
....and how dare you pollute this site with Bogen....geez that's worse than Bose...
http://www.bogen.com/products/
I am sure each of our lives has been touched by Bogen.
Widget
Is that "touched"? or "intruded upon"?Surprisingly they are still in business... must be because they still make horns.
http://www.bogen.com/products/
I am sure each of our lives has been touched by Bogen.
Widget
Edgewound...JBL Pro Authorized...since 1988
Upland Loudspeaker Service, Upland, CA
To me, the difference between live and recorded music is like the difference between real sex and one-handed porn....one requires focus on the moment, the other, a vivid imagination....you should have adequate experience with the former to properly enjoy the latter.
If you take a "live" performance like certain sequences from U2's Rattle and Hum (Laserdisc AC-3) or Bonnie Raitt's Road Tested (DVD-A), you'll definitely get a more musical performance than if you were at the venues where these were recorded.
Of course, this points out the conundrum of live vs. studio recordings, as opposed to live vs. recorded music.
Much is gained in the controlled recording and mixing of a live program, but much is also lost.
Out.
I don't have a laser disc player. Have you compared the laserdisc to the DVD?
I have the DVD and it is a bit bright... and a bit thin in the bass. I love the music and do play it at maximum SPL and even considering these unfortunate realities of the soundtrack I agree that it is cleaner and more clear sounding than any stadium show can be... if you like U2 up to the Joshua Tree era... it is an awesome disc.
There is something special about the energy of being at a live show that we'll never fully capture though.
Widget
LD
Yeah, I specifically picked the LD over the DVD for my post. I have both, plus the VHS. :shock: The DVD video is better, but the LD AC-3 audio is better. The VHS is, well, crap.
When I go out to the desert, I like to stay either where U2 stayed or the inn where Gram Parsons died. I've visited the room he died in, but haven't slept in it. <<creepy> I slept a couple doors down.
Out.
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