I recorded the dress rehearsal Saturday for purely selfish reasons. I had
missed two of the four rehearsals and needed something to practice to. I
set up close so I could hear everything in great detail.

During the concert on Sunday, the soloist badly flubbed a section that he
performed perfectly in the rehearsal and I have to match one to the other.
Of course the mics are in a different location, the piano has been moved to
a different location on the stage, and we have an audience, so...

Hear are (roughly) the steps I performed.
1) match levels
2) reposition the piano by (a) swapping channels and (b) mixing some -R
with +L to shift it farther to the right.
3) match levels
4) EQ to match greater distance to mics
5) match levels
6) add reverb to match the greater distance
7) match levels
8) add some noise to match the HVAC and general room noise
9) match levels

and WHY doesn't it even begin to sound the same? Oh yes, I forgot.
10) apply the same NR and high pass filter to the rehearsal that I did to
the concert.
11) match levels.

This is turd polishing to the extreme, but it can be modestly successful if
you're willing to be patient and do all the trial and error tests to get
everything matched (or be really good at it and get it right the first
time, which I didn't).

Here's a web page with the before and after:
http://ccarlan.home.mindspring.com/MatchSound.htm

In article 3 writes:

During the concert on Sunday, the soloist badly flubbed a section that he
performed perfectly in the rehearsal and I have to match one to the other.
Of course the mics are in a different location, the piano has been moved to
a different location on the stage, and we have an audience, so...

[bunch of stuff done to the recording]

and WHY doesn't it even begin to sound the same?

The ambient sound is different. Keep fooling with it and you might get
things closer. You may have to make adjustments to the primary (real
concert) recording in order to get it to match the rehearsal
recording.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article 3 writes:

During the concert on Sunday, the soloist badly flubbed a section that he
performed perfectly in the rehearsal and I have to match one to the other.
Of course the mics are in a different location, the piano has been moved to
a different location on the stage, and we have an audience, so...

[bunch of stuff done to the recording]

and WHY doesn't it even begin to sound the same?

The ambient sound is different. Keep fooling with it and you might get
things closer. You may have to make adjustments to the primary (real
concert) recording in order to get it to match the rehearsal
recording.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

(Mike Rivers) wrote in news:znr1084802587k@trad:

and WHY doesn't it even begin to sound the same?

The ambient sound is different. Keep fooling with it and you might get
things closer. You may have to make adjustments to the primary (real
concert) recording in order to get it to match the rehearsal
recording.

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had on
the concert.

(Mike Rivers) wrote in news:znr1084802587k@trad:

and WHY doesn't it even begin to sound the same?

The ambient sound is different. Keep fooling with it and you might get
things closer. You may have to make adjustments to the primary (real
concert) recording in order to get it to match the rehearsal
recording.

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had on
the concert.

Carey Carlan wrote in message .203...
I recorded the dress rehearsal Saturday for purely selfish reasons. I had
missed two of the four rehearsals and needed something to practice to. I
set up close so I could hear everything in great detail.

During the concert on Sunday, the soloist badly flubbed a section that he
performed perfectly in the rehearsal and I have to match one to the other.
Of course the mics are in a different location, the piano has been moved to
a different location on the stage, and we have an audience, so...

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

Carey Carlan wrote in message .203...
I recorded the dress rehearsal Saturday for purely selfish reasons. I had
missed two of the four rehearsals and needed something to practice to. I
set up close so I could hear everything in great detail.

During the concert on Sunday, the soloist badly flubbed a section that he
performed perfectly in the rehearsal and I have to match one to the other.
Of course the mics are in a different location, the piano has been moved to
a different location on the stage, and we have an audience, so...

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

(unitron) wrote in
om:

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano to a
different spot (a matter of a few feet) isn't a surprise.

As for the microphones, that was my choice. I wasn't planning to use the
recording of the rehearsal to fix the concert--merely to practice by it
between times. The conductor talks incessantly during the dress rehearsal
making that tape (usually) useless for patching things.

(unitron) wrote in
om:

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano to a
different spot (a matter of a few feet) isn't a surprise.

As for the microphones, that was my choice. I wasn't planning to use the
recording of the rehearsal to fix the concert--merely to practice by it
between times. The conductor talks incessantly during the dress rehearsal
making that tape (usually) useless for patching things.

Carey Carlan wrote:
(unitron) wrote in
. com:

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano to a
different spot (a matter of a few feet) isn't a surprise.

Make gaffer tape marks on the floor for the piano. Always mikes life much,
much easier. Chorus risers are worth marking too because they also have a
tendency to shift a few inches when nobody is looking.

As for the microphones, that was my choice. I wasn't planning to use the
recording of the rehearsal to fix the concert--merely to practice by it
between times. The conductor talks incessantly during the dress rehearsal
making that tape (usually) useless for patching things.

Can you patch notes from some other section of the piece?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Carey Carlan wrote:
(unitron) wrote in
. com:

Between dress rehearsal and performance the mics and the piano were
moved? Sounds as though someone needs to explain the meaning of
"dress rehearsal" to them.

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano to a
different spot (a matter of a few feet) isn't a surprise.

Make gaffer tape marks on the floor for the piano. Always mikes life much,
much easier. Chorus risers are worth marking too because they also have a
tendency to shift a few inches when nobody is looking.

As for the microphones, that was my choice. I wasn't planning to use the
recording of the rehearsal to fix the concert--merely to practice by it
between times. The conductor talks incessantly during the dress rehearsal
making that tape (usually) useless for patching things.

Can you patch notes from some other section of the piece?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

(Scott Dorsey) wrote in
:

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano
to a different spot (a matter of a few feet) isn't a surprise.

Make gaffer tape marks on the floor for the piano. Always mikes life
much, much easier. Chorus risers are worth marking too because they
also have a tendency to shift a few inches when nobody is looking.

Just wasn't that big a deal.

As for the microphones, that was my choice. I wasn't planning to use
the recording of the rehearsal to fix the concert--merely to practice
by it between times. The conductor talks incessantly during the dress
rehearsal making that tape (usually) useless for patching things.

Can you patch notes from some other section of the piece?

Don't usually patch anything at all. These are mostly "archival"
recordings. I only fixed this one spot because the error was so glaringly
obvious. I suspect even the non-classical types in the audience noticed
when the pianist stopped playing with his left hand.

(Scott Dorsey) wrote in
:

That's easy. This is a heavily used hall. Between our dress and the
concert there was another rehearsal and a concert, so moving the piano
to a different spot (a matter of a few feet) isn't a surprise.

Make gaffer tape marks on the floor for the piano. Always mikes life
much, much easier. Chorus risers are worth marking too because they
also have a tendency to shift a few inches when nobody is looking.

Just wasn't that big a deal.

As for the microphones, that was my choice. I wasn't planning to use
the recording of the rehearsal to fix the concert--merely to practice
by it between times. The conductor talks incessantly during the dress
rehearsal making that tape (usually) useless for patching things.

Can you patch notes from some other section of the piece?

Don't usually patch anything at all. These are mostly "archival"
recordings. I only fixed this one spot because the error was so glaringly
obvious. I suspect even the non-classical types in the audience noticed
when the pianist stopped playing with his left hand.

In article 1 writes:

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had on
the concert.

I wasn't suggesting that you use the same processing on the rehearsal
recording as you used on the concert recording. You may have to
massage both of them (in different ways) in order to come up with
something that doesn't sound like either, but still sounds acceptable
with the edit.

But you probably knew that.


--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article 1 writes:

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had on
the concert.

I wasn't suggesting that you use the same processing on the rehearsal
recording as you used on the concert recording. You may have to
massage both of them (in different ways) in order to come up with
something that doesn't sound like either, but still sounds acceptable
with the edit.

But you probably knew that.


--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

(Mike Rivers) wrote in news:znr1084880184k@trad:


In article 1
writes:

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had
on the concert.

I wasn't suggesting that you use the same processing on the rehearsal
recording as you used on the concert recording. You may have to
massage both of them (in different ways) in order to come up with
something that doesn't sound like either, but still sounds acceptable
with the edit.

Oh yes, I agree. But in this case, the actions I listed satisfied me.

You can listen and decide for yourself he

http://ccarlan.home.mindspring.com/MatchSound.htm

(Mike Rivers) wrote in news:znr1084880184k@trad:


In article 1
writes:

The question was rhetorical. I answered it in the next line where I
remembered to perform the same processing on the rehearsal that I had
on the concert.

I wasn't suggesting that you use the same processing on the rehearsal
recording as you used on the concert recording. You may have to
massage both of them (in different ways) in order to come up with
something that doesn't sound like either, but still sounds acceptable
with the edit.

Oh yes, I agree. But in this case, the actions I listed satisfied me.

You can listen and decide for yourself he

http://ccarlan.home.mindspring.com/MatchSound.htm