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Popmart1976

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god part III

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Infinity2start
Con Blackout saturando todo ... y yo pregunto. Estas cosaa no se ensayan? No hay pruebas? No hay tests?

La culpa es del recinto, q luego dejase de saturar y empezara a sonar bien fue cosa del recinto también. U2 no se equivoca nunca, ni cuando dicen q llevan un sistema de altavoces tan bueno q no hace falta subir el volumen para sonar en todo el pabellón y van y lo suben.
Si los altavoces colocados de esta manera no dan buen resultado quizás debieron cambiar la configuración. Y si no pueden sonar decentemente q no vengan. Esa sería una buena razón para no haber venido y no la chorrada de los camiones.

Ni teloneros, ni Dallas ni Stuart pegándose el paseo previo con guitarra ni bajo; musica de fondo y luego el concierto a pelo...La única prueba que yo ví fue el discurso de Charles Chaplin y joder, ciertamente estaba a to trapo.

Quien fuera al 360 y tenga buena memoria, se acordará del pregrabado de magnificient, que parecía de un anuncio de la tv...varios cuerpos por encima que el resto en cuanto a volumen...una cosa un poco excesiva.

Y por cierto, ahora que recuerdo, creo que en Madrid2, Bono dio las gracias a Joe a pesar que no estuviera allí y que era su cumpleaños??

Esto dice el barbas, pero igual no siguió el procedimiento...

Showday
I come in when the system is flown and in position and we 'noise' the room - that means we run a spectrum analyser into the room to see what frequencies are proving difficult in each building. That tells us the acoustic environment of the building. We have an EQ system for the PA which we modify to suit the building. Then I might play the show from the night before through the PA to see how it responds. Most of these buildings we have been in many times before so we know which are notorious. Once that is done and the backline crew have set up we soundcheck all the bands instruments.
I start with Sam O'Sullivan who plays Larry's drums and we individually check each instrument on his kit - bass drum, snare, tom-toms, hi hat, cymbals, tambourines etc. Then we move to Stuart Morgan who will play many of Adam's bass guitars and to Phil Docherty who takes care of Bono's Electric and Acoustic guitars then its time to check all of Edge's guitars with Dallas Schoo.
We have a set list that has 22/25 songs at the moment which involves Edge in 18 guitar changes, so Dallas has his work cut out. I will test about a half dozen of them. Each one would be plugged into one of six different amplifiers - The Edge orchestra as we call it - and it's my job to test all of those amps each day.
Then we go to Terry Lawless the keyboard technician responsible for Edge's keyboard parts and sequences. He also takes care of the piano that Edge uses in New Years Day and Running To Stand Still.
Then it's into the process of checking Bono's three different vocal microphones. We walk through on the Elipse catwalk - because he spends most of his time in front of the PA system, we have to ring out the bad frequencies so it doesn't feedback when he is singing.
By now it's time for the backline crew to play some songs which they do very competently and that gives me a great opportunity to check the sonic value of the room. This means that when the band arrive to soundcheck it is only fine tuning from my perspective. When we soundcheck with the band we go through any particular songs they feel the need to work on, any arrangement changes, and any new songs because they do tend to change the set around, especially at the start of this tour.