This is an always changing and developing process. How long did it take before you had everything you needed to start playing live and had the transportation to move all this stuff around from gig to gig? So, we also use a double stereo system, but combined with the sound of our own amplifiers it still gives a very spatial and varied sound. Unfortunately, this is too complicated to use all the time. Sometimes, we use a device developed by a friend which makes it possible to send each instrument to a specific speaker and let it ‘travel’ from one to the other, through the space. system is always supplied by the venue, a normal mixing desk with four speaker sets/P.A. Later, we bought three stages of 1×2 metre platforms (the drummer plays on the normal stage) which we prepared so we could attach our own lighting system to them. Initially, what did you use for the individual stages and where did you find the sound equipment?įirst, we used what was available in the venue where we played. An extra motivation was a concert by Karlheinz Stockhausen which I attended around that time in which he played an electronic piece (“Kontakte”) with an octaphonic sound system – four speakers in the corners on the floor and four in the corners on the ceiling – which was an incredible experience. This was the kind of thing we also wanted to achieve with our concerts. with four stacks was used and lights and sound were used to create an overall, overwhelming atmosphere. Also, it was the time of the first dance/rave parties in which often a P.A. This made sense to us, we would take away the focus on the (non-existent) frontman/woman and we wouldn’t have to present ourselves as a regular rock band with the corresponding attitude and presentation. system, meaning extra speakers in the back of the room. Then, our sound engineer, whom we knew from a previous band, came up with the idea to use the set-up from the art gallery: four stages in the corners of the venue and a double P.A. We were a little hesitant because we didn’t consider ourselves a ‘real band,’ having unusual music and no singer/frontman. Soon afterwards, we we’re invited to play a gig at the Melkweg in Amsterdam. The first sort of gig we did was in a friend’s art gallery in which there wasn’t enough room for a stage, so we stood separated, spread through the space with the audience and art in between us. It was a combination and a coincidence of several reasons and experiences. What was the original motivation in moving away from playing on a regular stage to using the four-platform/quadraphonic sound set up?
Check out the photo heading this piece and the video below for visual examples of the main thrust of the following interview, which was done via email.
This year is no different, though instead of my going on about the glory of the band’s music, I’ve decided to delve more in-depth about the band’s unique four-stage/quadraphonic sound system live presentation. Both, my friend, and on separate occasions. “Didn’t we do an interview via mail or fax back in the day?” he asked me a few weeks ago. Every time the band releases a record, Drillich either cowers in fear at my requests (‘insistent regularity’ might be a good way of putting it) or welcomes the guarantee of at least one hack giving a shit. Bassist Mark Drillich and I have been in sporadic contact with one another since the early days of the band and their 1990 debut on Peaceville, Mute Poet Vocalizer. And if they keep offering up killer albums like their recently released eighth album, Stern, well, that’s just more deaf ears for my fanboy-ism to fall upon. The instrumental metal/electronic/dance-y/trance-y/industrial quartet show no sign of slowing down which, by default, means I’m not going to be able to slow down in my unwavering support for the band. I’ve been going on about Amsterdam’s Kong for almost 25 years.
0 kommentar(er)
