<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><BR><DIV><DIV>On Dec 5, 2005, at =
1:28 PM, Chris Solliday wrote:</DIV><BLOCKQUOTE type="cite"><DIV =
style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">fact is as someone</DIV><DIV style="margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">(probably Jeff) has said... </DIV></BLOCKQUOTE><DIV><BR =
class="khtml-block-placeholder"></DIV><BR =
class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><P =
style="margin: 0.0px 0.0px 0.0px 0.0px"><FONT face="Helvetica" =
size="3" style="font: 12.0px Helvetica">For the particular situation =
original question</FONT></P> <P style="margin: 0.0px 0.0px 0.0px =
0.0px"><FONT face="Helvetica" size="3" style="font: 12.0px =
Helvetica">about big bands and banjos I would use two, or one, AMT-M40 =
and close the</FONT></P> <P style="margin: 0.0px 0.0px 0.0px =
0.0px"><FONT face="Helvetica" size="3" style="font: 12.0px =
Helvetica">lid because the idea (Jeff again?) that you can get the rest =
of the guys (or</FONT></P> <P style="margin: 0.0px 0.0px 0.0px =
0.0px"><FONT face="Helvetica" size="3" style="font: 12.0px =
Helvetica">gals) to back off is (or was that your subtle humor =
Jeff?)</FONT></P> </BLOCKQUOTE></DIV><BR><DIV>Credit for those points of =
my post goes to Jeff Francis, our recording/sound engineer. He was =
talking about recommendations to get a more natural acoustic sound =
without close micing. I think it was a bit tongue-in-cheek, coming =
from a guy who's also a jazz bassist. Two of his recommendations =
included "...and having everyone else play less."</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>He also =
wrote:</DIV><DIV>"-pray"</DIV><DIV>and</DIV><DIV>"There is no =
formula."</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>I =
thought the most important sentence in his entire writing, even moreso =
than the "493 opinions from 50 engineers" point, was this =
one:</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>"In live =
amplification situations, everything is a compromise."</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>I've watched him set up =
mics for recordings. He walks around the piano while someone is =
playing it to find the one focal point where the piano sound is fullest =
and most focused (it jumps out at you when you find it) and that's where =
his stereo mics go. He has that position measured, and tends to use =
those measurements for recordings. All sorts of possibilities for mic =
placement abound in a recording atmosphere.</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>But with amplification =
situations, you just gotta do the best you can with what you've =
got.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>I think =
we as piano enthusiasts can be overzealous in our judgement of the =
piano's sound in a live, amplified ensemble because we focus on that =
instrument. But as Mr. Francis wrote, "A little of it in the PA =
system will give the impression of piano without muddying up everything =
else," the sound engineer is focused on making the ensemble sound as =
well as a whole with the equipment (including the ear) he or she has to =
work with.</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>Jeff</DIV><BR><BR><DIV> =
<SPAN class="Apple-style-span" style="border-collapse: separate; =
border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; =
font-size: 12px; font-style: normal; font-variant: normal; font-weight: =
normal; letter-spacing: normal; line-height: normal; text-align: auto; =
-khtml-text-decorations-in-effect: none; text-indent: 0px; =
-apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><DIV>Jeff Tanner, =
RPT</DIV><DIV>University of South Carolina</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><BR =
class="Apple-interchange-newline"></SPAN> </DIV><BR></BODY></HTML>=