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[Tim McCulloch]

Accounts of Day/Night 1 are mentioning lots of "mic problems" and what appear to be IEMs not working.   I'm trying to imagine this cascading failure and how the problems reoccurred for almost every performer.

Anyone on the ground there?

[Al Rettich]

I can attest, going through that festival RF isn't easy there. Doesn't matter what equipment you're using.

Accounts of Day/Night 1 are mentioning lots of "mic problems" and what appear to be IEMs not working.   I'm trying to imagine this cascading failure and how the problems reoccurred for almost every performer.

Anyone on the ground there?

[Dave Stevens]

One of our guys was on the RF crew last year.  They have a comprehensive policy and workflow.  The rub is if someone fires up out of turn or not following the plot KAOS will ensue. 

[Tim McCulloch]

One of our guys was on the RF crew last year.  They have a comprehensive policy and workflow.  The rub is if someone fires up out of turn or not following the plot KAOS will ensue.

Dave!  Good to see you again!

KAOS?  We'd have to get Agent 99 and Maxwell Smart on it.

[Chris Hindle]

Dave!  Good to see you again!

KAOS?  We'd have to get Agent 99 and Maxwell Smart on it.

Who are you kidding? Wouldn't Max have started the cascade failure? 

Nice to hear from the "Big Dog".  How are the Carts going?
Chris.

[John Roberts {JR}]

Accounts of Day/Night 1 are mentioning lots of "mic problems" and what appear to be IEMs not working.   I'm trying to imagine this cascading failure and how the problems reoccurred for almost every performer.

Anyone on the ground there?

I think Nathan Short may be working there this year.

JR

[Frank Koenig]

More bad news:

https://www.sfgate.com/sf-culture/article/grimes-set-technical-difficulty-coachella-19402352.php

I wonder what the hell is going on. To have such persistent problems, whatever they actually are, at this level of production seems so improbable. I hope we learn what happened so that it never happens again – to any of us.

--Frank

[Justice C. Bigler]

I wonder what the hell is going on. To have such persistent problems, whatever they actually are, at this level of production seems so improbable. I hope we learn what happened so that it never happens again – to any of us.

Unrealistic expectations about the amount of free radio spectrum in such close proximity. Too much reliance on technology and special effects in order to cover for the sheer lack of actual talent or musicality.

[Tim McCulloch]

Unrealistic expectations about the amount of free radio spectrum in such close proximity. Too much reliance on technology and special effects in order to cover for the sheer lack of actual talent or musicality.

At my more charitable I think of most 'concerts' these days as shows in the sense of musical theatre with less plot.

It's not enough to go out to sing and play your ass off, presenting well crafted songs with compelling performances and musicianship, under 120kW of conventionals with 4 house follow spots.  I hope I live long enough to witness the great retro revival...

[Justice C. Bigler]

At my more charitable I think of most 'concerts' these days as shows in the sense of musical theatre with less plot.

It's not enough to go out to sing and play your ass off, presenting well crafted songs with compelling performances and musicianship, under 120kW of conventionals with 4 house follow spots.  I hope I live long enough to witness the great retro revival...

I mixed a show today for the Folk Legacy Trio, a group consisting of three former members of the Kingston Trio and an additional fellow they’ve know for decades: three singers, three guitars/banjo, and one double bass, no drums: 8 input channels total. It sounded amazing because the musicians were well rehearsed and sounded good singing and playing together and they played some great folk music spanning the history of our country.

Yesterday, I recorded the Mozart Requiem. Which again sounded amazing. About a month ago, I mixed a show for the Duke Ellington Orchestra, which sounded so good, that I was asked to run sound for another jazz concert for the college jazz orchestra in the same venue a few weeks later. Both of them were amazing performances by some very talented and skilled musicians, playing great compositions.

Also, yesterday I went to see a movie with my wife and daughter, the Suga D-Day tour movie: a K-Pop artist that they both like filmed during one his tours in South Korea. That show was utter garbage. It’s rap and hip-hop, but I couldn’t find a groove to save my life. And even though the lyrics were all in Korean, I couldn’t make out any of the actual syllables. No melodies, no harmony, and everything sounded like it was in the same key. But it had 800,000 moving lights, lasers, pyro, light up hand balls in the audience, 80 foot tall video screens, and enough strobe lights to cause seizures on Mars. It’s all flash and trash. Spectacle, and effects. But absolutely zero actual talent or art.

In a thousand years, we’ll still be playing the Mozart Requiem and Duke Ellington. Not so much for the garbage that qualifies as modern music these days.

[ProSoundWeb Community]