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WATCH RELATED VIDEO: 2CELLOS - LIVE at Arena Pula 2013 [FULL CONCERT]

Ode To LaLuna – Moonbreak (2011)


Outdoor live-sound work can be immensely satisfying to do — but it also involves some serious preparation Now that Summer is finally here, it's time to dust off the sun hat, deckchair and cool box — or should that be waterproof jacket, hot flask and tarpaulins? Either way, it's the time of year when many live events move into the open, offering opportunities and challenges to those involved with providing live sound. For live-sound professionals, all this will be part and parcel of their everyday operations, but in this article I'll be taking a look at outdoor sound from a smaller PA owner or operator's point of view, as getting into outdoor work can be a rewarding and enjoyable experience, provided you prepare well and know your own limitations.

The live sound requirement for an outdoor event can be anything from a fully detailed technical specification to a vague notion from the event organisers that "we might need something. There are obvious things to ask, such as the date, location and nature of the event stage concert, arena display, and so on , but many more things need to be nailed down, because there's a very big decision to make here, and that's whether or not you feel capable of taking on the job at all.

It's very tempting to just say yes because you really want the gig, but it's worth adopting a business-planning approach, where you realistically assess your capability to deliver what's required, and don't take on something you can't really handle. There's no shame in saying that you're not really set up for that sort of event whatever it is but that you can recommend someone else, thus keeping the door ajar for possible future work.

This is much better than finding out too late — perhaps even on the day — that the demands can't be met. The weather will be a primary concern at any outdoor event.

Remember that it's not just rain that can cause problems: direct sunlight can overheat equipment too, and strong winds can easily knock equipment over. Assuming that it's a goer, there are a few things to be very clear about up front, such as get-in times, performance times, load-out times, the exact location, whether the performers will be on stage or grass, covered or in open air, what the vehicle access will be like, and so on.

I always try and prioritise the points that will have a major impact on what I'm going to be doing, and my own list includes all the above, plus:. If, as is often the case with smaller outdoor events, the organisers are inexperienced regarding the technical side of things, they will probably ask for advice on some of these issues or may not have thought of them at all , which is a great opportunity to influence things for the better. It's not unusual to deal with folk who have no awareness of sound systems at all, and seem surprised when I mention the need to run cables between pieces of equipment!

Practical issues such as good vehicle access are also important, as these can mean the difference between an easy one-hour setup and a three-hour marathon of ferrying kit across a boggy field using the supplied sack-barrow!

One way of getting the organiser to understand and sympathise with the sound requirements is to explain in practical terms what providing live sound for their event invloves, and I have found that a quick diagram with a few arrows showing the signal path from stage mics to desk and back to front of house speakers is a useful tool.

It also clarifies the need for power supplies of the right type and in the right place see the 'Powering Up' box , and the need to position the mixing area appropriately. I am usually content to agree an off-centre control position in return for a closed-off area to one side, which means that I can run all my cables and operate entirely within an audience-free zone. This makes things easier during setup and take-down, and also frustrates the inclination of all humans to walk along, jump on or kick any cable they come across that's why they put power lines up in the air, if you've ever wondered.

An advance site visit can be very useful for assessing how the gig can be specified and organised, and I will always try to arrange one with the organisers at an early date. In addition to the basics, it's also important to establish exactly what is expected of the sound crew on the day.

Outdoor events often feature a line-up of different acts, and sometimes the sound crew are expected to manage them on and off stage, although most performers will set up their own instruments and backline.

If there's no clearly defined audience area, the audience will invariably spread themselves out widely, which you should take into account when choosing and setting up the PA system. The on-stage requirements tend to be vague at this point, especially if it's a community event with multiple performers, so I like to get in first by supplying the organiser with a brief specification of what I think is going to be needed.

This can be sent out to the performers and will establish the right level of expectation. It's best not to be too specific about the actual gear you'll be using, as for smaller events it really isn't critical, in my view, but there are always those who insist on having a certain brand of microphone or monitor speaker, given half a chance.

I prefer to let the organisers deal with this where possible, and getting in first with the tech spec is the best way. One area where I have found I sometimes need to be a tiny bit pushy is the question of what to do if it rains.

Organisers are, understandably, optimistic about everything, including the weather, and do need to be pressed about their plans for an inclement spell. When considering the elements, it's important to include wind and direct sun, too, as these can be just as challenging, in their own way, as a heavy shower. In the case of shade cover, remember that if you're there all day the sun will be coming from a different direction after a while, and as well as overheating amps and active speakers, too much direct sunlight can easily wipe out LCD displays if they're left exposed.

If you are operating under a contract of services, it's advisable to include a clause about what facilities the organisers are responsible for providing. They should, after all, have included wind-loading details on their event's risk assessment, and you could always ask to see it, as it affects your safety as much as anyone else's.

If you don't seek these kind of assurances, it could also affect any claim you may make on your own insurance. The event organiser will have to prepare a risk assessment covering all the proposed activities within the event, and some, especially local authorities, will ask for a specific risk assessment to cover the operation of the sound system. This is a topic for a separate discussion, but it's not something to avoid or place in the 'too difficult' category, as it's really only a matter of common sense.

There is a lot of good guidance available on government web sites, and you can download templates and adapt them for your own use. The important thing is to be able to demonstrate that you have considered the risks involved in what you will be doing at the event everything from unloading and rigging to packing away afterwards , and have identified what you will do to control them if necessary.

It's worth experimenting with subwoofer placement if you need to get the most out of your system. Stacking two subs together, rather than one either side of the stage, for example, could improve the system's projection. Armed with the advance information about the venue and roughly what kind of performance is planned, the next step is to determine what gear will be needed, and to prepare everything for loading. As most of my summer work is outdoors, I keep a standard rig more-or-less ready to roll: the power cabling, leads trunk, mics, monitors and so on go out on every gig, as well as a set of main speakers appropriate to the event.

I always try to check the gear back in after every job, so that I know it's ready to go next time, but it's worth a quick look in all the trunks just to make sure everything is in place, and this is certainly preferable to discovering missing items after arriving on site. One can never have too many XLR leads, mics, DI boxes or adaptors of every persuasion, so they always travel with me, on the basis that I'd rather have 20 spare mics in the van than be just one short for the gig.

When it comes to main system components, I can't take a backup along for everything mainly for space reasons , but it's an interesting debate. I've experienced main speakers and mixers failing during a live show, but how far do you go with transporting spare units?

And if I take a backup system, according to the teachings of Sod, the main speakers are guaranteed not to fail, ever. For the sake of a small amount of space and an extra few minutes, you might also consider taking an extra small-format mixer along, because if your main board has a spectacular fail, you could at least get a few channels up and running.

Outdoor stages tend to be relatively large, which means you may need more monitors than you're used to using at indoor events. Outdoor spaces are generally much less reflective than the great indoors, and whilst this is a good thing for sound quality and clarity, it means that the perceived sound levels can be lower: a rig that really pumps out in the local hall can sound very weak when faced with a grass floor and no walls. If your system isn't really delivering the goods beyond 20 or 30 paces, you probably need something more suitable, but there are a few things to experiment with first.

Try moving the left and right speakers closer together, play around with the cabinet angles, and if you're using two or more subs, try putting them in a single cluster in the centre or to one side, instead of splitting them up. Tuning the system, whether automatically or with EQ, is also important and needs to be carried out in the context of the venue, as open spaces are just as variable as rooms and halls.

If your system just isn't cutting it, however, it's probably time to think about hiring in something more suitable, and of course the cost of this will have to be taken into account. When hiring, you can discuss the requirement with the sound company.

They will be able to recommend something suitable, and you may also pick up some valuable information from them at the same time. The main choice with speakers is probably whether to go for a line array or the more traditional point-source box, and you can get great results with both, provided they are suitable for the task in hand.

Line arrays tend to be more compact and easier to handle with fewer crew members, give nice, wide dispersion, and are scalable according to how far away the back of your audience will be. Bear in mind, though, that using a 'longer' array means you will have to mount it higher, and this may be a problem at smaller events. Prepping for an outdoor gig isn't all about the main speakers, however: the monitor system will also need to be powerful enough to meet the demands of those on stage.

Outdoor stages tend to be large, and a four-piece band may find themselves more spaced apart than they are used to, and will need more from the foldback than at an average indoor gig. For most of our multi-band outdoor programmes, we use four monitor mixes, feeding three across the front of the stage and one to the back for the drummer.

This seems to work well for almost everyone, at least as a starting point, and if it's in your advance tech notes, at least they know what to expect and can contact you if they need anything more exotic.

The other main system component is the mixing desk, and I generally use a digital desk and digital snake system because it's so easy to set up especially the Cat 5 cable instead of a big heavy multicore , and all the processing is built in.

There are occasions where it may be worth going deliberately low-tech, however, including situations where you're not entirely sure about the weather or the venue. I'm glad I took this decision for a recent job, where my desk was knocked to the floor by an escaping gazebo. Whatever gear you do use, make sure that it is properly cased and is packed for easy and safe transportation.

Tarpaulin sheets are a vital means of protecting your equipment, should the weather take a turn for the worse. A permanent resident in my van is a sack of strong plastic tarpaulins of different sizes, together with a comprehensive collection of bungee straps, load straps and cable ties. Audio equipment and water don't mix happily, and it's important to have the means of protecting your investment. Finally, don't forget to pack a few extras: you can't assume that a table will be available for your mixer, nor a chair for you to sit on, for example.

A few creature comforts are needed too, and I always take a first-aid kit, a change of clothes, and some anti-bacterial hand wipes, because you never know where you might end up working or who's been there before you. Don't forget to take along something to eat and plenty of water to drink, as once you're up and running it can be very difficult to get away for a break. Finally, make sure you have plenty of tape to repair or stick things down with, nylon cable ties for fastening anything to anything, and a selection of tools in case serious repair is required.

I always try to arrive well before I need to, in case of unexpected problems or last-minute changes of plan by the event organisers.

I've learnt from bitter experience not to unload the van until the stage and mix position are ready and clear of other people drilling, hammering and climbing on things, but once all this is done, the setting-up process can begin as planned, and this is probably the most straightforward part — provided the planning was done properly!

I like to get the main system powered up and running before anything else, as this is the one part that is truly essential, and it's always reassuring to hear it fire up, especially when there's still time to chase down any faults. I like to run the system gently for a few minutes, then put on a test track.

I use one of my standard favourites first, because I know how the rig should sound, and then I use some material that is roughly similar to what the live acts will be doing. With the PA running at a moderate volume, I'll have a walk around the whole audience area to spot any obvious holes in the sound or inconsistencies in the balance.

If necessary, I'll then adjust the speaker placement; some engineers like to use pink noise for this, and some prefer music, but it's important to listen around the whole site. Assuming that the speakers will be ground-stacked, try to leave the subs at ground level where possible, rather than putting them up on a stage, and try to get the top boxes high enough to be well over head height.

If they can be angled down slightly, so much the better, but it's all a case of trying it out and deciding what works best in any particular place. Where the gig is being held in part of a larger area and there is no physical boundary, it's best to assume that the audience may well spread a bit wider than planned, so a listening walk around the extreme edges of the area may also be worthwhile. Once the mics and stage lines have all been checked and all the monitor sends are up and running, it's time to tune the system, if you are so inclined, including notching out any problem frequencies either with a feedback processor or a graphic EQ.

When all is prepared, it's time to get on with the soundchecks, if any, and these are pretty much the same as for an indoor session. At most small-scale outdoor events, the mix position isn't very far from the stage, so I usually get one of the crew to listen from further back and let me know how it sounds.

Then, when I have a rough mix one that I'd be happy to run with, at least , I'll nip off for a listen myself. It's essential to rig a talkback system, and if there isn't one built into your mixer, you can set one up by plugging a spare mic into a spare channel on your desk, and routing it to the aux outputs so that you can communicate with the artists on stage. Shouting into the breeze or using a form of semaphore to communicate with the band is frustrating and wastes time.

This really should be the easy bit, where all the petty problems have been resolved and you can start to fully enjoy operating out of doors. That's assuming, of course, that's it's not raining or unduly windy, the gear is functioning correctly, you didn't leave anything behind, the performers are a delight to work with and no-one is hassling you.

Over the last three weeks, we've done seven outdoor community-type events, and apart from the wind-versus-gazebo thing the only consistent annoyance has been the constant stream of singers and dancers turning up at the last minute with what they believe to be backing tracks on a CD.

I make a point of specifying that we can play audio CDs that are not damaged, dirty exhibiting traces of jam, for example or carrying clipped material, but it's almost a dead cert that we'll get at least one data disc which their dad made on his laptop and they know it works because the laptop plays it. We still get cassettes and Minidiscs which we can actually cope with , and various breeds of solid-state players, which, for some reason, their owners rarely seem able to operate.

If I have time, I will arrange for a stereo mini-jack lead to be hanging out of the console, ready to plug an iPod into if asked.

You'll always get a dance group who rush up at the very last minute, thrusting something at you saying, "Right, it's the first bit of track seven, then play track four but stop after the 'Da da da' bit, then track 17 on the other CD, then I'm not sure At outdoor gigs where the audience is crowding the stage, the volume level isn't likely to be a problem, but for more laid-back events people will tend to bring their picnic rug, find a nice spot behind a big tree about yards from the stage, then complain that the music isn't loud enough.


Concert review: The Piano Guys receive first US gold record during hometown concert

Zoltan Kelemen, Jeannine Altmeyer 19 Nov Andris Nelsons 08 Mar Then we chat holidays summer holidays appropriately and challenge them to a Sir Cliff round of Guess Ooh! Page Pop star Cliff Richard is preparing to take Stephen P.

He reported that the band consisted of a bunch of hairy old guys in a ton of loot: dozens of old amps and road cases, a grand piano.

Yamaha P125 | P121 Review – An Upgrade to the Iconic P115


Concert Reviews. I had the amazing opportunity to see 8 TOTO shows. This is the 'icing on the cake' of being Steve Lukathers' girlfriend. So, to introduce myself, my name is Shawn I cannot put into words, how amazing the experience of touring with TOTO was. The first show I saw, Bercy I had never seen TOTO in concert and the size of the audience and the joy of the crowd put me into a state of shock. I had no idea how many people really dug them!! Claire, Simons' girlfriend, was there as well After Bercy, I spent most of my time, back stage

Running An Open Air Concert

piano guys konzert amplifier

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Watch at your own discretion. So much for social distancing!

Rod Stewart Feared Being Called ‘Fake’ at First U.S. Concert


Experience CATS for the first time or let it thrill you all over again! Pollstar, the concert industry trade magazine that tracks concert attendance, has released its annual attendance charts for , ranking the Florida Theatre in Downtown Jacksonville as the second most attended theatre worldwide in the up to 2, seat category, and number 21 overall for theatres of any capacity, as determined by worldwide ticket sales reported to Pollstar. Jacksonville, Fla. Since their serendipitous start in a Southern Utah piano shop, The Piano Guys have proven to be a powerhouse group without limits. Arriving as a musical phenomenon seemingly overnight, the quartet of Jon Schmidt [pianist, songwriter], Steven Sharp Nelson [cellist, songwriter], Paul Anderson [producer, videographer], and Al van der Beek [music producer, songwriter] have delivered bold compositions that transcend boundaries of style and genre, a boundlessness that has since translated into a massively-successful career. The album included their most popular hits from the past 10 years as well as brand-new arrangements.

The Piano Guys Chrysler Hall Tickets

Concert promoter Hillel Wachs keeps a Word document open on his laptop with a running tally of the performers making their way to Israel each year. Wachs — and every other Israeli concert promoter — is keeping his fingers crossed. For now, however, things are looking good. Khalifa, a rapper known for his use of marijuana, was very interested in coming to Israel, said Cohen, primarily because of the rich local electronic dance music scene, or EDM. Almost there. BDS is a well-oiled guerrilla internet operation; when someone announces a concert in Israel, they may all of a sudden get messages on Facebook and that flips them out. We try to take out the sting and the surprise. He garnered lots of comments — not all positive — when he tweeted to his 3.

Details of The Piano Guys Tickets The Piano Guys Concert Tickets Tour Dates Ticketmaster Com Big Apple Circus Circus Tickets Ticketmaster.

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Marcus King is a young man with an old soul. King possesses a humility somewhat surprising for an artist whose recent accomplishments carry many of the hallmarks of career success, from performing at the Grand Ole Opry to appearing on network television to touring stadiums opening for Chris Stapleton. King was raised in a musical family who helped to instill a pragmatic confidence in the budding artist.

From Piano Guys to Thanksgiving – So Busy!


This site uses cookies. By continuing, you agree to their use. Learn more , including how to control cookies. On November 17th I got to enjoy a belated birthday present from my wonderful husband — the Piano Guys concert in Hamburg. It was amazing! We went with a couple of our American friends as well as one of our German friends.

Arrangements and recordings are perfectly quantized time-aligned to a grid in almost all popular recordings.

During the last five years or so the rise of symphonic metal, particularly those with female lead vocals has seen a stratospheric rise in popularity. You have bands like Nightwish, Within Temptation, Evanescence trailblazing a path to allow lesser bands to steal some of the credit if not the same amount of radio airtime or chart success. Certainly the genre has matured greatly over the last 10 years or so. However when I analyzed this a little closer I noticed not too many of the better ones have come from the usual hot-spots of the UK or the US. It seems our northern cousins have this genre licked! It would be scary what they could do if they had a full symphonic orchestra backing them. One only has to go back to when Cradle of Filth made the big step up in with the Sony backing and produced Damnation and a Day in to remember what they were capable of given the right backing.

Hikma Lia 29 November Tekno. Hikma Lia 24 November Tekno. Hikma Lia 11 November Tekno.




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