The 35 participants were able to follow each step of the planning, setup, sound check and performance phase in a hands-on environment. In the morning they received a general introduction into the technology of digital microphones by Martin Liermann (SVS) and an explanation of the features and benefits of Eclipse GT by Marcel Babazadeh (Lawo AG). Onstage they were guided by sound engineers Carsten Kümmel (FoH) and Thomas Kellner (Monitors) who openly described how they work from the technical rider towards their choice of technical equipment and finally the layout of the system.
The customized desk layout for this event was explained in detail on both consoles. The versatility of Eclipse GT in combination with the M.A.R.S onboard recording and the full control of all parameters of digital microphones was much appreciated by the two well known engineers.
Once the backline was setup the party went on stage to find the right positions for the microphones in front of the instruments as well as placing the instruments, amps and wedges in order to optimize the overall quality of sound on stage.
"It is extremely exciting to listen to the changes of the sound of the kick drum while changing the polar pattern," said Carsten Kümmel, who was able to do this without having to leave the FOH position. "The D-01 from Neumann comes with a double membrane that allows all conceivable variants of polar patterns. The Eclipse GT gives the operator access to these parameters during runtime. Of course these settings are then stored and recalled within the showfile."
Monitor engineer Thomas 'Kelly' Kellner did a fabulous job of mixing Ola's in-ears and handling the monitor sound on stage for the other artists. "This was my first time mixing on an Eclipse and working with Ola," said Kelly. "I did not have to use any layering and the internal FX were right at my fingertips. The way Eclipse handles the Auxes is extremely helpful for a monitor engineer. I could focus on the musicians and the stage right away."
Once the soundcheck was completed and the band had left the stage, the seminar participants were treated to a little extra time with Ola where he explained his way of singing in combination with the KMD 105. "He was quite incredible," reported Innovason's Marcel Babazadeh. "He moved his voice through all facets of tonality and pitch and demonstrated the most extreme situations and positions that would defeat most other artists or equipment. An amazing concert in the evening rounded up the whole day leaving no doubt that this combination of technology is adding real value to today's live stages."
(Jim Evans)
