the planet of new orleans, finis
The Taylor Hicks show was now a pleasant but fading memory, and I was in New Orleans for a few more days. Hanging out enjoying a beer at one point, I noticed that a person nearby had some very interesting equipment on the table.
Now, last March I ran across some discussions on-line about taping concerts and had done a little reading about it off and on since, kind of interested in the geeky side, but never taking the plunge. So I strongly suspected that this was taping equipment. I asked and was told that, yes it was: stealth microphones, a battery box, and a small but highly sophisticated digital recorder. Not spy stuff, but stuff for getting good quality concert tapes. I figured, here was the chance to learn a bit about taping and sneaking, both topics of high interest to me.
Turns out this was a new taper, had only done a few shows. Once a philosopher, now a mathematician, but looking for more challenge had started doing internet development and now had turned to the art and science of concert taping. As you might guess, a stealth taper is not wanting to reveal a lot to a public blog, but by promising to not reveal secrets and give approval rights to the post, I learned a lot. I bet if I’d offered to buy a drink, I’d have learned even more, but the benefits of truth serum totally slipped my mind for some reason. Anyway…
There’s honor among thieves: ethical tapers are there to spread music. Like little Johnny or Jenny Torrent-seeds, their goal is to bring great music to everyone. There’s kind of 3-part hypocratic oathe, as it were (perhaps that should be calliopatic) all designed to get the good stuff to the people:
- only tape Taper Friendly artists
- only trade lossless format
- always trade for free, not for profit
The hardest technical part of taping: Turns out, several things: Room location is key, but it’s often hard to know what’s best or get access to it. Setting levels is important but it’s not like tapers are given a sound check, and if the venue isn’t taper-friendly, then you have to be very sneaky about it. (Note: although the taper didn’t tell me this, the going ethic seems to be: treat the artists wishes with utmost respect since they are making the music, but sneak around the venue related anti-taping rules with impunity, since (a) they are being obstructionists, and (b), that’s the fun part)
The hardest human-factors part of taping: remembering you’re not just a fan any more. Singing along will leave you mortified for the rest of your life(I know this from experience), as will too much screaming, as you’re just inches from your mics. You’re also needing to factor audio into your location choice, not just where you can see well or be with your pals. And no going for beer in the middle of the show. My taper learned the hard way that even standing up and sitting down can be dangerous, if (a) the recorder is in your pocket, and (b) you forget to lock in the settings. But tapers need war stories, too. These are, of course, ideals. As my taper said, “sometimes you just say screw it, I’m here to enjoy this show so I’m going to stand where I want and cheer when I have to”. Seems to me that’s all part of getting an authentic recording.
Scariest people: it turns out that the scariest people to tapers are not the big security guys ready to come down and trash your $500 investment. The really scary people might look like you or me, but they sound like banshees. Most people cheer as songs are set-up. Some people scream throughout the song. My new taper-buddy was sorely lamenting the fact that a beautiful night of recording was ruined by a determined screamer who unloaded her shrieks throughout every song all the evening. And apparently, these people are stalkers, too, because my taper encountered the same screamer at a concert just a few days later. Sadder but wiser, a relocation was sought for the good of the recording. In fact, I think, although it wasn’t actually said, that the only reason that my taper agreed to let me write anything was to get the following message across:
Quit Screaming during the Singing!!!
Another unusual thing about this encounter is that my taper was actually a taper-by-proxy. The rig owner, also a new taper, couldn’t get to some of the desired shows, so lent the equipment to a friend and guided the process through prior phone calls and on-going email. Seems there was a kind command central giving advice and getting feedback. I was pleased to see that the on-the-spot taper was using an iPhone to communicate with ground control. I meant to swap iPhone/bartender stories but forgot - but I did remember to warn against pulling out the iPhone during a taping session.
I called up the ground control taper to hear that end of it, too. As you might expect, they were a total nervous wreck, feeling very much like an expectant father. I asked how one gets into taping. Turns out pretty expected: first and foremost, just a desire to get more music for yourself, then the altruistic call to share it, along with a bit techy-geeky interest thrown in. Ground-control-taper is getting in touch with local tapers and seeking a mentor in order to get beyond the stage of knowing just enough to be dangerous. A refreshingly medieval take on artisan education. We talked music a bit and found we had a lot of favorite artist interests in common.
Anyway, that’s my first peek into taper-world. I listened in a bit on ear buds, and in a noisy bar, it sounded pretty damn good. But tapers have pride and only want their best out there, just like you would with your prize brownie recipe or whatever. This team was going into post-production to really listen, possibly edit and decide if anything passes muster. I’m curious enough now, that I make them promise to let me know if they ever have anything to share. I’ll let you know if I hear anything.
posted by what at 04:20 am
I’ve noticed elsewhere that people are concerned about the issue of screaming. That wasn’t really my main point, but my bad for font drama. That’s not the part I thought would capture people’s attention
So, um, who was the guy taping?
Not at liberty to say at this moment, but when things are through with post production, I’ll share. Sharing is what the taper world is all about.
NOW we gonna have some fun!
Guy? I read ‘person’.
Did I miss something?
Sounds intriguing…..in listening to a ton of videos on gofish & youtube, truly a lot of them are ruined by the high pitched and constant “scream” of approval…much like a religious revival of sort…say amen brother “amean” “amen” “hallelujah”…folks just don’t realize how it sounds on playback…course, when attending a concert, I doubt many are even remotely thinking about playback. It is food for thought….
I’ve been to shows where people are singing louder than the artist too. There are some songs that are ‘expected’ sing-alongs for some artists. But there are some fans that insist on singing every fucking song at the top of their lungs. Definitely not appreciated by those around them.
Another suggestion is to stay away from the really
drunk fans as they will spill, pillage, and destroy
your taping machines as they lose control of their
bodies. I for one do not go to concerts to get drunk…
I go to get into the music. A little buzz will do….
a big buzz and you don’t even know you were there !!!
I have moved from my coveted spots to get away from
drunks as they are most distracting during a concert !!
Do you think that people consciously choose to scream, or can it be that, for some, it is just an automatic visceral reaction? People don’t scream when they listen to the music at home, in their cars, or just walking down the street.
I agree that going to a concert can be like a huge revival meeting. You’re there with hundreds, and maybe thousands of people who share your musical tastes, and there is such an electrical current of excitement in the air.
Sometimes those shouts, squeals and screams are totally involuntary….they escape your mouth before you realize that your concert joy has manifested itself in a scream of approval.
Yeah with this screaming thing: it really isn’t all about the tape. If it’s within normal levels for the people who also paid admission, it’ll be fine on tape. Being no expert, but I’d imagine that you only get a screwed up recording if the screaming was at the level to ruin the experience for the people around them, too. But I guess that’s why location is a big factor - find the place where the loonines are not, and you can enjoy the show better and get a better tape. Just don’t let the loonies in the sweet spot.
But what I really wish I knew more about was how tapers set levels. I mean, I’ve heard sound checks. it’s not just a rehearsal, there’s lots going on to set it up right. How does a taper with tiny little stealth rig know if they’ve got things balanced? It’s not like they can really hear what they’re getting, is it? I wish I’d asked more on that. Maybe I’ll get a chance to follow-up when these people get their tapes up for sharing.
Sorry what. I’m not talking about taping. I’m just talking your general ‘I paid my money to hear artist X sing, not the patron behind me’ kind of thing. For artists that I hear multiple times, I can sort of shrug it off thinking ‘maybe it’s the first time he/she’s seen this artist’ but it still definitely impacts MY enjoyment of the show negatively. And when I know that it’s someone who’s seen the artist just as many times as I have…I get a little bent out of shape. That person can hear themselves sing at home. I can only hear this artist sing live every once in a while. You know?
I’ll drop it now. I’ve said my piece. peace?
I totally get you, calypso. We tend to obsess over what ends up on tape or video (or cellcert) and I’m basically advocating for the live experience to be what it should be for the people there. Lively, but letting the show get into the ears of the people who came to hear it. I just think that if the show vibe is good for the audience there, that that’ll probably give a decent recorded version, too? But what do I know.
Folks going to a symphony for the first time may not know to restrain from applause in between movements. It’s something they usually pick up on, though, by observing the rest of the audience. It is fairly obvious when you are the only one clapping in the silence.
Without discourse like this, however, extreme screamers (and constant singers) at noisy concerts may not pick up on the impact of what they are doing to the experience of the rest of the audience, performers, and, yes, a taper. http://www.ibiblio.org/wm/paint/auth/munch/munch.scream.jpg
Ultimately, it’s like any education or raising of consciousness; it requires a number of exposures, hits in the public domain, or even confrontations, polite or otherwise, until the tipping point is reached and what once seemed like an outside opinion becomes the consensus, against which it takes a lot of self-conscious energy, ill-will, or cohones to go against the grain.
Some people may think that constantly screaming is a tribute to the artist, showing him how his music sends them into orbit. Or, as suggested, they may not be fully aware of their primal state. Regardless, the situation can be improved upon over time, if never fully rectified, by conversation, online or otherwise. Many TH fans visit boards where they may see a discussion like this. That’s one way to reach them. At the concert is another.
Sometimes a change in degree will work almost as well as a change in quality, for after all, a concert is a spontaneous experience and how much control do we really have over one another. The only control that will accomplish a reduction in constant primal screaming is self-control propelled by a spirit of good will, and that, of course, is totally voluntary. When those individuals identify with it being in Taylor’s overall best interest, they will get on board and refine their sense of when to scream (or sing). Not before and not if they never have the opportunity to see the issue raised.
[...] the planet of new orleans, finis The Taylor Hicks show was now a pleasant but fading memory, and I was in New Orleans for a few more days. Hanging out […] [...]
Well, put, bleustreak. Too often people shy away from talking about these things, or only do it in a confrontational way. But I’ve seen a number of instances over the last year when various aspects of audience involvement was discussed, and found that often just starting the conversation did lead to a better vibe for all.
BRAVO!
“Quit Screaming during the Singing!!!”
This needs to be repeated over and over on every space imaginable that the offender is likely to frequent.
As someone who partially lost my hearing for a few days due to a “screamer,” I, too, would like people to tone it down a notch or two. What’s worse though, is sitting behind couples who insist on making out throughout the entire concert. Talk about ruining the show….
Maybe the screamers are planted there to thwart tapers. Nah, I think they are just immature show-offs.
Very interesting post about taping. I find the world of taping to be fascinating.
As to the screaming, I wonder if Taylor Hicks had been discovered through some other way than AI if the screaming would have be as intense. And will it decrease when that connection fades into the past and he becomes know more for his music than his win.
How about this for you academics - a thesis on Jam Band Culture
http://www.livemusicmusings.com/2006/09/Marc_Whitman_MA_Thesis_May_2005.pdf
Rats! Wish I could think of a way to shoehorn in a topic like that for my master’s. Funny old world, though, isn’t it, that a whole culture would grow up around something as straightforward and innocent as jamming. In principle, i’m against any movements that require me to capitalize and/or redefine ordinary words.