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Thread: Mortal Remains 75/77 Footage?

  1. #51
    Join Date
    Jan 2007
    Ottawa, ON
    Thanked 247 Times in 11 Posts


    Quote Originally Posted by mark45 View Post
    I also recall quite often that there are microphones pointing from the sides of the stage towards the audience, and in reverse, on the sides of the FOH pointing towards stage.
    Is that to be able to record feedback from the audience and to get a 'proper' open air recording from the sweetspot, the FOH?
    I think the answer is yes to both of those.

    Part of the reason you want to have mics on the stage facing the crowd is delay. If you were to rely on mics at FOH for capturing audience feedback, you'd also pick up the PA/stage audio but with a delay proportional to the distance between the stage and the mics. This can cause a nasty slapback echo effect when those mics are mixed with a direct soundboard feed. I've encountered that when trying to do my own "amateur" 4ch soundboard + FOH mic recordings, as well as while helping with some live streaming productions at concerts and festivals where we were unable to place mics on or near the stage. Thankfully most digital mixing consoles (at least the ones I've had to use) have some form of delay / latency compensation built in, but it can get tricky when dealing with live video feeds, since those have to be delayed to match.

  2. #52
    Join Date
    Jul 2007
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    Quote Originally Posted by floyd_zenith View Post
    In my view, the most important question is what would the band would have done with a multitrack recording of that tour. As we all know, after Ummagumma the band steered clear of releasing proper live albums (as opposed to one-offs such as their radio performances, TV appearances, Pompeii). I don't have a quote by the band, but my guess is that live albums per se simply were not fitting the band philosophy at the time. I would imagine that,bottom line, they did not view their live renditions as being dramatically different from their studio ones. So such a album wouldn't have been worth the not insignifacant cost of its production and release.

    The live multitracks from The Wall shows, on the other hand, were done with a clearly defined purpose - to provide audio for concert footage. By the way, does anybody know what the band's plan actually was with regards to the '80 video edited by Howard Lamden, since he produced a "ready for broadcast" version? I don't think the costs and logistical complications arising from having multiple cameras and organizing a multitrack audio recording was would have gone for just a mere TV special in the vein of their early '70s "one-offs". I'd be glad to learn more about this.
    One thing to consider is that most bands' live albums were basically greatest hits live. With Pink Floyd, their concerts had turned into Set 1 = new album, Set 2 = last album. So a live album of the 1977 tour, for more casual fans, might seem too narrow in focus..."Why are they boring us with 2 versions of Pigs on the Wing instead of Brain Damage/Eclipse? or Time? or Echoes?"

    Yessongs featured the entire previous album in scattered order, Close to the Edge, but there was also a lot more on there from other albums, too. But in general bands didn't release every song from their last studio album.

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