They didn’t make a big fuss about it, but Zoom’s latest update brings a new High-Fidelity Audio Mode option that made especially for live music settings. In addition to making sure your settings are correct, there are a few additional considerations to keep in mind in order to get the most out of the new capacity.
Fortunately, composer and digital recording expert David MacDonald authored an
article at ArtsHacker that walks you though both the settings and considerations. For organizations and artists getting increasingly involved in this environment, this is a must-read level article.
Better Music Experiences Come To Zoom With High Fidelity Audio
About Drew McManus "I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.
I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.
In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.
For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink. View all posts by Drew McManus | Website
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