(Redirected from Crowd Chant)
Remember, you must credit us/provide attribution when using our sounds/music in your work. An example would be: Sound from Zapsplat.com. Joe Satriani with the song Crowd Chant from the album Super Colossal! DISCLAIMER: THE SONG USED IN THIS VIDEO BELONGS TO THE RESPECTFUL OWNERS. 1) The C-Ya Cheer. The most popular cheer is the C-Ya cheer as the opponent goes to their box to sit and think about what they've done for a while. As soon as the penalty is called, you start waving your hand and chanting 'AAAAAAHHHHHHHHHHHH' When they step in the box, you yell C-Ya! 10 hours ago In hockey you can hear this occasionally in warm-up music played prior to puck drop or in the locker room post-game but nothing that really showcases a player’s individual personality. The whole crowd would pump their fists and do a chant.”. We've seen the majority of the crowd be willing to join in the 'I Believe' chant. They just need to develop easy to remember chants to use at regular times. I know at regular intervals they try to get a 'Let's Go Bolts' chant going, but I think it needs to be more than that.
Super Colossal | ||||
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Studio album by | ||||
Released | March 14, 2006 | |||
Recorded | Late 2005 – early 2006 at Studio 21 in San Francisco; Armoury Recording Studios in Vancouver | |||
Genre | Instrumental rock | |||
Length | 58:53 | |||
Label | Epic | |||
Producer | Joe Satriani, Mike Fraser | |||
Joe Satriani chronology | ||||
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Super Colossal is the eleventh studio album by guitarist Joe Satriani, released on March 14, 2006 through Epic Records.[1] The album reached No. 86 on the U.S. Billboard 200[2] and remained on that chart for two weeks,[3] as well as reaching the top 100 in three other countries.[4]Super Colossal was nominated for Best Rock Instrumental Performance at the 2007 Grammy Awards;[5] this being Satriani's thirteenth such nomination.
Release and touring[edit]
Recording for Super Colossal began around September 2005[6] and the title was announced on February 2, 2006.[7] Touring began in North America in March–May 2006, followed by Europe in June–July.[8]
Overview[edit]
Satriani provides detailed explanations of the story behind each track in the album's liner notes. 'Crowd Chant' was originally going to be named 'Party on the Enterprise' with sampled sounds of the Enterprise spacecraft from the Star Trek series. However, prior to the album's release, Satriani explained on a podcast that he was unable to acquire the legal rights to use the samples, choosing instead to replace them with his own sounds and rename the track.[9] 'Crowd Chant's ending theme was inspired by composer Gabriel Fauré's 'Pavane in F-sharp minor, Op. 50'.[10]
'Crowd Chant' is used by various American football teams after touchdowns. It is also a popular goal song for ice hockey teams, most notably the Minnesota Wild and the New York Islanders of the NHL. It was later featured on the soundtrack to the 2009 video game NHL 2K10,[11] while a cover version appears in Madden NFL 11.[12] The MLB Network TV series Quick Pitch used the song as its opening theme but was replaced by Fitz and the Tantrums's song HandClap in 2017.
Critical reception[edit]
Crowd Chant Tab
Review scores | |
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Source | Rating |
AllMusic | [1] |
Rob Theakston at AllMusic gave Super Colossal 3.5 stars out of 5, saying that Satriani 'doesn't pull any new tricks out of his bag, but lets his fingers do the talking throughout most of the record.' The title track was described as 'big and booming', with an instantly recognizable tone and delivery. 'It's So Good' was likened to Flying in a Blue Dream (1989) and Steve Vai's 1990 album Passion and Warfare, while the final track, 'Crowd Chant', was criticized as being 'painfully out of place' despite its catchiness.[1]
Track listing[edit]
All music is composed by Joe Satriani.
No. | Title | Length |
---|---|---|
1. | 'Super Colossal' | 4:14 |
2. | 'Just Like Lightnin' | 4:01 |
3. | 'It's So Good' | 4:14 |
4. | 'Redshift Riders' | 4:50 |
5. | 'Ten Words' | 3:28 |
6. | 'A Cool New Way' | 6:13 |
7. | 'One Robot's Dream' | 6:16 |
8. | 'The Meaning of Love' | 4:34 |
9. | 'Made of Tears' | 5:32 |
10. | 'Theme for a Strange World' | 4:39 |
11. | 'Movin' On' | 4:05 |
12. | 'A Love Eternal' | 3:33 |
13. | 'Crowd Chant' | 3:14 |
Total length: | 58:53 |
Personnel[edit]
- Joe Satriani – guitar, keyboard, bass, engineering, production
- Jeff Campitelli – drums (except tracks 6–9), percussion (except tracks 6–9)
- Simon Phillips – drums (tracks 6–9), engineering
- Eric Caudieux – editing, sound design
- Mike Fraser – engineering, mixing, production
- Rob Stefanson – engineering assistance
- Stephan Nordin – engineering assistance
- George Marino – mastering
Chart performance[edit]
Hockey Crowd Chants Meaning
Year | Chart | Position |
---|---|---|
2006 | Swiss albums chart | 83[4] |
Billboard 200 | 86[2] | |
Billboard Top Internet Albums | 86[2] | |
French albums chart | 86[4] | |
Dutch albums chart | 89[4] |
Awards[edit]
Event | Title | Award | Result |
---|---|---|---|
2007 Grammys | Super Colossal | Best Rock Instrumental Performance | Nominated[5] |
References[edit]
- ^ abcTheakston, Rob. 'Super Colossal - Joe Satriani'. AllMusic. All Media Network. Retrieved 2014-03-14.
- ^ abc'Super Colossal - Joe Satriani | Awards'. AllMusic. All Media Network. Retrieved 2014-03-14.
- ^'Joe Satriani - Chart History'. Billboard. Retrieved 2014-03-18.
- ^ abcd'Joe Satriani - Super Colossal (album)'. finnishcharts.com. Hung Medien. Retrieved 2014-03-14.
- ^ ab'49th Grammy Awards - 2007'. Rock On The Net. Retrieved 2014-03-20.
- ^Webmaster (2005-09-23). 'joe music in NASCAR 06'. satriani.com. Retrieved 2014-04-04.
- ^Webmaster (2006-02-02). 'Super Colossal & studio photos'. satriani.com. Retrieved 2014-04-04.
- ^'2006 super colossal shows'. satriani.com. Retrieved 2014-04-04.
- ^'Joe Satriani Super Colossal Podcast'. satriani.com. 2006-03-14. Retrieved 2014-03-14.
- ^'Joe Satriani - Pushing the Limits of the Human Experience'. Musoscribe. Retrieved 2014-03-14.
- ^'The NHL 2K10 Soundtrack'. 2K Sports. Archived from the original on 2013-02-17. Retrieved 2014-03-14.
- ^'EA Delivers Ultimate Gameday Experience With Madden NFL 11 Soundtrack'. EA Sports. Retrieved 2014-03-14.
External links[edit]
- Super Colossal at satriani.com
- In Review: Joe Satriani 'Super Colossal' at Guitar Nine Records
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Super_Colossal&oldid=987140745'
Broadcasts will feature a combination of real and ‘enhanced’ audio
Every sport is finding its own way back on the air, and, when the NHL returns this weekend for the start of its abbreviated-but-rapid-fire 2020 Stanley Cup Qualifiers series — 16 teams playing best-of-five series to determine the eight teams to advance to the 2020 Stanley Cup Playoffs — it’ll be with the classic sound elements of blades, sticks, and pucks on ice.
Games will originate from just two venues: the Toronto Maple Leafs’ Scotiabank Arena, where NEP’s ND6 truck is the nexus of hockey on NBC, and the Edmonton Oilers’ Rogers Place arena, where Dome Productions mobile production units are managing the games for Rogers SportsNet. Both locations are contracted by NHL through NBC — as are their respective A1s Tim Dunn and Patrick Castonguay — to do the world feed, from which NBC Sports will take the stems.
NBC Sports will backhaul its elements to NBC Sports’ Stamford, CT, studios. The Stamford submix of all the elements — including venue, remote, and home-based announcers — is done by Rick Bernier, with Mike DiCrescenzo mixing the intermission studio segments, and is distributed via a world-feed model, similar to how the network handles its Olympics broadcasts.
A Special Category of Mixer
The sonic signature for hockey’s pandemic era is evolving. This season will feature what is emerging as a new category of audio submixer for television sports: the A1 tasked with mixing “enhanced sound” — a euphemism for the artificial crowd and effects noises that some consider necessitated by venue seats kept empty by the COVID-19 outbreak. These new specialists are mixing audio elements, often assembled by videogame developers from actual games played in teams’ own venues, into a menu of crowd reactions to sprinkle throughout the games. The goal is to re-create the sound of a full stadium or arena from the Before Times, when coronaviruses were phenomena that happened elsewhere or in thriller novels.
NBC Sports will produce crowd audio with two Ableton Live audio-software systems on Apple laptops filled with sounds recorded in NHL arenas for EA Sports videogames.
![Cheers Cheers](/uploads/1/1/9/7/119716862/807854331.jpg)
“It’s a very specialized position,” notes Karl Malone, audio and audio systems engineering designer, NBC Sports and Olympics. “It takes someone who really knows the sport and the teams and the way their fans react. Especially for NHL, they have to be able to follow a very fast game and know its nuances.”
He says that describes Matt Coppedge, who has mixed hockey and other broadcast sports as an A1 for NBC Sports. For this series, he will work a pair of Ableton Live audio-software systems (one main, one backup) on Apple laptops that hold several gigabytes of sound effects from the EA Sports libraries, recorded in all the NHL arenas for videogames, such as EA’s NHL 20. The inventory includes two separate crowd-sound beds and an array of reaction sounds, such as oohs and boos, as well as team-specific cheers and chants.
“As a hockey player and fan, I can’t think of a cooler gig than mixing live crowd ambience for the 2020 NHL Playoffs,” says Coppedge, noting that both NBC and NHL production teams have dropped in to offer suggestions to guide the crowd mix. “Re-creating a live sports crowd for any sport is a big challenge. That challenge is magnified when you try to replicate passionate fans for one of the fastest sports in the world.”
He is mixing through Ableton’s Push 2 control surface, which assembles the various audio elements into a menu, with certain elements hot-keyed for quick access. His counterpart in Edmonton, Jeff Kozak, is using the same EA Sports system and audio elements.
“Using the Push 2 allowed for a very natural workflow and quick access to every sample in the session,” Coppedge says. “After a few level and key adjustments within Ableton, the project is ready for the puck to drop.”
Crowd Chants We Love You
Working with a front-row view of the action from the media gondola at Scotiabank Arena lets him follow the action and react to the game much like a regular NHL crowd would.
“After a few periods,” he explains, “creating the natural ebb and flow of a live crowd began to feel very comfortable. The only thing missing was a hot dog and the kiss cam!”
Malone says that, although there had been talk of wiring several players per game for sound, as is done routinely during regular-season play, the league had decided against it for the COVID-shortened season. That may be just as well. The Ross AirCleaner profanity-elimination delay device being used this year smoothly diffuses the sounds of profanities, instead of covering them jarring bleeps. It was getting a workout, with the broadcast feed experiencing as many as 50 “garbles” per game and the clean feed without announcers getting as many as 90.
NBC Will Ease Into Use of Fake Crowd Sound
The faux crowd audio is an experiment for now, being evaluated during the preseason games. How and how much it will be applied on-air will be determined by the league as play progresses. When it is, it will be mixed with the audio from the network’s announcers and the effects microphones surrounding the rink, including as many as a dozen Crown PCC160 boundary microphones that Malone says are the best at capturing the key analog effects of hockey: blades, sticks, and pucks on the ice.
None of that will be pumped through the venue PA system, as some other sports are doing. Instead, the NHL venue PA systems will carry music, as well as the goal and period-end horns and buzzers. The network broadcast will come with actual field-of-play effects and announcers’ commentary, and any enhanced sound that may eventually be added. However, viewers of NBC Sports digital channels may have the option of hearing only the “real” effects gathered in the venue, without the enhanced crowd sounds.
Hockey Chants And Cheers
Interestingly, Malone’s conversations with NHL players indicate that they seem to enjoy the ambience of the arenas even without an audience.
“They said it reminds them of a Winter Classic,” he says, referring to the annual January hockey game played in an NFL stadium. “With those, the crowds tend to be relatively far away, and you don’t hear them on the ice outside as intensely as you do indoors.”
This first round of NHL action will be a proving ground for how enhanced audio for the sport on television might be most effectively used. Malone says it will be eased in with a light touch early on, when it’s used at all, and that use will be determined by the league and the network. (Sam Flood, executive producer/president, production, NBC Sports, said, during a media call, that the network will likely start off by using just the natural sound in the arena.)
Like many if not most audio pros in broadcast sports, Malone’s preference is for the unadulterated natural sound of the venue and the game, which he says sounds “atmospheric and fantastic” as it is, especially in the surround channels. However, he’s also aware of the potential power of enhanced sound for games during the pandemic.
“People want a sense of normality, that’s understandable,” he says. “We can do that.”