I had the great honour to make the sound for The Godfathers. They performed all their hits, e.g. „Birth, School, Work, Death“, or „Cause I said So“ like there’s no tomorrow. Also their support band Glory Dead played a great sounding show. A fantastic Rock ’n‘ Roll eve at the beautiful „Kino Ebensee“.
If the whole hall after one third of the concert jumps off their seats and starts dancing, you have probably not done everything wrong as a sound engineer:) Jools Holland with the fantastic vocalists Ruby Turner, Louise Marshall and Mabel Ray and George Latham on drums @ the beautiful Lehar Theater in Bad Ischl.
We used different amps, like Fender Deluxe Reverb, Vox AC30, Marshall 50 Plexi and Schekter and a RM BIV ribbon-mic from Russia, plugged to a Siemens V276 preamp. For acoustic guitar the chain – Nevaton MC51->Siemens V276 preamp ->WSW 601430S compressor/limiter was used in 80% of the songs, the rest we recorded with an original Telefunken U47 -> V276 preamp
Interesting workshop about procedures for complex sound reinforcement of orchestras with soloists, band and choir – spectral panorama – room simulation – mirror image source at the Yamaha Music Hall, Vienna. With Carsten Kümmel and Univ.-Prof. Dipl.-Tm. Ulrich VETTE.
Thanks to SEA distribution and Klangfarbe/Vienna we had the possibility to get a hands-on workshop with the new AVID-consoles and the great support of Korn FOH engineer Marco Vujovic.
This legendary and fabulous sounding device is from now on available in our studios.
Photo (C) Anna-Maria Loeffelberger I had the pleasure to record the fantastic Pia Douwes (NL) for the production Dr.Dolittle (with Uwe Kroeger) at „Salzburger Landestheater“. Musical director: Robin Davis, Director: Andreas Gergen
EXPERIENCES WITH THE NEVATON BPT MICROPHONE AT THE SALZBURG FESTIVAL – RECORDING CONCERTS AND OPERAS AT “FELSENREITSCHULE”.
One of the tasks of sound-engineers at the Salzburg Festival is to make live-recordings of the performances. This recordings are often used by radio and tv-stations and are important for the archive of the Salzburg Festival. This “in-house recordings” are realized with only three microphones – one Nevaton BPT and two outriggers (Schoeps CCM4, cardioid) which are installed quite far