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Wednesday the 11th of April saw two events take take place; firstly, it was my birthday, and secondly it was the opening night of the new run of Cappuccino Girls which is the musical theatre show written by Mal Pope a few years back. Rigging the ‘theatre’ (originally a generic building on Swansea high street) has been a long haul for a lot of dedicated, hard-working people so it was great to finally get there and open the door to the public. My part in it was the design and installation of the sound system but every aspect from painting the walls to making the stage clothes has had to be dealt with and, as I said, a lot of people have put a lot of time, effort and faith into it.

The dress rehearsal went almost flawlessly, with a few director’s notes to take on board, and the evening performance was a treat. This is a ‘girly flick’, not Ben Hur, but there is some superb acting going on and there are a couple of moments which will make most people cry as a consequence of some performing that is quite frankly world-class – I don’t say that lightly!
Mal’s skill as a composer and lyricist also play no small part.

OK – it was the first night so there was an enthusiastic crowd, but the show still had to work well and it did. There have been some rave emails sent and everyone’s feeling very proud of a job well done.

The great thing from my point of view is that it’s a musical theatre show that was all done on a tight budget…which of course is impossible. The lighting, sound and set has all been achieved with ‘inadequate’ equipment and an ‘inadequate’ number of personnel because – and here’s the clever bit – no-one wasted time on ridiculous luvvy palaver or theatre bollocks; we just got on with the job. The show looks great, sounds great, is selling tickets and making enough profit to keep everyone in a job and, as yet, no-one has asked what brand the speakers are…any questions?

Grand slam Theatre

Posted: March 11, 2012 in Live Shows, New gear, Rehearsals

So, the Grand Slam theatre company install now has to be configured properly for Mal pope’s show; Cappuccino Girls. We got a system up and running for an acoustic style gig with former Wet Wet Wet members a couple of weeks ago but that was just FOH and some monitors.

For various reasons, mostly related to a sensible budget, we’re using equipment that most ‘theatre’ production folks will say is not suitable for the job; I’m talking about RCF active enclosures and a Yamaha 01v96ii digital mixing console for example. Nevertheless, the equipment will go in, get configured, sound amazing, the show will run very well and, most importantly, it will run efficiently and economically.

There seems top be this concept amongst the establishment musical theatre bods that certain speakers are ‘musical theatre speakers’, that certain mixers are ‘musical theatre mixers’ and certain condoms are ‘musical theatre condoms’. This is utter bollocks. There’s nothing magical about theatre sound; it’s subject to the same laws of physics as every other sound on the planet…and if a mixer, speaker enclosure or a condom has the necessary attributes and facilities to do a job then it is a suitable tool for that job; it’s that simple.

FOH will be a stereo pair of RCF 422a 12″ active cabs. The 2″ is a fabulous horn and throws really well without getting harsh in the near field. The sub will be handled by two ART905as cabs. We’ll couple these in some discreet position and run them mono to rule out any nasty phase issues and tighten the bottom end.

Up in the air are three pairs of ART408a which provide audience in-fill as you progress towards the rear of the arena, and one pair facing the back seating. There are also two pointed at the performance area to provide some fold back. All in-fill pairs are on separate mixes and will be delayed to different degrees making them ‘invisible’ to the listener. The mixes will be post fade so any changes in level will be global.

There are two 408as back stage for monitoring as some performance goes on there, and there’ll be a single cab in the bar area to create some atmosphere before the show.

The main rack at FOH has already been assembled, with a single ceeform 16 amp inlet and lots of 13 amp sockets. The six Sennheiser ew122 UHF systems are fed into a Behringer ADA8000 ADAT preamp (8 in/8 Out) which is, in turn, connected to the Yamaha 01V96ii via TOSLINK cables and a BNC work clock link. All outputs for the various mixes will also be connected via the ADA8000. These will need to be anchored well as they’re easy to disconnect accidentally but the cabling of the whole FOH position will be very neat and minimal – just as it should be.

The Intel Mac Mini that runs the show via QLab will sit in the FOH rack and the audio output will also connect via the final two ADA8000 inputs.

The venue will occasionally have to turn around and become suitable for acoustic, or ‘unplugged’ style shows, so connecting the radio mics via ADAT leaves all analogue inputs and outputs free; minimal disruption.

We’re currently at the stage of finishing the hangs and we should be making noise by the end of next week.

Down time

Posted: February 10, 2012 in General Chat, New gear

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Since Christmas, it’s been a period of downtime in my world. Friends Electric are working on their first album, they’ve spend a week recording drums and are now into the mixing stage. I’ve deliberately stayed away because I’d rather hear the finished product than have it spoiled by being around to hear the project develop; I think it’s important not to lose sight of what it’s like to be a ‘listener’, as opposed to an ultra-analytical anorak; listening to music is why I got into the industry in the first place!

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The Mike Doyle band have had a break too, and when we re-convene, it will be with a brand new in-ear monitor setup for the whole band. This has involved some planning, some practical work; racking up the necessary gear, making the patch-bays and cables etc; and this weekend, I plan on re-configuring the ‘Mike Doyle’ patch on the iLive system to provide six stereo IEM mixes instead of six boring old mono aux sends for wedges. This will involve juggling sub-groups with DCAs, setting limiters on all mixes; we can’t be blowing out anyone’s ear-drums, and building in some ‘room’ mics so that we can give Mike and the band some ambience in their ears should they need it.

The other thing I need to do is buy a new van since our clapped-out old Iveco dies in December 2010. I’m not sorry to see it go because it really was a shed; I’d never, ever buy another one. VW or Merc next! We’re selling off a bunch of 31-band graphic EQs because I’ve finally had to accept that we don’t need them any more. I love the digital age but analogue gear just looks amazing!

We sold an iLive system to a bunch of guys who run something called WEST – Wales Evangelical School of Theology. They have a unique project going on and they’re delighted with the Allen & Heath gear. I can’t wait to see them develop it and discover all that it can do.

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We’re also involved in the fit-up of Mal Pope’s theatre in Swansea to resume the run of his amazing musical, Cappuccino Girls. There’s a load of RCF 400-series active stuff going in, Sennheiser G3 wireless and our trusty old Yamaha 01v96iiVCM will be running the show. There’s a low-key gig happening on the 24th of Feb with some guys from the band, Wet Wet Wet so the system has to be ready for that, and then we have to rig it for the musical, which will be the main function of the venue.

Carl Palmer at the Muni

Posted: December 3, 2011 in Live Shows

Emerson, Lake and Palmer – or ELP as they are more affectionately known, were one of the original Prog Rock bands and they were prolific writers and recorders throughout the ’70s. They had a big commercial hit with Aaron Copland’s ‘fanfare for the common man‘ in 1977; a stunning piece of music which was video’d at the Montreal Stadium; it looked and sounded amazing. To be fair though, they also represented the epitomy of grandiose rock palaver and were one of the main targets for ridicule amongst the young, angry musicians who started the Punk Rock movement, in rebellion to capes, sparkly high heels and massive keyboard rigs.

Keith Emerson, undoubtedly a musical genius, is suffering ill health after major surgery in 2010. Greg Lake however, still tours, and Carl Palmer is currently on the road with a 3-piece, covering a wealth of ELP classics.

This was very much a drum show; it took a good hour to set up and polish the kit, which did look amazing afterwards in fairness. Carl’s FOH engineer, Simone, was a big Italian guy with massive dreads hanging down his back; this came as quite a surprise to me since, during our email exchanges, I’d had him down as a slip of a girl! Carl likes things to be right, and gets deeply incolved in the FOH sound which, for an engineer, can toggle between endearing and infuriating…but usually, just infuriating. He has sold forty million albums though!

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The show was fantastic, with some serious musical virtuosity on show; and I know the idea was to revisit the ’70s but, here and there, it got a bit muso-tastic for me – when the bass player picked up a bow and started bowing his electric 6-string, I honestly felt like an extra in a spinal tap out-take. There were some incredible musical moments though; ‘pictures at an exhibition’ was a masterclass in prog rock.

The Carl Palmer kit looking lovely under some great lighting…

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…and the team of dedicated professionals who make that happen…

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We hit the Travelodge just south of Carlisle at 3:15am this morning and crammed in about seven hours of sleep which didn’t really do a lot for anyone since yesterday was such a long day. The journey down from Glasgow had some magic moments; like our rendition of ‘no more I love you’s’ by Annie Lennox which is a video diamond and will probably end up on the Friends Electric blog, and the moment when Phil our stage tech fell asleep so we all screamed at him on cue – he leapt out of his seat and attempted to embark on a short stroll, presumably to settle his racing blood pressure. We were however in a six-seater Sprinter hurtling down the M6, which seems to have escaped Phil for the moment, so he walked a two-foot circle and sat down again looking visibly shaken.

Despite our best efforts to waste most of the day on the journey down, we still hit Bristol really early and arrived at what has become our favourite pub: ‘Start the Bus‘ in Marsh street. For a start, we get fed for free, but the food is simply amazing and we’d happily pay for it if we had to…well, most of us anyway! The pub has an amazing vibe; Bristol is ‘stag & hen’ central but the Bus is an oasis of civility amongst the mayhem. No stag or hen parties are allowed in and you’ll see folks people playing Monopoly etc. The door staff are polite, friendly but firmly deny entrance to any nutters and the toilets are a work of art.

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The actual gig takes place in the tiny dance area at one end of the pub and you’d be forgiven for wondering why they bother with bands at all…untill around 11:30pm when the place tranforms into a sea of folks out to dance, appreciate the bands and have a good time. Looking forward to a fabulous gig and then home for a nice restful Sunday.

Back to Scotland

Posted: November 12, 2011 in Crazy journeys, Live Shows

We woke up in a Travelodge near Lancaster this morning, and after the round of showers and tea we headed into Lancaster itself to get some breakfast. After buying poppies we found a cafe called Lewis’s where we had a great Northern breakfast with quality sausage & bacon. I went outside to make a few calls and was standing in the street swearing into my mobile when I suddenly sensed that all was not well; it turned out to be exactly eleven minutes past eleven and every person in the street had stopped what they were doing, wiith heads bowed, for the traditional minute’s silence. Words cannot express how much of a disrespectful berk I felt. Sorry England; we’re not all like that honest!

At the first services we all considered the pros and cons of buying kilts, but maybe not just yet.

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We got to Glasgow at around three; an hour early, so we went for a walk around the city which has a great vibe, especially in fading daylight and with a chill in the air…very Christmassy!
Sound check, at six, took ten minutes flat and sounded amazing…we all love it when that happens. Because we tour a digital desk, Sound checking from scratch, with endless snare beats and ‘one, two’s, are a thing of the past and I simply don’t understand why so many touring bands, who have the choice, opt for doing it the old-fashioned way. Food was served at seven, which is another luxury we’ll never take for granted.

A fabulous gig was had and we left for Carlisle where there was a nice warm Travelodge to ready us for the Bristol journey.

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We’re off up the road for the last (almost) dates of 2011. We’re heading to the ‘Night & Day Cafe’ in Manchester for tonight’s show and since we’re taking more lights than ever these days, the van is a tight pack as you can see.

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We were all set up, line checked and waiting to sound check by about five, but we couldn’t make any noise until after six. The show has, apparently, not sold too well so the guest list is now a free-for-all if there’s anyone who fancies it.

We ate at the ‘Rice Bar & Grill’ which is bizarre because, for some obscure reason we’ve been jokingly referring to Japanese food all day. We have a lovely dressing room in the basement of the venue which is extremely homely and sports the classic ‘Graffiti wall’ complete with a superbly detailed drawing of a penis complete with vein, hairy testes and a couple of heavily muscled arms…what am I thinking? Here’s a picture…

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