2012 GRAMMYs on CBS HD! - Page 6 - AVS Forum
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post #151 of 161 Old 02-13-2012, 07:51 PM
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Originally Posted by mr. wally View Post

what was that horrific feedback like sound during, i think, katy perrry's act. was it a screwup or intentional as once things cleared up she was way up in the air?

Intentional.
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post #152 of 161 Old 02-13-2012, 08:23 PM
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Originally Posted by squeakybirnbaum View Post

But at least she has actual talent and can sing. Nicki Minaj tries to be lady gaga but has no talent.

Upfront I'm an old fart which means I should hate Lady Gaga but I actually find her rather refreshing. I knew nothing of her when she was up and coming but once she became famous I heard some of her music and I could tell She was Born This Way. I think she is what she is and to a large degree it takes some... to allow yourself to go there. If it's an act it's much easier (say Madonna?). As wild and crazy as she performs I never sense it's an act (beyond trying to do it as close to perfection as she can).

Outside of performing I have only seen her twice. Once on So You Think You Can Dance and her A Very Gaga Thanksgiving and in both cases I was impressed. Very down to Earth and insightful. Bottom line I find her genuine and that's enough for me to say more power to you. The world needs a few off the wall people to entertain the rest.
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post #153 of 161 Old 02-13-2012, 08:36 PM
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Originally Posted by Charles R View Post

Upfront I'm an old fart which means I should hate Lady Gaga but I actually find her rather refreshing.

Anyone who hates Lady Gaga should watch this video from before she was famous: http://www.youtube.com/watch?v=NM51qOpwcIM

Incredible talent.
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post #154 of 161 Old 02-13-2012, 09:20 PM
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There's no doubt Lady Gaga can sing. There's also no doubt to me that she dresses like a moron.
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post #155 of 161 Old 02-14-2012, 03:42 AM
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Yeah no one said she has no talent. But come on, I don't mind a little off the wall but this is as dumb as it gets.

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post #156 of 161 Old 02-14-2012, 06:11 AM
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Originally Posted by squeakybirnbaum View Post

Yeah no one said she has no talent. But come on, I don't mind a little off the wall but this is as dumb as it gets.

Of course it's more than dumb for 99.9999% of the world. However my take is that's her (more her than act) so let her be... much like she wrote in her Hair song.
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post #157 of 161 Old 02-26-2012, 11:11 AM - Thread Starter
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From Broadcast Engineering

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The truth behind sound for the Grammys

By Jack Kontney

It seems the Grammy Awards telecast on CBS is an annual lightning rod for criticism, and the 2012 edition was no exception. Social media outlets lit up with accusations and denials of lip-synching throughout the show. The event’s longtime audio coordinator, Michael Abbott, owner of All Ears, Incorporated, agreed to address some of these issues in an exclusive interview.

“The first thing I want to point out is that, unlike almost every other televised awards show in the U.S., the Grammys are committed to having every microphone on stage be live.” Abbott said. “That dates back to the Milli Vanilli controversy.”

In 1990, the group Milli Vanilli had its Grammy for Best New Artist rescinded after it was learned that the principals, Fab Morvan and Rob Pilatus, had not actually sung on their debut album, and that they routinely lip-synched during live performances.

Yet the supposition that lip-synching occurs is a common perception — despite the obviously natural performances by Paul McCartney, Foo Fighters, Taylor Swift, Glen Campbell and others that dominated the evening. By way of contrast, big production numbers by artists like Chris Brown and Katy Perry drew criticism which, interestingly, is seen as a reflection of the broadcast itself as much as the artists involved.

“While we don’t allow lip-synch on the show, some performances are so demanding in terms of sound design that there has to be some of what we call track augmentation, which might involve Pro Tools or some other kind of playback,” Abbott said. “We do allow the artist to have their vision of what they should be looking and sounding like produced accurately, just as they do in concert. That can be a real challenge on live TV, especially in the context of Grammy events, where you might have live orchestra, huge choirs and lots of choreography.

“Our goal is to provide great sound for the home audience in the context of live performances, and I think we do a pretty good job of that.”

Abbott detailed a number of performance that were truly “live” in the traditional sense, including those by Adele, Paul McCartney, Taylor Swift, Foo Fighters, Bonnie Raitt/Alicia Keys, Glen Campbell, Jennifer Hudson, and the Beach Boys reunion.

“We pride ourselves on creating what the producers call ‘Grammy moments,’” Abbott said, “authentic moments that won’t be replicated on any other show. The Glen Campbell tribute, the Beach Boys reunion, those were big production challenges, and it was great to see the artists come out and nail it.”

There’s no denying that the Grammy Awards broadcast is always caught between a rock and a hard place — expected to deliver great 5.1 audio under the most difficult conditions, yet having its feet held to the fire at the slightest hint of technological assist to the artists.

“I monitor several social media sites and websites, and there are a lot of misconceptions out there,” Abbott said. “Reactions are posted, right or wrong, and people will not be swayed from their viewpoint, even if what they perceive is utterly false. I find it fascinating.”

By Abbott’s estimate, this year’s Grammy show had the least amount of track augmentation of any in the past five years. He also notes that the tools available today enable creative production techniques that go far beyond the flip “must be lip synch” reaction of many self-styled critics.

“This is not your dad’s prerecorded, live-to-track date,” Abbott said. “We have to make pragmatic production decisions in sound design, and execute them live. When an artist is using auto-tune software as a creative choice, that’s legitimate. But we won’t use it as a corrective tool.

“Other tools, like dynamic EQ, Pro Tools and Waves plug-ins, console automation…it all comes into play for an event like this. The decisions we make are based on the idea of producing the most authentic, organic telecast possible. And I think that was evident in this year’s show.”


'Better Living Through Modern, Expensive, Electronic Devices'

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post #158 of 161 Old 02-26-2012, 11:14 AM - Thread Starter
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From Broadcast Engineering

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The team behind Grammy audio excellence

By Jack Kontney

The 54th Annual Grammy Awards telecast on CBS on Feb. 12 was an ambitious production that featured some truly notable performances. Produced by AEG Ehrlich Ventures (Ken Ehrlich) and John Cossette Productions, “music’s biggest night” was delivered in 5.1 surround sound by a 46-member audio team managed by longtime Grammy audio coordinator Michael Abbott.

The entire team is on site for basically a week prior to the live broadcast, including several days of live rehearsals. Broadcast engineers team with live concert mixers and work with representatives of The Recording Academy to create a memorable television event.

“The core of our team has been in place for eight or nine years now,” Abbott said. “I’m proud to say we’ve won several Emmy Awards for outstanding sound mixing in that time. They are the best in the business.”

On the broadcast side, Tom Holmes is the primary audio mixer, combining the music mixes with all the other production elements that are part of the broadcast. Other key participants include music mixers Eric Schilling and John Harris, working in the Music Mix Mobile (M3) remote trucks.

“John and Eric basically split up the bands according to the rehearsals,” Abbott said. “That way, one can remix, consult with the artist, and practice their moves in the truck while the other is handling the rehearsal for the next act.”

For the live audience in the Staples Center, front of house engineers Ron Reaves (music) and Mikael Stewart (production) handle the faders. Michael Parker and Tom Pesa are the two stage foldback/monitor engineers.

The Recording Academy Producers & Engineers Wing brings considerable expertise to the party as well. Producers Phil Ramone and Hank Neuberger are sound supervisors for the broadcast, while Leslie Ann Jones supervises the house audio.

Outside vendors on site to make the Grammy Awards telecast a reality included the NEP Denali mobile video production facility; the aforementioned Music Mix Mobile recording trucks; and ATK Audiotek as primary audio equipment provider with Soundtronics handling the considerable task of wireless coordination and deployment.


'Better Living Through Modern, Expensive, Electronic Devices'

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post #159 of 161 Old 02-26-2012, 12:47 PM
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By Abbott's estimate, this year's Grammy show had the least amount of track augmentation of any in the past five years.

Not to be cynical but I read that as "This year we're giving you less processed jive that in the past five years". Thanks Academy.
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post #160 of 161 Old 02-27-2012, 12:07 AM
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Originally Posted by Kib View Post

Not to be cynical but I read that as "This year we're giving you less processed jive that in the past five years". Thanks Academy.

...haaa - - - he said 'Jive' ..........good one !! !!
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post #161 of 161 Old 02-27-2012, 04:10 AM
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Quote:
Originally Posted by Kib View Post

Not to be cynical but I read that as "This year we're giving you less processed jive that in the past five years". Thanks Academy.

I really don't understand the negativity. Anything done "on the fly" even with the help of certain automation and/or augmentation is a whole lot harder than canned material. Kudos to all the musicians and crew who pull off what's easily the most complicated show of the year. Last night's audio problems during the Oscar telecast were a great example of what can go wrong.
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