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What exactly does "enhanced or engineered" mean?
Old 3 weeks ago
  #31
Quote:
Originally Posted by aracu View Post
....the secret spy thriller switch technique.
I'VE GOT IT! Just at that moment, the screen is overwhelmed with static! Just a little innocent static... nothing anybody can do about that, right? Only, for a moment, it hits a full-blown blurry wash, and that's when you make the switch. The perfect crime!
Old 3 weeks ago
  #32
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Brent Hahn's Avatar
 

Quote:
Originally Posted by Plush View Post
My tapes always help the playa win. I have never had a person fail.

As far as how we do it, "I'm awfully sorry, but I couldn't possibly comment."
I think at its root, the people who make these rules need to pay lip service to the fantasy that the playing field is level for all participants. But it's not and they know it.

They hold live auditions behind a scrim for the same reason, in principle. But throw up a fat silhouette and you're toast before you play a note.
Old 2 weeks ago
  #33
It's well to keep in mind that admission committees are searching for the best players, not the best concert halls. Including an appropriate amount of reverb, whether natural or canned, and getting rid of distracting hall rumble helps level the playing field. While it's true that an appropriate acoustic can make a performance sound more musical, allowing a candidate to be rejected because he or she couldn't rent the best room serves no valid purpose.

If, as is often the case, recordings are used for first-level screening with live auditions to follow, then the potential for "room bias" will disappear, but may (sadly) be replaced by bias based on the performer's gender, looks, or ethnicity. Experience shows that these sorts of bias can only be eliminated by having the players perform behind a screen.

David L. Rick
Seventh String Recording
Old 1 week ago
  #34
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I think the spirit of the no enhancements clause is that the recording be a truly representative recording of the student's playing ability. Multiple takes spliced together to make a flawless performance may not be in communion with that spirit.

Now if we could get the colleges to stop their fabrications....
Old 1 week ago
  #35
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Roland's Avatar
Quote:
Originally Posted by jnorman View Post
A fair amount of my work is producing audition recordings, often for college or scholarship applications. Many of these require video submittals to ensure they can see a "live" performance that has not been edited in post to correct errors.

Many of the auditions that do not require video include a clause in the submittal requirements that state that recording should not be "enhanced or engineered".

What is your interpretation of that clause?
No editing or minipulation for pitch or timing correction, any other interpretation would be nonsense.
Old 1 week ago
  #36
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Is the task to demonstrate a canidates performance skill or mic technique? Comping, pitch correction and meter alignment should be out of bounds however reducing a recording novice's dynamic range and sibilant artifacts have little or nothing to do with the subject applicant's performance talent. Unfortunately some performers that are not session savy will not benafit from multiple takes of a given selection: in fact their performance may be technically improved from many takes however the overall performance will loose critical edge and emphases reducing the effectiveness of the recording.
Hugh
Old 1 week ago
  #37
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Quote:
Originally Posted by hughshouse View Post
in fact their performance may be technically improved from many takes however the overall performance will loose critical edge and emphases reducing the effectiveness of the recording.
Hugh
yep, just so...it's called 'regression to the mean' ...or alternatively, the first cut is typically the best
Old 1 week ago
  #38
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lukedamrosch's Avatar
 

Quote:
Originally Posted by studer58 View Post
yep, just so...it's called 'regression to the mean' ...or alternatively, the first cut is typically the best
My education about 10 years ago, before becoming interested in sound engineering, was in Jazz performance -- and I've always found it interesting that, despite some seemingly large differences between that idiom and classical/chamber/"serious" music, the same principle very often applies. Always interesting to hear albums which include two takes of the same piece -- first one is almost always a little rougher around the edges, or contains a few weak spots, but has noticeably better energy and high points, too.
Old 1 week ago
  #39
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For new selections that a given session player is hired to embellish, the second take is usually the best: any more than three the player is obviously not a very quick study and most likely not on the "A" list. For singers or players that are recording a well rehearsed selection I try to set their mic properly and for singers use a pop screen to help stabalise the requsite distance for a good sonic capture. If the selection is a solo instrumental never hook up cans: have them play it the same way they have been rehearsing it.
Hugh
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