Dan Croman, a good Saturday 6-03,Xcerpts: All Shook Up-duo, It Don't Come Easy, Orig. Copyrighted Instrumental, On Broadway-parody, Blackbird, Tears In Heav., Love Me Two Times, S

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• Description : Danny Slade Croman, of K.C., excerp...(more)ts of standards, parodies, & 2 original instrumentals having bass string self-accompaniment, and difficult picking patterns(including some instrumental passages from the original also in bats.. posting "Tune Collage:One-Instrument Feats,re-edit; phase 1" (in that video a "direct sound: recording of passage excerpts of it). The sound in this set of recordings is "non-direct," in other words the audio is the open microphone on the cam corder, as opposed to other recordings in which the sound was from the p.a. straight to the audio inputs on a v.c.r.. The latter method is the way nearly all of Danny's recordings after this one were achieved. It took some extra figuring and checking of the shape of the equipment in order to make sure it was up to the task. That being a particular concern due to the fact that some of the functions in Danny's p.a. had been burned out due to the fact that at a gig at a tavern on Midland Drive, another K.C. singer, who was also part of that gig, insisted on running an oversized pre- amp into that p.a., just because he thought his guitar should be in stereo, which I was later told is not even possible on many p.a.'s, including Danny's. So, since the p.a. had some known quirks after the overloading incident (Halloween late 90's), the feasibility of using that direct method had remained a question mark in Danny's mind, prior to succesfully beginning it in 7-03. During various p.a. repair jobs betwen the time of the overload and the early 2000's, Danny had asked that all outputs be checked. Due to the fact that some other things promised in the repairs remained unfixed, Danny assumed the output jack may have been among them. Upon discovering the output jack had at some point, indeed, been repaired, Danny started recording direct from the p.a. to mini-discs for strictly audio recordings. After some cam corder repairs, and additional figuring - that the same method would work on video - he began using it for them as well. But, needless to say, had it not been for the overload incident, the sound in the videos would have been more professional quality at an earlier point in time. But, that's life, and that's rock and roll. It is also noteworthy to point out that, sometimes the background noise in a video adds authenticity and charm - such as more audible crowd reractions and so forth. Many microphones are uni-directional, so for those, inclusion of crowd noise is reduced in direct recordings. But, other factors like car engines, generators (often present in adequately amplified street performances) are also reduced, in running it direct (non-open air). The location of the cam corder in direct recordings is also a big factor, as to which sounds turn out charming and which ones aren't. For instance, if a cam corder is close enough to the pathway of sound coming from the performers speakers, background noise of any sort is usually at a manageable level - or good balance - in the recording, and yet the desired crowd reaction often will be. and in more audible fashion than ones direct from sound board to recorder, with the limited background noise. (less)