Fact #113898
When:
Short story:
During his Out There tour, Full article:
Brad Wavra (promoter, Live Nation) : One show that really sticks in my mind was when Paul McCartney played Mosaic Stadium in Regina, Canada. It's a town in the vast, empty, flatlands of the Canadian plains, of only about 180,000 people, and yet we got 55,000 people at the stadium. I remember wondering to myself, 'Where have all these people come from?'
(Source : interview with Johnny Black for Audience magazine, Sep 2014)
Pab Boothroyd (FOH Sound engineer) : When we play a UK venue, or somewhere like Canada where there's a big ex-pat Scottish population, Paul likes to play Mull Of Kintyre because, apart from being a much-loved song, it's an opportunity to create a fantastic visual experience with a 30-man band marching on and the drummers playing.
It's a tremendous sound that they produce. Wixy finds the bands locally, and it's quite a challenge for me. I have considered all kinds of ways of doing it, individually miking them all for example, but adding 30 radio mikes would be a colossal task just for one song, so in the end I decided to keep it as simple as I possibly could. I trimmed it back to four spotted microphones in front of the band but behind the pipe band. There's so much sound coming off them as they march on, and all the vocal mikes at the front of the stage are picking it up from that perspective while my spot mikes at the back pick it up from behind, and that's what we do and it works.
(Source : interview with Johnny Black, for Audience magazine, Sep 2014)
Tweet this Fact
(Source : interview with Johnny Black for Audience magazine, Sep 2014)
Pab Boothroyd (FOH Sound engineer) : When we play a UK venue, or somewhere like Canada where there's a big ex-pat Scottish population, Paul likes to play Mull Of Kintyre because, apart from being a much-loved song, it's an opportunity to create a fantastic visual experience with a 30-man band marching on and the drummers playing.
It's a tremendous sound that they produce. Wixy finds the bands locally, and it's quite a challenge for me. I have considered all kinds of ways of doing it, individually miking them all for example, but adding 30 radio mikes would be a colossal task just for one song, so in the end I decided to keep it as simple as I possibly could. I trimmed it back to four spotted microphones in front of the band but behind the pipe band. There's so much sound coming off them as they march on, and all the vocal mikes at the front of the stage are picking it up from that perspective while my spot mikes at the back pick it up from behind, and that's what we do and it works.
(Source : interview with Johnny Black, for Audience magazine, Sep 2014)