At 12:06 AM -0400 10/01/02, Darcy James Argue wrote: > >[1] For this project, the deal is, there is an 11-piece klezmer band out >front in addition to the full orchestra. I know for certain that the voice, >violin, mandolin/banjo, piano, and bass in the klezmer ensemble will be >amplified. I don't know if the winds will be amplified as well, but that's >a pretty likely bet, since the klez group will be doing the first set by >themselves and everyone will be certainly mic'ed for *that.* This makes it >especially difficult for me to try to figure out how to balance e.g., the >clarinet and flute in the klezmer band with like instruments in the >orchestra. Ultimately, my arrangements will be entirely at the mercy of >whatever sound tech happens to be working that night, who may or may not >know enough to back way off on the solo mics when the winds in the klezmer >band are trying to blend with the winds in the orchestra. The other option >is to just assume the worst -- that winds in the klezmer band will always >stick out like sore thumbs -- and double/triple all of the orchestral wind >parts that need to blend with (/compete with) the amplified winds. > >But that's not an especially attractive option either, for obvious reasons.
Aha! Yes, your assumption that the front line will be heard perfectly, and the rest of the accompanying orchestra will fade into the background is a valid one. You cannot assume that you will get proper balance between the front line and solo instruments in the orchestra (or even entire sections in the orchestra). All you can do is make sure that the front line sounds complete and balanced within itself, and that the orchestra sounds as complete and balanced as an accompanying ensemble can sound (kind of like the concept in a big band that each section should be properly voiced and balanced within itself, regardless of doubling between sections.) An amusing (but informative!) anecdote: Montreal Jazz Big Band http://www.mjbb.qc.ca/ (that's me on the right on bass trombone, for those who don't know me!) directed by Philippe Hudon had a steady gig at La Ronde (local amusement park) this past summer, playing shows before and after the International Fireworks competition. Philippe is a trumpet player, and takes a few solos (in a Harry James/Louis Prima/Al Hirt kind of bag) in the course of the evening. When he is not soloing or directing the band through tempo changes and cues, he likes to cover the 4th or 5th trumpet part. Well, our sound operator, assuming that the Leader is always the soloist, cranked him up so that he would come out over the rest of the band... on 4th trumpet! Ye gods! He proudly recorded the first evening and gave the tape to Philippe for his comments. Well, the next show had a different sound operator, carefully briefed and with a set list showing which tunes had trumpet solos, but the problem persisted. Finally, Phillipe left his instrument on its stand except when he was soloing, and the sound of the band improved tenfold. I took careful notes about perceptions of balance when someone plays in front of a band... _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
