Theft

On Sat, 6 Mar 2021 08:02:12 -0800 (PST), Whisky-dave
wrote:

On Sunday, 21 February 2021 at 09:52:18 UTC, Eric Stevens wrote:
On Fri, 19 Feb 2021 15:15:03 -0800 (PST), Whisky-dave
wrote:

On Friday, 19 February 2021 at 04:01:08 UTC, Eric Stevens wrote:

Well live music will always 'sound' different, and don't forget that the venue and it's acoustics also have an effect, and the conductor who leads the orchestra, he decides what needs to be heard not you, he interprets what the 'author' of the original piece wanted you to hear.

There is a limit to what the conductor can do. Otherwise (for example)
the orchestra could be equipped with Melodic (NZ$79) violins rather
than Stradivari.

well not everyone can afford a Stradivari, I doubt even the violin players in the London philharmonic all have them.
Actually I have a violin under my sofa (in a case) don't know much about it myself, a friend left it he worked as a session musician for a while although being Irish he says he's a fiddle player.


Then there's the sound engineer back in the studio who adds his idea(s) based on the equipment used and the sound he wants recorded.
And you want to see the equipment most of them use :-(

well most don't have the money and they depend on the Venue to have them.
Some years ago I was following this subject on Youtube and found a
number of professional sound engineers who were discussing their work.
They all had enormous and expensive control desks filled with knobs
and sliders, and they all knew a great deal about the various forms of
digital encoding and the respective problems and how to deal with
them.

The youngest was at least 55 and several were much older. The all
worked in relatively long and narrow rooms with the long control desks
placed lengthways in the rooms. They all had their favourite reference
speakers which without exception were built around 10" base units or
larger. They all were "old" favourites from the previous 10 or 15
years. (I kid you not.) So there they were sitting at their sound
desks, facing across the room, listening to a pair of ancient speakers
on the opposite wall.

Surely that would depend on the job they were doing , were they adjusting the sound levels
of a live performance or where they working on the sound to be recorded.

They were working with already recorded sound and rendering it fit in
their view to be exposed to the public.

In these studios they are recording and the artists play alone in a soundproof room with headphones on.
At live gigs I often see that those playing asks for the levels and instruments levels to be altered especially
their monitors on stage. I've been to gigs where a guitarist has walked off because he couldn't hear mineslef,
while the audience said it was the best sound they heard from the gig or venue.


I was apalled! The listening environment was acoustically awful. There
was no sign of what could be regarded as a studio monitor speaker and,
as nospam loves to point out, at their age they could not even hear at
least half the signal they were editing.

I though they used headphone direct from the mixing desk and NOT actually listening to the
sound the audience heard this is for live music.

Speakers. See the Abbey Road shot.

These people have been
responsible for much of recorded pop, punk, reock and roll etc which
is let loose on the world. No wonder there is a small group of
afficianados are picky about the details of the way the music they
listen to has been recorded.

As I said it depends on the way they are recorded and the sound engineer decides what is recorded.
In the old days when you were a lad (before recording equipment existed) ;-) it was the conductor
who decided from his location what the audience heard.

More accurately, he tried to control how the orchestra played.



I assume abbey road have some decent kit. Unlike the local pub that puts on bands.
They have an a large desk, engineer facing the wall. They appear to be
using B&W 803 speakers which are very expensive bookshelf speakers
with the the B&W's diamond tweeter. They probably produce an
'adequate' sound for most purposes but the best classical recording
companies would not use them or their listening environment.

Where do the big bands/ classical orchestras record their albums

Don't know these days. In the classical field, many recordings are
made live in concert halls.

It also
looks as though there are some kind of flat panel speaker behind
louvres in the side wall. Quite what they are and what they do I do
not quite know. One thing is certain, flat panels are weak on base so
it is unlikely they are woofers.

I think it;s a form of noise cancelling to replace the old style egg boxes and cones
like you see in anechoic chambers, we have one in our department, in the 1960s we used to
measure such things for speaker manufactures. It was a 7ft cubed space mounted on springs and tyres
and 2ft thick concrete walls to protect the room from outside influences.

I wondered about that but the slots in the panels won't absorb much.

See https://www.abbeyroad.com/recording-engineers

Few of those look older than 55

It wasn't Abby Road I was originally referring to.


I doubt many people today can say that know what the classic composers wanted you to hear.
Quite true. They don't need better than $800 speakers unless they want
to show off.

So what is best depends on what an individual likes which is why sound engineers have so many knobs, buttons and sliders, and conductors have many hand and arm gestures.
The likes of the sound engineer can be a barrier.

A barrier to what's recorded irrespective of the listeners sound system.

What does the birdie song sound like on your setup, does it improve it ;-)

https://www.youtube.com/watch?v=ESViOhqRdlE

I think the only thing that would improve it is playing it from deeper
underwater. :-)

Yep or muted entirely .

--

Regards,

Eric Stevens

On Sun, 7 Mar 2021 10:37:36 -0800 (PST), Whisky-dave
wrote:

On Sunday, 7 March 2021 at 09:21:02 UTC, Eric Stevens wrote:
On Sat, 6 Mar 2021 08:02:12 -0800 (PST), Whisky-dave
wrote:

On Sunday, 21 February 2021 at 09:52:18 UTC, Eric Stevens wrote:
On Fri, 19 Feb 2021 15:15:03 -0800 (PST), Whisky-dave
wrote:

On Friday, 19 February 2021 at 04:01:08 UTC, Eric Stevens wrote:

Well live music will always 'sound' different, and don't forget that the venue and it's acoustics also have an effect, and the conductor who leads the orchestra, he decides what needs to be heard not you, he interprets what the 'author' of the original piece wanted you to hear.

There is a limit to what the conductor can do. Otherwise (for example)
the orchestra could be equipped with Melodic (NZ$79) violins rather
than Stradivari.

well not everyone can afford a Stradivari, I doubt even the violin players in the London philharmonic all have them.
Actually I have a violin under my sofa (in a case) don't know much about it myself, a friend left it he worked as a session musician for a while although being Irish he says he's a fiddle player.


Then there's the sound engineer back in the studio who adds his idea(s) based on the equipment used and the sound he wants recorded.
And you want to see the equipment most of them use :-(

well most don't have the money and they depend on the Venue to have them.
Some years ago I was following this subject on Youtube and found a
number of professional sound engineers who were discussing their work.
They all had enormous and expensive control desks filled with knobs
and sliders, and they all knew a great deal about the various forms of
digital encoding and the respective problems and how to deal with
them.

The youngest was at least 55 and several were much older. The all
worked in relatively long and narrow rooms with the long control desks
placed lengthways in the rooms. They all had their favourite reference
speakers which without exception were built around 10" base units or
larger. They all were "old" favourites from the previous 10 or 15
years. (I kid you not.) So there they were sitting at their sound
desks, facing across the room, listening to a pair of ancient speakers
on the opposite wall.

Surely that would depend on the job they were doing , were they adjusting the sound levels
of a live performance or where they working on the sound to be recorded.
They were working with already recorded sound and rendering it fit in
their view to be exposed to the public.
In these studios they are recording and the artists play alone in a soundproof room with headphones on.
At live gigs I often see that those playing asks for the levels and instruments levels to be altered especially
their monitors on stage. I've been to gigs where a guitarist has walked off because he couldn't hear mineslef,
while the audience said it was the best sound they heard from the gig or venue.


I was apalled! The listening environment was acoustically awful. There
was no sign of what could be regarded as a studio monitor speaker and,
as nospam loves to point out, at their age they could not even hear at
least half the signal they were editing.

I though they used headphone direct from the mixing desk and NOT actually listening to the
sound the audience heard this is for live music.
Speakers. See the Abbey Road shot.

These people have been
responsible for much of recorded pop, punk, reock and roll etc which
is let loose on the world. No wonder there is a small group of
afficianados are picky about the details of the way the music they
listen to has been recorded.

As I said it depends on the way they are recorded and the sound engineer decides what is recorded.
In the old days when you were a lad (before recording equipment existed) ;-) it was the conductor
who decided from his location what the audience heard.
More accurately, he tried to control how the orchestra played.

Which of course relied on what he was hearing.

What he is hearing is in his head and he is trying to control the
orchestra so as to match it.


I assume abbey road have some decent kit. Unlike the local pub that puts on bands.
They have an a large desk, engineer facing the wall. They appear to be
using B&W 803 speakers which are very expensive bookshelf speakers
with the the B&W's diamond tweeter. They probably produce an
'adequate' sound for most purposes but the best classical recording
companies would not use them or their listening environment.

Where do the big bands/ classical orchestras record their albums
Don't know these days. In the classical field, many recordings are
made live in concert halls.

I assume they use many microphones to record each section rather than just one.

Multiple microphones are usual but not to capture each section (for
later mixing) but to capture the overall ambience of hall. That
doesn't always apply when there are soloists who may be given a
microphone of their own.


It also
looks as though there are some kind of flat panel speaker behind
louvres in the side wall. Quite what they are and what they do I do
not quite know. One thing is certain, flat panels are weak on base so
it is unlikely they are woofers.

I think it;s a form of noise cancelling to replace the old style egg boxes and cones
like you see in anechoic chambers, we have one in our department, in the 1960s we used to
measure such things for speaker manufactures. It was a 7ft cubed space mounted on springs and tyres
and 2ft thick concrete walls to protect the room from outside influences.

I wondered about that but the slots in the panels won't absorb much.

But they will affect resonant frequencies and sound bouncing around.
Sound travels faster through solid objects.
Not really detectable by humans but neither is phase.
It's all quite complex when looking into it in detail.

Phase errors are quite detectable with good speakers.



See https://www.abbeyroad.com/recording-engineers

Few of those look older than 55
It wasn't Abby Road I was originally referring to.


I doubt many people today can say that know what the classic composers wanted you to hear.
Quite true. They don't need better than $800 speakers unless they want
to show off.

So what is best depends on what an individual likes which is why sound engineers have so many knobs, buttons and sliders, and conductors have many hand and arm gestures.
The likes of the sound engineer can be a barrier.

A barrier to what's recorded irrespective of the listeners sound system.

What does the birdie song sound like on your setup, does it improve it ;-)

https://www.youtube.com/watch?v=ESViOhqRdlE

I think the only thing that would improve it is playing it from deeper
underwater. :-)

Yep or muted entirely .

--

Regards,

Eric Stevens

On Tue, 9 Mar 2021 06:49:29 -0800 (PST), Whisky-dave
wrote:

On Monday, 8 March 2021 at 09:15:00 UTC, Eric Stevens wrote:
On Sun, 7 Mar 2021 10:37:36 -0800 (PST), Whisky-dave
wrote:

On Sunday, 7 March 2021 at 09:21:02 UTC, Eric Stevens wrote:
On Sat, 6 Mar 2021 08:02:12 -0800 (PST), Whisky-dave
wrote:

On Sunday, 21 February 2021 at 09:52:18 UTC, Eric Stevens wrote:
On Fri, 19 Feb 2021 15:15:03 -0800 (PST), Whisky-dave
wrote:

On Friday, 19 February 2021 at 04:01:08 UTC, Eric Stevens wrote:

Well live music will always 'sound' different, and don't forget that the venue and it's acoustics also have an effect, and the conductor who leads the orchestra, he decides what needs to be heard not you, he interprets what the 'author' of the original piece wanted you to hear.

There is a limit to what the conductor can do. Otherwise (for example)
the orchestra could be equipped with Melodic (NZ$79) violins rather
than Stradivari.

well not everyone can afford a Stradivari, I doubt even the violin players in the London philharmonic all have them.
Actually I have a violin under my sofa (in a case) don't know much about it myself, a friend left it he worked as a session musician for a while although being Irish he says he's a fiddle player.


Then there's the sound engineer back in the studio who adds his idea(s) based on the equipment used and the sound he wants recorded.
And you want to see the equipment most of them use :-(

well most don't have the money and they depend on the Venue to have them.
Some years ago I was following this subject on Youtube and found a
number of professional sound engineers who were discussing their work.
They all had enormous and expensive control desks filled with knobs
and sliders, and they all knew a great deal about the various forms of
digital encoding and the respective problems and how to deal with
them.

The youngest was at least 55 and several were much older. The all
worked in relatively long and narrow rooms with the long control desks
placed lengthways in the rooms. They all had their favourite reference
speakers which without exception were built around 10" base units or
larger. They all were "old" favourites from the previous 10 or 15
years. (I kid you not.) So there they were sitting at their sound
desks, facing across the room, listening to a pair of ancient speakers
on the opposite wall.

Surely that would depend on the job they were doing , were they adjusting the sound levels
of a live performance or where they working on the sound to be recorded.
They were working with already recorded sound and rendering it fit in
their view to be exposed to the public.
In these studios they are recording and the artists play alone in a soundproof room with headphones on.
At live gigs I often see that those playing asks for the levels and instruments levels to be altered especially
their monitors on stage. I've been to gigs where a guitarist has walked off because he couldn't hear mineslef,
while the audience said it was the best sound they heard from the gig or venue.


I was apalled! The listening environment was acoustically awful. There
was no sign of what could be regarded as a studio monitor speaker and,
as nospam loves to point out, at their age they could not even hear at
least half the signal they were editing.

I though they used headphone direct from the mixing desk and NOT actually listening to the
sound the audience heard this is for live music.
Speakers. See the Abbey Road shot.

These people have been
responsible for much of recorded pop, punk, reock and roll etc which
is let loose on the world. No wonder there is a small group of
afficianados are picky about the details of the way the music they
listen to has been recorded.

As I said it depends on the way they are recorded and the sound engineer decides what is recorded.
In the old days when you were a lad (before recording equipment existed) ;-) it was the conductor
who decided from his location what the audience heard.
More accurately, he tried to control how the orchestra played.

Which of course relied on what he was hearing.
What he is hearing is in his head and he is trying to control the
orchestra so as to match it.

Yes which is the problem the conductor is changing what others are hearing via gestures.

He's not changing anything. He's trying to control the performance by
the orchestra.



I assume abbey road have some decent kit. Unlike the local pub that puts on bands.
They have an a large desk, engineer facing the wall. They appear to be
using B&W 803 speakers which are very expensive bookshelf speakers
with the the B&W's diamond tweeter. They probably produce an
'adequate' sound for most purposes but the best classical recording
companies would not use them or their listening environment.

Where do the big bands/ classical orchestras record their albums
Don't know these days. In the classical field, many recordings are
made live in concert halls.

I assume they use many microphones to record each section rather than just one.
Multiple microphones are usual but not to capture each section (for
later mixing) but to capture the overall ambience of hall. That
doesn't always apply when there are soloists who may be given a
microphone of their own.

That is not true a drum kit can have more than one micrphone .

I thought we were discusing classical orchestras.



It also
looks as though there are some kind of flat panel speaker behind
louvres in the side wall. Quite what they are and what they do I do
not quite know. One thing is certain, flat panels are weak on base so
it is unlikely they are woofers.

I think it;s a form of noise cancelling to replace the old style egg boxes and cones
like you see in anechoic chambers, we have one in our department, in the 1960s we used to
measure such things for speaker manufactures. It was a 7ft cubed space mounted on springs and tyres
and 2ft thick concrete walls to protect the room from outside influences.

I wondered about that but the slots in the panels won't absorb much.

But they will affect resonant frequencies and sound bouncing around.
Sound travels faster through solid objects.
Not really detectable by humans but neither is phase.
It's all quite complex when looking into it in detail.
Phase errors are quite detectable with good speakers.

No they are NOT.
Type this into google "can the human ear detect phase errors"
No: The human ear is insensitive to a constant relative phase change in a static waveform. ... The second waveform would not look like a sawtooth on an oscilloscope, but you would not be able to hear the difference. And this is true no matter how ridiculous you get with the phase shifting.

Just reverse the wiring on one speaker of a stereo pair. Then you will
see (or hear).


Regards,

Eric Stevens
--

Regards,

Eric Stevens

In article , Eric Stevens
wrote:

It also
looks as though there are some kind of flat panel speaker behind
louvres in the side wall. Quite what they are and what they do I do
not quite know. One thing is certain, flat panels are weak on base
so
it is unlikely they are woofers.

I think it;s a form of noise cancelling to replace the old style egg
boxes and cones
like you see in anechoic chambers, we have one in our department, in
the 1960s we used to
measure such things for speaker manufactures. It was a 7ft cubed space
mounted on springs and tyres
and 2ft thick concrete walls to protect the room from outside
influences.

I wondered about that but the slots in the panels won't absorb much.

But they will affect resonant frequencies and sound bouncing around.
Sound travels faster through solid objects.
Not really detectable by humans but neither is phase.
It's all quite complex when looking into it in detail.
Phase errors are quite detectable with good speakers.

No they are NOT.
Type this into google "can the human ear detect phase errors"
No: The human ear is insensitive to a constant relative phase change in a
static waveform. ... The second waveform would not look like a sawtooth on
an oscilloscope, but you would not be able to hear the difference. And this is true no matter how ridiculous you get with the phase shifting.

Just reverse the wiring on one speaker of a stereo pair. Then you will
see (or hear).

that's a wiring error.

it is *not* a characteristic about a particular speaker or amp, which
is what you claim can be heard (it cannot).

i would have thought you understood the difference. apparently not.

In article ,
Whisky-dave wrote:

Type this into google "can the human ear detect phase errors"
No: The human ear is insensitive to a constant relative phase change in a
static waveform. ... The second waveform would not look like a sawtooth on
an oscilloscope, but you would not be able to hear the difference. And
this is true no matter how ridiculous you get with the phase shifting.

Just reverse the wiring on one speaker of a stereo pair. Then you will
see (or hear).

No you won't because human ears can;t detect phase. Just try it.

reversing the wiring can definitely be heard, but that's because it's a
wiring error which causes as much phase error as possible (180 deg).

with a properly wired system, phase errors cannot be heard.

But be worned if a sales does it and cliams for $1000 dollars an auto-change does it for you ....
a fool and his money are easily parted.

eric is proof of that.

On Fri, 12 Mar 2021 04:34:44 -0800 (PST), Whisky-dave
wrote:

--- vast snip ---

As I said it depends on the way they are recorded and the sound engineer decides what is recorded.
In the old days when you were a lad (before recording equipment existed) ;-) it was the conductor
who decided from his location what the audience heard.
More accurately, he tried to control how the orchestra played.

Which of course relied on what he was hearing.
What he is hearing is in his head and he is trying to control the
orchestra so as to match it.

Yes which is the problem the conductor is changing what others are hearing via gestures.
He's not changing anything. He's trying to control the performance by
the orchestra.

What do you mean by controling the orchestra, what needs controlling and why ?

First of all the conductor controls the rythm. In a complex piece
rythms are never exact, no matter what the score seems to say. There
are slight speed ups, slow downs, hesitations, momentary shortening of
beats etc. These come not from the score but the conductors
interpretation of the score.

Second, the conductor controls the volume of different parts of the
orchestra, particularly the way it changes as different parts of the
orchestra blend in (and out) with each other.

Also, the conductor controls the overall pace of the performance and
there can be considerable differences between the length of time of a
performance between different conductors.


I assume abbey road have some decent kit. Unlike the local pub that puts on bands.
They have an a large desk, engineer facing the wall. They appear to be
using B&W 803 speakers which are very expensive bookshelf speakers
with the the B&W's diamond tweeter. They probably produce an
'adequate' sound for most purposes but the best classical recording
companies would not use them or their listening environment.

Where do the big bands/ classical orchestras record their albums
Don't know these days. In the classical field, many recordings are
made live in concert halls.

I assume they use many microphones to record each section rather than just one.
Multiple microphones are usual but not to capture each section (for
later mixing) but to capture the overall ambience of hall. That
doesn't always apply when there are soloists who may be given a
microphone of their own.

That is not true a drum kit can have more than one micrphone .
I thought we were discusing classical orchestras.

There are many drums and percussion instruments used in classical music.

But you don't talk about a 'drum kit' in that context and they rarely
give them their own microphone, let alone several.


It also
looks as though there are some kind of flat panel speaker behind
louvres in the side wall. Quite what they are and what they do I do
not quite know. One thing is certain, flat panels are weak on base so
it is unlikely they are woofers.

I think it;s a form of noise cancelling to replace the old style egg boxes and cones
like you see in anechoic chambers, we have one in our department, in the 1960s we used to
measure such things for speaker manufactures. It was a 7ft cubed space mounted on springs and tyres
and 2ft thick concrete walls to protect the room from outside influences.

I wondered about that but the slots in the panels won't absorb much.

But they will affect resonant frequencies and sound bouncing around.
Sound travels faster through solid objects.
Not really detectable by humans but neither is phase.
It's all quite complex when looking into it in detail.
Phase errors are quite detectable with good speakers.

No they are NOT.
Type this into google "can the human ear detect phase errors"
No: The human ear is insensitive to a constant relative phase change in a static waveform. ... The second waveform would not look like a sawtooth on an oscilloscope, but you would not be able to hear the difference. And this is true no matter how ridiculous you get with the phase shifting.

Just reverse the wiring on one speaker of a stereo pair. Then you will
see (or hear).

I got that wrong. You meant phasing of harmonics. I replied about
phasing of speakers.

No you won't because human ears can;t detect phase. Just try it.

You certainly can hear it with speakers. It plays havoc with the
stereo image.

But be worned if a sales does it and cliams for $1000 dollars an auto-change does it for you ....
a fool and his money are easily parted.

--

Regards,

Eric Stevens

On Mar 15, 2021, Whisky-dave wrote
(in ):

On Saturday, 13 March 2021 at 01:31:48 UTC, Eric Stevens wrote:
But you don't talk about a 'drum kit' in that context and they rarely
give them their own microphone, let alone several.

Depends on the situation but I think they were 15 percussionists from a BBC orchestra
playing Saint-Saens’s Danse Macabre.
They all can't be in an optimal position for the correct sound for everyone.

They will be for the conductor, and he is the one who counts.

I just find it easier to use the term drum kit than percussionists, not many bands that
I hear have 15 percussionists for their music.
At most it's 2 drummers with mulitple kit .

....but what about the first, second, & third triangle, the maraca soloist, the vibraphonist, and the lone gong beater?
Not so much as a drum between them.

....and for the 1812 overture there is the cannon to consider.

--
Regards,
Savageduck

On Mon, 15 Mar 2021 06:19:18 -0700 (PDT), Whisky-dave
wrote:

-- snip ---

There are many drums and percussion instruments used in classical music.
But you don't talk about a 'drum kit' in that context and they rarely
give them their own microphone, let alone several.

Depends on the situation but I think they were 15 percussionists from a BBC orchestra
playing Saint-Saens’s Danse Macabre.
They all can't be in an optimal position for the correct sound for everyone.

I can't comment on individual cases. I can only describe what I
understand to be the usual practice.

I just find it easier to use the term drum kit than percussionists, not many bands that
I hear have 15 percussionists for their music.
At most it's 2 drummers with mulitple kit .
--

Regards,

Eric Stevens

On Tue, 16 Mar 2021 06:09:43 -0700 (PDT), Whisky-dave
wrote:

On Monday, 15 March 2021 at 14:56:47 UTC, Savageduck wrote:
On Mar 15, 2021, Whisky-dave wrote
(in ):
On Saturday, 13 March 2021 at 01:31:48 UTC, Eric Stevens wrote:
But you don't talk about a 'drum kit' in that context and they rarely
give them their own microphone, let alone several.

Depends on the situation but I think they were 15 percussionists from a BBC orchestra
playing Saint-Saens’s Danse Macabre.
They all can't be in an optimal position for the correct sound for everyone.
They will be for the conductor, and he is the one who counts.

I just find it easier to use the term drum kit than percussionists, not many bands that
I hear have 15 percussionists for their music.
At most it's 2 drummers with mulitple kit .
...but what about the first, second, & third triangle, the maraca soloist, the vibraphonist, and the lone gong beater?
Not so much as a drum between them.

I'm guessing the conductor or composer makes sure other instuments are quite
when the triangles part kicks in.


...and for the 1812 overture there is the cannon to consider.

Yeah I've wondered how that was done at the venues of the time, today that would be a H&S nightmare.
Maybe they didn;t care about such things then, eric any ideas ?

They usually use percussion. It has been done with real cannons up to
and including those on HMS Belfast.
https://www.youtube.com/watch?v=7LxLSzzrplw


--
Regards,
Savageduck
--

Regards,

Eric Stevens

On Tue, 16 Mar 2021 06:18:55 -0700 (PDT), Whisky-dave
wrote:

On Monday, 15 March 2021 at 23:52:28 UTC, Eric Stevens wrote:
On Mon, 15 Mar 2021 06:19:18 -0700 (PDT), Whisky-dave
wrote:

-- snip ---
There are many drums and percussion instruments used in classical music.
But you don't talk about a 'drum kit' in that context and they rarely
give them their own microphone, let alone several.

Depends on the situation but I think they were 15 percussionists from a BBC orchestra
playing Saint-Saens’s Danse Macabre.
They all can't be in an optimal position for the correct sound for everyone.
I can't comment on individual cases. I can only describe what I
understand to be the usual practice.

Unfortunantly during the pandemic usual practice isn't usual.
But yuo can see how certain sections are in certain places so wondered how
where you choose to sit effects what you hear.
https://www.grammy.com/grammys/news/...aring-pandemic

also some quite big drums there top left not sure if they are kettle dums they don;t lok much like any kettle I've used.
Maybe they are just for show.

Nope. That was the Chicago Symphony Orchestra. Here is the Dallas
Symphony Orchestra
https://duckduckgo.com/?q=symphony+o...ani_martin.jpg
or https://tinyurl.com/yrh7rmtr

They are not for show. They are all tuned differently.


I just find it easier to use the term drum kit than percussionists, not many bands that
I hear have 15 percussionists for their music.
At most it's 2 drummers with mulitple kit .
--

Regards,

Eric Stevens
--

Regards,

Eric Stevens