Wob Live Acoustic Set at the Evening Star, Brighton, East Sussex, UK, 22-03-2015 a ‘Real Ale’ pub near Brighton Railway Station.

A regular, free gig!

The Videographer’s Rant:

Wob Williams - appears to attack the guitar strings, reminding us a bit of Pete Townsend, who used heavy gauge strings at Who gigs. You can generally expect a lively energetic acoustic singer - songwriter performance, with a bit of strutting and leaping around.

More video links with guessed song names:

001 WOB ‘Up In The Big Blue’. [ Ссылка ]
002 [ Ссылка ]
003 WOB ‘Standing On The Beach’ [ Ссылка ]
004 WOB ‘Put Away Those Baby Clothes’ [ Ссылка ]
006 Editor Recommended: WOB ‘This Is All Worthwhile’. [ Ссылка ]
007 WOB ‘When You’re Smiling’ Ukelele / Harmonica: [ Ссылка ]
008 WOB Finger Picked - Very Short Taster! [ Ссылка ]
009 WOB ‘When You Close Your Eyes’ - Acoustic Guitar / Harmonica - Taster: [ Ссылка ]
010 WOB Ukelele: ‘Cupid’ / ‘A Paper Moon’. N.B. Natural Acoustic Stereo Pan.

See more at:
[ Ссылка ]

Someone else’s video: YouTube:
[ Ссылка ]
Wob Band, - Live at Newark Castle Festival, Newark, England, 1996 (Part II). Noisy!

These are stereo video recordings using a Rode StereoVideoMic Pro… straight into the camcorder. I prefer to have the mic near the guitar neck / body / nut interface, rather than the boomy resonance hole. Unfortunately, the mic tends to pick-up audience noise, as the microphone capsules are held horizontal at 90 degrees to one another which is good for actors. I think that two, highly directional, shotgun mics pointing forwards, a head distance apart, might work better e.g. Rode NG2s or the new NG4s! Camcorders have a reputation for poor audio pre-amp performance. A dynamic range of about 135dB is important with no AGC (automatic gain control - pumping away). I was a silly arse not having a piece of white computer paper in front of the camera for a white balance!

Video grain is mainly caused by the usual poor lighting at gigs. I used two portable re-chargeable work LED Lights cable-tied onto a granny trolley (minus bag) for wheels as a botch. There were multiple sheets of white diffuse paper and colour gel (for warm, pinky-apricot, fire-glow, thespian tones) placed behind the glass to prevent artist dazzle. Lights were used as an uplight (N.B. the slightly sinister shadow, horror-effect) at first, then sideways, off a table. Multiple light sources would work better, but annoy performers and are a public liability insurance / trip hazard etc. LED lighting is less of a fire / burn hazard but has magenta and green light bias issues. Even candle light is useful. These are 854 by 480 pixel videos, because even these smallish videos take a long while to upload, with a friend’s Virgin Optical Broadband!

Cheap colour change mains stage lighting includes things like: LED 10W RGB Colour Changing Floodlight IP65
Code: 67876 £34.98 from toolstation.com
Also see 46130.

I wish that singers generally would use the -12dB cut at 18KHz button on mixers. That is because horn loudspeakers produce about 5% harmonic distortion, most adults cannot hear much above 13kHz and harsh sounding, tizzy, reverberation whistles in the earholes, reducing vocal clarity.

Have you noticed the piss-poor rendition of bass notes at gigs generally (but not this one). The whole performances swamped by sub-bass honk and excessive sound pressure levels? Pardon? My ears are whistling!

Disclaimer:

I do not formally represent the performer who retains copyright, or, represent the venue / brewery.

свернуть