I cropped these vids to the same 3:2 ratio that my still images have. That is the ratio of 35mm film, 36mm wide by 24mm high. Play one after another or start them all up! (((in that case it is best to press play and immediately press pause, so the video can load fully before you start them all up!)))
The link in the first comment leads to this Drunken Master video.
1. Victor Hornback Says:
I would love to hear what you guys hear during a performance. Is the in-ear-monitor exactly what the person in the mixing booth is hearing? Is it essentially what we would hear on a recording of a live performance?Do you practice mostly without a microphone and monitors? If so does hearing your instrument this way cause a sense of disconnect the first time or two on stage?
No, what we hear is not what Alan hears, in fact we each hear something different. We use a monitor system that feeds the sound of each instrument via ethernet from Alan’s digital mixing console to little controllers next to each musician on stage. Those controllers have replaced the monitor engineer and allow us to taylor the sound to our liking. (((our monitor engineer Dan left in 2002 – after touring with us for eight years – to do a broadway play and his replacement partied too much and wasn’t there when we needed him, so we tried this new method of doing our own mixes and LOVE it))) For example, Jon might have more of his bass in his monitors that I do, and Steve might have his guitar louder. I have my guitar centered and Stephen’s guitar panned to the right. I also have the kick drum in the middle, but the rest of Mike’s drums half-left. Each of us has control over panning and volume for each instrument. Unfortunately we don’t get to hear stereo from all of the stereo instruments – electric guitars and keyboards – because we are using too many inputs (((meaning that the keyboards and electric guitars are mono for us))), but it sounds quite good. Much better than the old-fashioned wedges (((like this or this))) or other types of monitor speakers.
This is also not what you would hear on a recording of a live performance. Nobody else can hear our little personal mixes. It’s interesting to note that I have never listened to the monitor mixes the others are listening to. It’s a private monitor world, I guess.
No, I don’t set up a microphone and monitor to play guitar at home. I don’t use the system when I play solo, either, but it really takes no time to get used to it. We started using in-ear-monitors in 1994, just before we recorded ¡Viva! – so that’s fifteen years of familiarity.
I may have told this story already, but when we opened for Santana in 1996, Carlos made fun of us and said that we were having phone-sex instead of the real thing because we didn’t use big and loud, loud, loud monitor speakers like his band. One of the times Carlos stood on stage, listening to our soundcheck, my monitor engineer handed him a set of headphones and told him that’s what I am hearing. After a few seconds he started to nod and smile and his eyes got big: “It’s in Stereo! he exclaimed.
I took these photos at Rockwell Hall in Buffalo on Saturday:
Rusty Knorr’s Setup. Djembe, Udu etc. Go to the Flickr page to see notes.
Michael Chavez’ kit. Go to Flickr page for a few notes on his setup.
Jon Gagan’s feet and pedals.
[flv:090328-Torrance.flv 475 267]
You can also download the 104MB 720p version.
The music is “Moonlight” from the album The Scent of Light.
This Modern Age: The Youth Ball Welcomes Obama with a Sea of Digital Cameras
This is definitely something I’ve noticed a lot of lately: people are more interested in taking photos of something they’re witnessing than actually, you know, witnessing it. These people are all looking at LCD screens instead of the new Presidential couple standing in front of them. Sure, they’ll be able to post the photo to their Facebook accounts, but they’ll (obviously) be able to find 100 identical or better photos of the same thing on Flickr when they get home. Is it more important to take a unique photo to prove you were there or to exist in that moment fully as to remember it better?
And most importantly, this:
And in the end, what will help you remember an experience better: taking a not-great picture that’s 80% crowd, or giving that experience 100% of your attention? You can always find photos online later, but you’ll never be able to go back to that moment again and, well, pay attention to it.
(Via Gizmodo)
Isn’t that again to have, that is, filming, photographing, blogging the moment – to be experienced later, vs to be… experiencing the moment firsthand…
And then there is this concert, where cameras and phones are actively encouraged:
Featuring Benjamin Britten’s magnificent Second Cello Suite alongside music by Milton Mermikides, Max Richter, John Metcalfe, Joby Talbot, James Macmillan and Sally Beamish, it should be a most exciting evening. With a unique interaction interface, the audience are encouraged to SMS, twitter and email their opinions in and they will dynamically redraw on the walls with sourced artwork and an understanding of relevance! Bring your cameras, phones, BlackBerrys and iPhones – but please remember to keep them switched on. Your ticket is your “creative license” to do what you like: photograph it, record it, blog it.. so long as it’s done in a fair and considerate manner!
fair and considerate manner… what the hell is that? I can tell you I would never attend a concert like that one. Clickety-clack, flash, flash, whir-whir… no thanks.
PS: Twenty years from now, will recording be ubiquitous and will we be used to talking to a screen instead of faces? Will recording devices be hidden from view, built into glasses, hats or jackets? Or will recording be unnecessary because everything is recorded by HD webcams and satellites anyway?
