[JPL] Bobby Broom record

[MICHAEL P STRATTON]

Okay - now I've listened to the disc and I know what
you mean. Espescially on "Fly Me To The Moon" I want
to yell "Shut UP!" at the audience. But looking at the
notes I see that this was recorded at a weekly
Wednesday night gig at a steakhouse in Chicago. 

Interesting about the mic placement, though.

And I think the band sounds great.

Mike Stratton

--- Jim Wilke <jwilke123 at comcast.net> wrote:

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> 
> George, and anyone else interested,
> 
> If you record with a single inexpensive stereo mic 3
> tables back from 
> the stage in a club the predominate sound picked up
> is what's closest 
> to the mic:  the audience at the tables around the
> mic.  Notice on the 
> CD how one person's hand claps are so audible? 
> That's the guy 
> recording the show, he's the closest source of
> sound.   Sounds like 
> he's right beside the mic and the band is about 20
> feet away, or more.  
>   Also, this is not high art in the perception of
> this audience ... 
> they're there to cruise and booze but they like the
> musical 
> accompaniment.
> 
> Recording engineers will tell you it's all about mic
> placement.  I've 
> recorded hundreds of performances in jazz clubs,
> concerts and 
> over-reverberant museums and cathedrals, and if the
> mics are within 6" 
> - 12" of the instruments the audience will sound
> miles away.  (signal 
> to noise, right?)  I often add mics aimed at the
> audience to pick up 
> the applause so I can turn them up or down as
> needed.
> 
> Most Monterey and Newport festival concerts are
> recorded from on-stage 
> mics and sound great, but I've also heard a few that
> sound like amateur 
> bootlegs from a portable recorder 30'  or more away
> from the stage - we 
> hear the house sound speakers and the audience on
> either side of the 
> recorder's mic.  Also, a good house sound mix is
> rarely a good 
> recording mix.   Recent Keystone Korner CDs
> illustrate that - they were 
> obviously taken from the house sound mix and lack
> the bass and sizzle 
> of a good recording mix.
> 
> I love recording live jazz on location.  It's true
> that the best 
> performances are often impossible to duplicate in
> the studio, but if 
> you also want good sound you have to use good mics
> for each instrument 
> and keep them close to the instruments.  My models
> and inspirations 
> have been and still are Rudy Van Gelder's recordings
> of Blakey at 
> Birdland and Cafe Bohemia, Wally Heider's many live
> recordings around 
> LA,  and Phil Edwards in the Bay area.
> 
> More than you wanted to know, right?
> 
> Jim Wilke
> Hatchcover Productions
> http://www.jazzafterhours.org/hatchcover.html
> 
> 
> On Thursday, April 17, 2008, at 07:37  PM,
> georgetfuller at juno.com wrote:
> 
> >
> >      Bobby's  playing is good  ,, the sound
> quality could have been 
> > better ( it's just  O K  )  and audiance noise ? 
> That is one of the 
> > issues that blows my mind  // Attend the Monterey
> Jazz Festival or 
> > jazz gig at Kuumbwa Santa Cruz or jazz venue
> around the central  
> > California Coast or northern California  -- you
> can hear every note of 
> > the performing musicians -- the audiance is
> attentive and very 
> > respectful of who is on stage and the other people
> at the event who 
> > are there to hear the concert //  we have recieved
> releases of great 
> > ballads only to hear an audiance  ( for instance 
> at the blue note  ) 
> > that think it's all about them  //   please ,,
> enact a no talking 
> > policy at least during  the performance of a
> ballad // over 800 
> > concerts later at the Jazz  and Blues  Company 
> KRML  since 1995  -   
> > the audiance is cool - George Fuller / Facilities
> Director KRML Carmel 
> > , Ca.
> > ____________________________
> 
> --
> 
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