Their competition version at th-cam.com/video/MRW7d7PIZ6U/w-d-xo.html was their formal BHS debut of the song - uploaded on October 1, 2019. I didn't make my video public until November 5, 2019, however, I actually filmed it before BHS - on August 17, 2019 when they were touring Australia. :-) The two recordings sound quite different because they were recorded with different techniques in a different environment with different primary purposes: In the BHS recording, microphones were chosen and placed with *amplification* as the primary purpose. Sound needs to be amplified in mono so everyone in the audience hears the same mix of sound irrespective of where they sit, so using microphones with an X-Y pattern is required for optimal mixing in mono. There’s also a high risk of feedback too with plenty of foldback sound from the monitor speakers near the microphones, so sometimes small capsule microphones are preferable (over large capsule studio microphones) to minimise risk of feedback. My microphone setup had *ambient sound recording* as its primary purpose: it was recorded with a separate pair of condenser microphones on the floor, placed with a 'simplified binaural' pattern for optimal listening on headphones. I say 'simplified' because true binaural would be done with a dummy human head, however, I don't want a dummy human head on stage, and besides, my optimal diaphragm separation for this purpose is less wide than 'binaural' because the stereo width would be too wide with the subjects so close to the microphones. I wanted the stereo to be about as wide as what someone who is sitting in the front row of the audience would hear when listening to an unamplified performance, so the microphone diaphragm separation was set to about 8 cm (about half of ORTF). This is enough to provide some phase delay between left and right channels, which keeps the brain happy when listening to a recording on headphones, but would be completely inappropriate for amplifying to an audience. So for recording purposes, it really helps having 1) a dedicated pair of microphones, 2) having a different microphone placement pattern, 3) freedom to use larger diaphragm condenser microphones, and 4) being able to record directly to a digital recorder without going via an amplifier for optimal signal to noise ratio. (But it does mean I have to assemble the recording in post and can't stream live video.) I hope that helps explain the difference in the sound between the two recordings. :-) P.S. The recording was made using Rode NT3 condenser microphones. I love the fidelity of sound from their 3/4” diaphragms, and love being able to power them conveniently with 9V batteries so they work great in any situation.
@@stephenlepage This is a very good explanation of how different setups can totally change the sound of something, and I do NOT want to undermine that, it's very thorough and informative and I feel like I learned a lot! I just wanna point out that the BHS international convention usually does take place in late June - early July, so it WAS a little bit after the competition! So Kristopher's points of them knowing the song better and loosening up, and your points about the different setup are both correct! Neat little things lining up like that, I suppose. Thank you once again for the explanation!
do you happen to have recorded the entire show or are the 5 (including the pentatonix cover) you posted all you have? would love to see the full thing if possible :)
"Rick roll" refers to a prank people would play on each other on the internet, where they'd claim to be linking to a something related to a conversation, but it would instead link to the music video for Never Gonna Give You Up. "Rick" bc of Rick Astley and "roll" as a shortening of "troll" (internet jokester)
No matter my mood, these guys can always make me smile.
Are you saying that you're... ahem... never gonna give them up? :)
@@Skiffy1 Nice one. :-)
Ryan's "Thanks" was so funny. I think it caught the others off guard too!
Thank you Stephen Le Page. This is one of the most endearing performances of Newfangled Four. They are just the best!!
Fort Worth Grandma
And I was willingly rick-rolled!
Just played this again for the umpteenth time…and it never gets old! This goes in my TH-cam library folder called BEST OF THE NEWFANGLED FOUR!
2:16 the audience adjusts their claps perfectly with the rubatto woah
I miss Ryan soo much😢 Wishing the best for him😊
Thanks so much for uploading! This show was awesome! Truly hope you get time to put the rest of it up.
It already sounds better than the competition version?!
Their competition version at th-cam.com/video/MRW7d7PIZ6U/w-d-xo.html was their formal BHS debut of the song - uploaded on October 1, 2019.
I didn't make my video public until November 5, 2019, however, I actually filmed it before BHS - on August 17, 2019 when they were touring Australia. :-)
The two recordings sound quite different because they were recorded with different techniques in a different environment with different primary purposes:
In the BHS recording, microphones were chosen and placed with *amplification* as the primary purpose. Sound needs to be amplified in mono so everyone in the audience hears the same mix of sound irrespective of where they sit, so using microphones with an X-Y pattern is required for optimal mixing in mono. There’s also a high risk of feedback too with plenty of foldback sound from the monitor speakers near the microphones, so sometimes small capsule microphones are preferable (over large capsule studio microphones) to minimise risk of feedback.
My microphone setup had *ambient sound recording* as its primary purpose: it was recorded with a separate pair of condenser microphones on the floor, placed with a 'simplified binaural' pattern for optimal listening on headphones. I say 'simplified' because true binaural would be done with a dummy human head, however, I don't want a dummy human head on stage, and besides, my optimal diaphragm separation for this purpose is less wide than 'binaural' because the stereo width would be too wide with the subjects so close to the microphones. I wanted the stereo to be about as wide as what someone who is sitting in the front row of the audience would hear when listening to an unamplified performance, so the microphone diaphragm separation was set to about 8 cm (about half of ORTF). This is enough to provide some phase delay between left and right channels, which keeps the brain happy when listening to a recording on headphones, but would be completely inappropriate for amplifying to an audience. So for recording purposes, it really helps having 1) a dedicated pair of microphones, 2) having a different microphone placement pattern, 3) freedom to use larger diaphragm condenser microphones, and 4) being able to record directly to a digital recorder without going via an amplifier for optimal signal to noise ratio. (But it does mean I have to assemble the recording in post and can't stream live video.)
I hope that helps explain the difference in the sound between the two recordings. :-)
P.S. The recording was made using Rode NT3 condenser microphones. I love the fidelity of sound from their 3/4” diaphragms, and love being able to power them conveniently with 9V batteries so they work great in any situation.
@@stephenlepage This is a very good explanation of how different setups can totally change the sound of something, and I do NOT want to undermine that, it's very thorough and informative and I feel like I learned a lot! I just wanna point out that the BHS international convention usually does take place in late June - early July, so it WAS a little bit after the competition! So Kristopher's points of them knowing the song better and loosening up, and your points about the different setup are both correct! Neat little things lining up like that, I suppose. Thank you once again for the explanation!
@@stephenlepage I learned so much. Thanks for the explanation! I love NF4- its so nice to just hear them
Ah, they’re so great!
That time when youtube decides to rickroll you, but you watch it anyway
Rick rolled by the best harmony ever? Yeah I'd click on it again lol
They make that sound so great, I like this version far more than Astley's and just a little bit more that the one by Seth McFarland
I like the “Bananaphone” version considering I can actually use it to rickroll people and introduce them to barbershop at the same time.
Love Ryan's dance😊😊😊
You guys are amazing! Thanks for the song!)
Love them all but Ryan is my fav.💕
Wow!
do you happen to have recorded the entire show or are the 5 (including the pentatonix cover) you posted all you have?
would love to see the full thing if possible :)
Thanks
Can I like this twice?
Guys, you are awesome !
Yes
We have been Rick rolled.
Y’all better sang yass this is taking me to heaven
1:30 Ok Jake, how are you feeling??
What did Ryan hear at the start?
Is there sheet music for this
This version sounds better
4k :)
What does ‘Rick-rolled’ mean?
"Rick roll" refers to a prank people would play on each other on the internet, where they'd claim to be linking to a something related to a conversation, but it would instead link to the music video for Never Gonna Give You Up. "Rick" bc of Rick Astley and "roll" as a shortening of "troll" (internet jokester)
Why is everything better when the chords are flat
Probably they're more comfortable at this keys
Jackson: Would you give a car?
Dudes: OPERA!
love you guys :D
They actually say "Oprah," not "opera."
@@dmr778810 oops :P