Klarinet Archive - Posting 000413.txt from 2004/07

From: Karl Krelove <karlkrelove@-----.net>
Subj: Re: [kl] Amplification of music (somewhat OT)-LONG REPLY
Date: Mon, 12 Jul 2004 20:21:23 -0400

But, Ben, Richard Rodgers (or Robert Russell Bennett) didn't use synths
or electric guitars (bass or lead). I don't know for a fact, but I'll
bet there were no mics down in the pit at all for the original
production of Oklahoma or South Pacific. Some of the problem I'm
describing is in evidence in revivals - particularly travelling
companies - of vintage R&H, Music Man, Hello Dolly, etc... I realize
there're more electronics specifically called for in the pit for, say,
Andrew Lloyd Webber (two of my worst experiences here in that
Philadelphia theater I mentioned were Phantom and Cats) but even then,
it seems like the solution would be to tone down the instruments to a
reasonable level, not crank up the vocal mics to overpower a blastissimo
pit. I'm complaining to the wrong guy, because I'm certain, from you've
written in the past, that you wouldn't be the engineer doing this, but
should orchestration, if that's the problem, ever excuse tastelessness?

Am I wrong in assuming that there's a house engineer running the sound
in a major city theater when travelling productions (theater or concert)
come in? I'm sure the company brings its own sound crew as well, but
doesn't the house tech have some control if they're using the house system?

Karl

Benjamin Maas wrote:

>
>Amplification of Broadway was brought up... Once again, I see this as being
>the result of the need to project voices over a progressively more amplified
>orchestra. In "the old days," how many synth/electric guitar/electric bass
>players were sitting in the orchestra? Of course the stars then and now
>have big voices, but not everybody can project enough to fill a hall. When
>you have an audience paying large sums of cash to see a show, you better be
>able to hear EVERYTHING. We come back to orchestration. Orchestration is
>everything.
>
>
>
>
>

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