Who cared if the director hadn't miked the actors properly?
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During production he was miked, and there is definitely an audio track.
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"We are miked and it is going right to Oval Office," he said.
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"During production he was miked, and there is definitely an audio track," it continues.
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Harper was miked, allowing the commentators the chance to chat with him as the game progressed.
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Nothing like over-miked, so-called experimental flamenco to make you pine for some soulful flamenco puro.
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This is just the worst thing he's said to Billy Bush while miked on an Access Hollywood bus.
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It mixes with the live buzzing of bees, miked up in their chapel, to form a disquieting drone.
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Both are miked up, their gray armchairs angled toward one another in front of a tastefully neutral background.
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Highlight reels produced by its movie studio, NFL Films, are full of vérité touches — players miked up during games, glimpses of locker-room celebrations.
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When carefully miked and connected to a keyboard, the vessels, each with its own resonance, can be induced to play a two-and-a-half-octave scale, flats and sharps included.
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The show is also filmed in front of a live studio audience, whose laughter is miked up in a way where every single chortle serves to create a massive cacophony of sound.
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In "quarks" the vocalist Charmaine Lee and Mr. Pluta created a dystopian world of thuds, gurgles and sandy abrasions through extended vocal techniques that were creatively miked, processed and amplified at often brutal volume.
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It's hard to tell whether close-miked acoustic resonances or electronic sustains hover behind "Bardo," especially because Chris Illingworth plays both inside the piano and on the keyboard, though I'd suspect electronics are involved.
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The actors (who also include James Himmelsbach as Oram's fictional former engineer, Horace Ohm) are miked so the sound designers Tyler Kieffer and Brandon Wolcott can manipulate their voices and integrate them into the audioscape.
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Most of what we heard was the cast, their voices as heavily miked as they are in the rest of the show: a necessity given the wind, which makes sound a different challenge every night.
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Not literally—I've never miked up any of the presses or anything like that—but kind of more like the hidden sound of the process, or a sound to complement that certain something that all prints share.
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Number three, with more than 2.5 million views, is a miked-up Mel Gibson regaling Joe Rogan with tales about his 92-year-old father's "miraculous recovery" following a trip to Panama to get umbilical cord stem cells.
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When we had Ethan, River and Jason Presson trapped up in the blue-screen "spaceship," they were miked up, so we overheard their conversations, and it was remarkably reassuring that they were saying the same things I'd said with my friends when I was 13.
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The wording is a little bit different obviously because you are miked up, and you have to be a little careful about the words that come out but no, as far as the information is concerned, whatever is needed to get the job done, I'm speaking it.
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The Oxford, Mississippi, label has cultivated and reissued Southern blues and soul artists since 1991, and Don't Give Up On Love, the album released in 27, featured Bryant in a typical Fat Possum retro setting: close-miked, unadorned, surrounded by tasteful session musicians playing live in the room.
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They even miked my breathing. They miked the > guitar in back. So Roy Halee was a genius at getting around. The first time > we were listenin’, they killed the breathing mic.
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ABC and the AFL also introduced moving, on-field cameras (as opposed to the fixed midfield cameras of CBS and the NFL), and were the first to have players "miked" during broadcast games.
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The twin hand-drums of the tabla were close-miked by recording engineer Geoff Emerick, in order to capture what he later described as "the texture and the lovely low resonances" of the instrument.
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Although label owner, Bernard Stollman, remembered asking for a stereo recording, the session, well mixed and miked, was in mono. The musicians were paid and signed recording agreements after the session, in a nearby cafe.
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The Line Out (or DI) signal can be blended with a miked guitar speaker at the mixing console. The Load setting enables using the Hot Plate as a pure dummy load, with no guitar speaker.
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They were real scientists. They’d get on > a part, and it might be there [unfinished] six weeks later. On my guitar, > they had me miked with about seven mics. They had a near mic, a distant mic, > a neck mic, a mic on the hole.
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Ringo's drums had a large sweater stuffed in the bass drum to 'deaden' the sound while the bass drum microphone was positioned very close which resulted in the drum being more prominent in the mix. "Eleanor Rigby" features just McCartney and a double string quartet that has the instruments miked so close to the string that 'the musicians were in horror'. In "Got to Get You into My Life", the brass were miked in the bells of their instruments then put through a Fairchild limiter. According to Emerick, in 1966, this was considered a radically new way of recording strings; nowadays it is common practice.
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In the process, > [producer Adam Kasper] went and re-miked everything very covertly. So all of > the sudden when we were ready to play it, it was up and he captured it. > Nailed it. That to me was really critical and kind of how the record sounds.
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It was such an amazing experience." The cathedral organ drenched, "With A Little Love", marked the first Book Of Love song to feature Ted Ottaviano on lead vocals. On recording with Flood, Ted Ottaviano stated, "We spent one night there, from about 10 pm to 6 am. Flood miked the entire cathedral.
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" The cathedral organ drenched, "With A Little Love", marked the first Book Of Love song to feature Ted Ottaviano on lead vocals. On recording with Flood, Ted Ottaviano stated, "We spent one night there, from about 10 pm to 6 am. Flood miked the entire cathedral. He was totally game for what we wanted to do.
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Later in the year the singles "Black Magic Woman" (later a big hit for Santana) and "Need Your Love So Bad" were released. The band's second studio album, Mr. Wonderful, was released in August 1968. Like their first album, it was all blues. The album was recorded live in the studio with miked amplifiers and a PA system, rather than being plugged into the board.
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During the recording of "Eleanor Rigby" on 28 April 1966, McCartney said he wanted to avoid "Mancini" strings. To fulfil this brief, Geoff Emerick close-miked the strings—the microphones were almost touching the strings. George Martin had to instruct the players not to back away from the microphones. Microphones began to be placed closer to the instruments in order to produce a fuller sound.
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I remember soundchecks with Survivor and The Ides Of March, and there's no better place to start a jam than on stage. Everything is miked-up, you're in a good mood, the lights come on, the audience isn't there yet and you start jamming. "High on You" was similar to that, only it started in rehearsal. Frankie started jamming on this really great guitar riff.
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Rose Marie McCoy - Charles Singleton. Original: The Eagles (1954, Mercury) :Recorded: February 11, 1955 (session 5, not published) and July 11, 1955 (session 7, published) In 2002, RCA included information in the liner notes of Sunrise as to Presley recording this song while simultaneously playing the piano, and not aided by his rhythm guitar, as previously believed. Because the piano was not directly miked, it can only be heard faintly in the background.
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At the conclusion of the track as heard on the album, Wyman himself can be heard snoring. He was unaware this had been tagged onto his song until he first played the completed album. He learned later that one night when he had fallen asleep in the studio, Jagger and Richards miked him up and recorded him snoring, and stuck it onto his track as a joke. This does not appear on the single.
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Mr. Wonderful is the second studio album by British blues rock band Fleetwood Mac, released on 23 August 1968. This all-blues album was broadly similar to their debut album, albeit with some changes to personnel and recording method. The album was recorded live in the studio with miked amplifiers and PA system, rather than plugged into the board. A horn section was introduced; and Christine Perfect of Chicken Shack was featured on keyboards.
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During the recording of "I Got a Woman", Sholes noticed that Presley's voice and guitar were not always being picked up by the microphone. Presley explained to Sholes that he had to "jump around to sing it right. It's something that just happens—just a part of the way I sing". Sholes arranged for the whole studio to be re-miked so that Presley's voice and guitar could be picked up from anywhere in the studio, and recording continued.
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That game, played in Pittsburgh, featured the play that came to be called the "Immaculate Reception". From his position as back judge, Burk was the first of the officials to signal a touchdown. During a 1973 game between the Chicago Bears and Denver Broncos, Bears coach Abe Gibron can be heard chewing out Burk throughout the contest. Gibron was miked for the game by NFL Films, and the footage was released by NFL Films Executive Director Steve Sabol in 2001.
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Trini Lopez at PJ's is the debut, live album by singer and guitarist Trini Lopez, released in 1963 on Reprise Records. Many of the tracks are folk music songs. The record was a result of Don Costa hearing him perform at PJ's nightclub, and signing him to his new Reprise record label. The club floor was miked to get the crowd reaction on the record, as the producer and Frank Sinatra wanted the "live" experience to come across in the recording.
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Other large appliances appeared later in the same space. For visual effect they were "miked" by the sound crew, just as a real amplifier would be. Rush's crew loaded the dryers with specially- designed Rush-themed T-shirts, different from the shirts on sale to the general public. At the close of each show, Lee and Lifeson tossed these T-shirts into the audience. The dryers can be seen while watching the Rush in Rio DVD, the R40 DVD, and the R30: 30th Anniversary World Tour DVD.
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Drum triggers were used extensively because Butch Vig's drum kits are silenced by filling the hollow interiors of the bass, snares and tom-toms with packing chips to enable the samplers to use drum sounds from studio versions. The cymbals were miked to capture their sound. To prevent the sound of the cymbals bleeding into Shirley Manson's vocal feed, the cymbals were insulated by a wrap-wround acrylic glass shield. To keep the stage lead-free, all electric and bass guitars sported wireless units.
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Neumann U 47 microphones were purchased to go with the film recorders. Everest’s recording philosophy was to make minimally-miked three-channel recordings using 35 mm film recorders in the specially designed Belock Recording Studio in Bayside, New York and in a portable version on location in the USA and Europe. In May 1959, Edward Wallerstein (formerly president of Columbia Records) was appointed as a vice president of the company. Whyte was determined to engage well-known performers in a market loaded with exclusive contract artists.
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A noise gate mutes signals below a set threshold level. A noise gate's function is in, a sense, opposite to that of a compressor. Noise gates are useful for microphones which will pick up noise that is not relevant to the program, such as the hum of a miked electric guitar amplifier or the rustling of papers on a minister's lectern. Noise gates are also used to process the microphones placed near the drums of a drum kit in many hard rock and metal bands.
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An original score by Deborah Awner was performed by the touring group "Brass".With an original score composed by Debra Awner for strings and brass and performed live by the touring group "Brass", with costumes, puppets, and make-up designed by renowned Muppet designer Sherry Amott. The production continued the tradition of un-miked Shakespeare, making use of a sheet-steel touring set for natural amplification of both actors and musicians."Outdoor Performances in New York" by Erika Munk, The Village Voice, August 23, 1978.
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In metal, drummers use noise gates that mute the attached microphone when the signal is below a threshold volume. This allows the sound engineer to use a higher overall volume for the drum kit by reducing the number of "active" mics which could produce unwanted feedback at any one time. When a drumkit is entirely miked and amplified through the sound reinforcement system, the drummer or the sound engineer can add other electronic effects to the drum sound, such as reverb or digital delay.
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The closely miked cymbal sound that starts the piece was instead performed as a two-note drone on the bass. For the "Syncopated Pandemonium" section, Richard Wright usually played his Farfisa organ instead of pounding a grand piano with his fists as on the studio recording (the version on Pompeii being an exception). The "Celestial Voices" section started with just organ as per the studio version, but gradually added drums, bass, guitar and wordless vocals, provided by David Gilmour. The Japanese release of this song was simply titled , which translates as "Mystery".
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The band considers the song's recording to be one of the album sessions' breakthrough moments, as it was recorded amidst concerns that they had run out of ideas. Eno sequenced the song's electronic drum beat on the Yamaha DX7 synthesiser. Rather than connect it to the recording equipment via a DI unit and maintain the instrument's pristine sound, the producers plugged it into a Mesa Boogie guitar amplifier and then miked it to give the sound more personality. As a result, Lanois said it sounded "more like people playing in a room".
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"Make It Right" has been described as a falsetto-vocal heavy contemporary R&B; track that is, "sung with a breathy, close-miked intensity that gives the curious illusion of intimacy." It uses a looped horn throughout the song, with Rolling Stone comparing it to Amerie's "1 Thing" or Mario's "Let Me Love You" echoing sounds from the 2000s. It is backed with synthesizers, and the lyrics talk about the wish to make the world better and improve relationships. It also speaks about their biggest accomplishments and that without their fans it would feel empty.
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It became apparent on the album, however, that the echoing vocal harmonies found on the band's preceding works were replaced by a closely-miked sound. The album loosely possessed the components of a concept piece, narrated through the eyes of a young homeless girl named "Poor Patty" as she journeys through the chaos of post-Summer of Love Los Angeles. However, Where's My Daddy?, as well as its accompanying single "Free as Bird", failed to reverse the WCPAEB's commercial fortunes, and it is regarded by critics and fans as the group's most lackluster album release.
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In September 1948, Besman arranged recording sessions for Hooker at United Sound studios in Detroit. Several songs were recorded with Hooker's vocals and amplified guitar. To make the sound fuller, a microphone was set up in a pallet that was placed under Hooker's foot. According to Besman's account, a primitive echo-chamber effect was created by feeding Hooker's foot- stomp rhythm into a speaker in a toilet bowl, which in turn was miked and returned to a speaker in the studio in front of Hooker's guitar, thus giving it a "big" or more ambient sound.
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" While praising the album, George Graham wrote "Sonically this album is respectable but could be improved upon. It's a bit odd in stereo, with the vocals slightly off to the left and the guitar tending toward the right, instead of having the guitar miked in stereo to give it some depth. The guitar sound, though pleasing, could have been a bit richer and warmer. The dynamic range is decent, though some compression was applied which is audible in spots detracting from the subtleties of this all-acoustic performance.
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Typically, he insisted on using his simple 30 watt Vox amplifier miked-up through Pete Townshend's rather more extensive gear. (This can be seen on a photograph of Peck on stage with Marsha Hunt on an Isle of Wight Festival website). Thereafter, Poole replaced Pete Phillipps on drums and the trio secretly rehearsed with Wilson and Holt for what was to become Warhorse. Formed between 1969 and 1970, Warhorse released their first LP of the same name which did moderately well, although by this time, Peck was becoming disillusioned with the limitations of rock music and the constant travelling.
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Since the 1960s, all regular season and playoff games broadcast in the United States have been aired by national television networks. When the rival American Football League (AFL) began in 1960, it signed a 5-year television contract with ABC. This became the first ever cooperative television plan for professional football, through which the proceeds of the contract were divided equally among member clubs. ABC and the AFL also introduced moving, on-field cameras (as opposed to the fixed midfield cameras of CBS and the NFL), and were the first to have players "miked" during broadcast games.
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The Beatles skipped the rhythm section on this take, and decided to jump directly to the master take. In all, the rhythm section accommodates the acoustics, and the band thought the musical style was an improvement over earlier run-throughs. Therefore, the sitar is an accompaniment, consequently affecting the droning sound evident in past takes. Looking back on the recording sessions in the 1990s, Harrison explained his inclusion of the sitar to be "quite spontaneous from what I remember", adding, "We miked it up and put it on and it just seemed to hit the spot".
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With the advent of electronic recording, Austin, along with Rudy Vallee, Art Gillham, Nick Lucas, Johnny Marvin and Cliff Edwards, adopted an intimate, radio-friendly, close-miked style that took over from the full- voiced, stage-friendly style of tenor vocals popularized by such singers as Henry Burr and Billy Murray. Such later crooners as Bing Crosby, Frank Sinatra, and Russ Columbo all credited Austin with creating the musical genre that began their careers. Austin also influenced his friend, Jimmie Rodgers (who considered Austin his "idol"), and as such contributed to the birth of Country music.
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For the second disc, Good entered the studio solo with an acoustic guitar and recorded new versions of several songs from his extensive catalog. For added effect, Good miked the street outside the studio as he performed, adding an ambiance to the session that Good particularly enjoyed. Given the scarcity of the two MGB EPs Lo-Fi B-Sides and Loser Anthems, Good decided to add the two discs to the latter half of the second disc as a nod to fans. The DVD in the deluxe package includes every promotional video filmed during Good's career, solo and with the Matthew Good Band.
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The sisters traveled to Los Angeles, where they performed on local radio and "side-miked" for the soundies, including the 1930 production Under Montana Skies. They did not attain national attention, however, until they moved to New York City in 1930 and started making national radio broadcasts. After a few recordings with Okeh Records, they made numerous recordings for Brunswick Records from 1931-1935. In addition to the Boswell Sister's recordings for Brunswick, Connee herself was recorded as a solo artist and experienced several successful singles. In 1935, the Boswell Sisters had a #1 hit with "The Object of My Affection", the biggest of twenty top 20 records they would enjoy.
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Amburn p. 91. (The song was subtitled "Know The Way I Feel" to avoid confusion with another song called "Only The Lonely", which Sammy Cahn and Jimmy Van Heusen had written for Frank Sinatra in 1958.) Instead, they recorded "Only the Lonely" themselves at RCA's Nashville studio, using the string section and doo-wop backing singers that had given "Uptown" such an impressive sound.Zak, p. 35. But this time, sound engineer Bill Porter tried a completely new strategy: building the mix from the top down rather than from the bottom up, beginning with close-miked backing vocals in the foreground, and ending with the rhythm section soft in the background.
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One method is to connect a bass guitar amplifier's speaker level output (via a pad, to attenuate the signal) to a DI and then run it to one channel of the mixing console, and run a miked guitar speaker cabinet signal into another channel of the mixing console. Another method is to connect a DI between the guitar and the amplifier. The DI signal and mic'd guitar speaker can then be selectively blended, with the DI providing a more immediate, present, bright, un-equalized sound, and the microphone providing a more 'live' sound, with instrument amplifier and speaker enclosure characteristics and some room ambience (natural reverb).
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After signing a contract with Dick Rowe and Decca, Them went to London for a recording session at Decca Three Studios in West Hampstead on 5 April 1964; "Gloria" was one of the seven songs recorded that day. Besides Morrison, present were Billy Harrison on guitar, Alan Henderson on bass guitar, Ronnie Millings on drums and Patrick John McCauley on keyboards. Rowe brought in session musicians Arthur Greenslade on organ and Bobby Graham on drums, since he considered the Them members too inexperienced. There remains some dispute about whether Millings and McCauley were miked up, but Alan Henderson contends that Them constituted the first rock group to use two drummers on a recording.
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In some styles of music, drummers use electronic effects on drums, such as individual noise gates that mute the attached microphone when the signal is below a threshold volume. This allows the sound engineer to use a higher overall volume for the drum kit by reducing the number of "active" mics which could produce unwanted feedback at any one time. When a drum kit is entirely miked and amplified through the sound reinforcement system, the drummer or the sound engineer can add other electronic effects to the drum sound, such as reverb or digital delay. Some drummers arrive at the venue with their drum kit and use the mics and mic stands provided by the venue's sound engineer.
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ABC and the AFL also introduced moving, on-field cameras (as opposed to the fixed midfield cameras of CBS and the NFL), and were the first to have players "miked" during broadcast games. But the American Football League was different from the AAFC in its overall competitive balance. While the Browns-dominated AAFC had had the same champion every year, six out of the Original Eight AFL teams won at least one AFL championship, and all but one (the lone exception being the Denver Broncos) played in at least one post-season game. In addition to traditional eastern cities, it placed teams in Texas, in the West with the Broncos, Oakland Raiders and the Chargers, and eventually in the Midwest Kansas City and the deep South Miami.
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Throughout his tenure with the Wailers and other projects, Carlton used a standard five-piece drum set consisting of a bass drum, two tom-toms (mounted on the bass drum), a floor tom-tom, and a snare drum. Each tom-tom had only one drumhead, which gave the drums a dry sound that was ideal for the close-miked environment of the recording studio. However, it was Carlton's snare drum which was perhaps the biggest part of his signature sound. For much of the Wailer's early career, Carlton, like the othe band members were often relying on either studio supplied or rented gear, so the kits he played on varied though he came to favor Ludwig drums, and his snare was the popular Supraphonic model, which is made of "ludalloy", an aluminium alloy.
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217 The original version of the track, taped on the second day of the Revolver sessions, featured an arrangement that included harmonium and acoustic guitar, and a partly a-cappella section (repeating the words "I need your love") sung by McCartney, John Lennon and George Harrison. In the description of author Robert Rodriguez, relative to the "R&B-styled; shouter" that the band completed in June, this version was "more Haight-Ashbury than Memphis". Author Devin McKinney similarly views the early take as "radiat[ing] peace in a hippie vein", and he recognises the arrangement as a forerunner to the sound adopted by the Beach Boys over 1967–1968 on their albums Smiley Smile and Wild Honey. The brass was close-miked in the bells of the instruments, then put through a limiter.
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Production innovations that NBC would bring included in-game player-to-commentator communication, SMT Shot Speed tracking technology, Skycam on multiple games, miked-up players and coaches — and the use of players as commentators throughout the season. As for player- to-commentator communication, this means that the two players on the field, focusing on the goalie and attack positions, would be able to communicate with the NBC Sports PLL broadcast team. Meanwhile, NBC Sports installed an array of sensors at each end of the field for each PLL game to track shot speed from a variety of angles, using SMT's lacrosse intelligence engine to provide real- time speed tracking. On May 6, 2020, the PLL announced a two-week quarantined and fanless tournament called the PLL Championship Series to be scheduled to run from July 25-August 9.
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As part of its formation, the AAF announced broadcast deals with CBS Sports; opening day (consisting of two regionally-televised games) was scheduled for CBS, as well as a playoff semifinal and the championship game. The telecasts made extensive use of on- field microphones (with head coaches and quarterbacks also miked), and Skycams (with two deployed for each game, with one along the sideline, as opposed to having more than one high camera). Half of the games broadcast each week were produced off-site from Sneaky Big Studios in Scottsdale, Arizona: graphics (which were provided by CBS), Skycam operations, and commentary were performed remotely from the Scottsdale site, as well as studio coverage for all games (via a virtual studio). Ebersol did not disclose whether or not the league was buying the airtime or receiving the airtime for free as part of a partnership agreement.
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The album consists of Bingo's reading his poems to an improvised musical accompaniment by WFMU DJs R. Stevie Moore, Bob Brainen, Dennis Diken, Dave Amels, Chris Bolger and Chris Butler, and engineered by Amels. Often, while performing live, the background music to his frantic, poetic incantations is nothing more than a cassette tape inserted into a cheap cigar-box tape recorder and miked. Bingo's poetry often contains hilarious rhyme schemes, extended stream-of- consciousness rambling, and crude language, with titles like "Up Your Jurassic Park" and "I Love You So Fucking Much I Can't Shit". He penned hyper- caffeinated odes to Madonna, Tupac Shakur, and Beavis and Butthead, and had his "Everything's O.K. at the O.K. Corral" (a dreamy reminiscence of the cowboy movie serials by an old nurse-attended man) featured on a 1996 CD produced by the famed Greenwich Village coffeehouse Fast Folk Cafe.
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While some quieter, acoustic genres of music, such as jazz and traditional blues may not use microphones ("mics") in club gigs, in metal, the very loud stage volume from the huge guitar speaker stacks and powerful bass amplifiers means that drums are usually miked. In "miking" a drum kit in metal, dynamic microphones, which can handle high sound-pressure levels, are usually used to close-mic drums, which is the predominant way to mic drums for live shows. Condenser microphones are used for overheads and room mics, an approach which is more common with sound recording applications. Close miking of drums may be done using stands or by mounting the microphones on the rims of the drums, or even using microphones built into the drum itself, which eliminates the need for stands for these microphones, reducing both clutter and set-up time, as well as isolating them.
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His contract with Metallica supposedly states that he has to be called by his moniker, although amongst the band themselves he is known as Full Roar. The live mixing technique he is often credited with is adding a high mid "click" to the bass drum, which evolved early on with Metallica as a means of lifting Lars Ulrich's bass drums out of the bottom heavy sound.Big Mick discusses the evolution of the drum sound A more recent crusade is to encourage engineers to start soundchecks with ambient microphones (such as vocal microphones) working through to close-miked or gated instruments such as drums. This is in direct opposition to the usual soundcheck which starts with the kick drum and ends with the vocals, but actually makes a lot of sense since the final sound of any instrument is going to be the combination of the ambient and close microphones it can be heard through.
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And that's my biggest worry because of the whole way that communications have developed, that there is a tendency just to allow this background noise all the time rather than thinking about what is important. The silence is above everything, and I would rather hear one note than I would two, and I would rather hear silence than I would one note," and according to Wyndham Wallace, "this helps explain the fifteen seconds of amplifier hiss that open the record's first track, 'Myrrhman', the huge amounts of space left in final track 'Runeii', and the overall sonic concept perfected by Friese-Greene and Brown, who declares third track 'After The Flood' to be "probably the best engineering for me in the past forty years." Drums were miked far from the kit, sounds were allowed to echo through the studio space, mistakes were an integral part of the performance, and the album's dynamics are entirely genuine, the live feel of a jazz record." "New Grass" was described as "Talk Talk as a purely placid and lovely proposition, electric organ and lilting guitar endlessly circling around Harris' heartbeat-steady drumming.
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