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<blockquote data-quote="Jay Barracato" data-source="post: 39445" data-attributes="member: 24"><p>Re: Woodsongs</p><p></p><p>I was interested to see on the Woodsongs website that they will help "train" promoters todo similar events.</p><p></p><p>On Saturday, I had a show in one of these "Woodsongs Coffeehouses".</p><p></p><p>The venue is a reconditioned train freight depot set alongside still active tracks. The building, in the historic downtown area, is now owned by the city and used as a visitor center, and can be used for meetings (shows) etc seating about 150 people.</p><p></p><p>The show was a four band bill with us as the headliners. As it happened the band before us on the bill is a band I love, work for on occasion, but not as often as I would like. The other two bands are local performers. So I am going into the show with the attitude that I am going to "do my show" for my main band, and anything I can for the other support act. This was a charity event, a cd release party, and we were there for a flat fee (reduced) and hospitality. The system was bare bones, low end SOS (Eons for FOH, a mix of Yamaha Club and PV112 for monitors) with a single Yamaha sub but was adequate for the size of the room, number of people, and genre. The system was obviously pieced together over time. Some parts were nice (crest xrm for monitors), other parts were less than nice (eurodesk for FOH), and other parts were perfectly usuable even if they wouldn't have been my first choice for purchase (ACP88's). Everything was in working order, which put it one step up than the usual on the bluegrass circuit. I would have prefered to have had some sort of eq on the 4 monitor channels (which I actually wasn't using for my main act as we carry our own), but this wasn't the first show I was limited to channel eq.</p><p></p><p></p><p>Best I can say is that I was jealous, because this was the size/scale of a show I really prefer, and I would love to be able to set up a similar listening room (with some better equipment) closer to home.</p><p></p><p>What really made it stand out was the quality of the hospitality. From loadin through to our overnight stay in the hotels everything was great. The people, including the promoter and the local crew made us feel that they were really happy that we were able to be there and take part in their event. This event was also being recorded to be broadcast on an internet radio show, but the radio host actually lent a nice flow to the transitions between the bands and the speakers and other events.</p><p></p><p>So other than the regular visit of the trains (train wheels have an overtone that sounds just like feedback), and a system overtone during the speaking parts I did not like (I am starting to suspect a sonic maximizer I did not see), it was a low stress and comfortable show. One funny thing did happen. I didn't pay attention to the patching of the recording for the radio show. They had a main and a backup (thank heavens for a backup) but no separate mix just a board dump. I didn't notice that the recording output on the Eurodesk is part of the cue circuit until about half way through our set, when the house guy said something I had done had starting clipping the recording. Well he noticed it as I was PFL ing a new instrument while it was being tuned before bringing it up in the mains. after that all I was thinking is that he has 30 minutes of me listening channel by channel and then trying to straighten out the gain structure of the verb recorded.</p></blockquote><p></p>
[QUOTE="Jay Barracato, post: 39445, member: 24"] Re: Woodsongs I was interested to see on the Woodsongs website that they will help "train" promoters todo similar events. On Saturday, I had a show in one of these "Woodsongs Coffeehouses". The venue is a reconditioned train freight depot set alongside still active tracks. The building, in the historic downtown area, is now owned by the city and used as a visitor center, and can be used for meetings (shows) etc seating about 150 people. The show was a four band bill with us as the headliners. As it happened the band before us on the bill is a band I love, work for on occasion, but not as often as I would like. The other two bands are local performers. So I am going into the show with the attitude that I am going to "do my show" for my main band, and anything I can for the other support act. This was a charity event, a cd release party, and we were there for a flat fee (reduced) and hospitality. The system was bare bones, low end SOS (Eons for FOH, a mix of Yamaha Club and PV112 for monitors) with a single Yamaha sub but was adequate for the size of the room, number of people, and genre. The system was obviously pieced together over time. Some parts were nice (crest xrm for monitors), other parts were less than nice (eurodesk for FOH), and other parts were perfectly usuable even if they wouldn't have been my first choice for purchase (ACP88's). Everything was in working order, which put it one step up than the usual on the bluegrass circuit. I would have prefered to have had some sort of eq on the 4 monitor channels (which I actually wasn't using for my main act as we carry our own), but this wasn't the first show I was limited to channel eq. Best I can say is that I was jealous, because this was the size/scale of a show I really prefer, and I would love to be able to set up a similar listening room (with some better equipment) closer to home. What really made it stand out was the quality of the hospitality. From loadin through to our overnight stay in the hotels everything was great. The people, including the promoter and the local crew made us feel that they were really happy that we were able to be there and take part in their event. This event was also being recorded to be broadcast on an internet radio show, but the radio host actually lent a nice flow to the transitions between the bands and the speakers and other events. So other than the regular visit of the trains (train wheels have an overtone that sounds just like feedback), and a system overtone during the speaking parts I did not like (I am starting to suspect a sonic maximizer I did not see), it was a low stress and comfortable show. One funny thing did happen. I didn't pay attention to the patching of the recording for the radio show. They had a main and a backup (thank heavens for a backup) but no separate mix just a board dump. I didn't notice that the recording output on the Eurodesk is part of the cue circuit until about half way through our set, when the house guy said something I had done had starting clipping the recording. Well he noticed it as I was PFL ing a new instrument while it was being tuned before bringing it up in the mains. after that all I was thinking is that he has 30 minutes of me listening channel by channel and then trying to straighten out the gain structure of the verb recorded. [/QUOTE]
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