| Orchestral Manoeuvres In The Dark - Fonda Theatre - Hollywood |
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| Recorded at the Fonda Theatre, Los Angeles, CA, USA. Excellent audience recording. From the info file: Orchestral Manoeuvres In The Dark The Fonda Theatre - Los Angeles, CA April 15th, 2013 'decibel' Taper: mixter_ EX- Lineage / Equipment: 12' from rail / dead center / fob -> 6.5' h -> slavesound omni's -> custom bb - no bass roll-off -> edirol r09 (48/24) -> sandisk 16gb class 4 sd -> reader -> audition 3.0 - slight level boost (no normalization) (+4dB l / +2dB r) (de-clap process) -> har-bal 2.3 slight eq (bass attenuate, treble boost) -> audition 3.0 - dither to 16/44.1 -> cd wave editor (track split) -> tlh (flac 8, etc...) -> DIME -> you -> sense of enjoyment -> sharing is caring -> support the artist (yes) -XX convert to mp3 (no!!!). K.I.L.L. = Keep It LossLess. Convert to mp3 or shortwave radio for personal use only. Please do no sell or attempt to profit from this recording. I do ask that any reposts, links or artwork credit me as the original taper. Setlist 01. Decimal 02. Please Remain Seated 03. Metroland 04. Messages 05. Tesla Girls 06. Dresden 07. History Of Modern (Part I) 08. (Forever) Live And Die 09. If You Leave 10. Souvenir 11. Night Cafe 12. Joan Of Arc 13. Maid Of Orleans 14. Our System 15. Atomic Ranch 16. Kissing The Machine 17. So In Love 18. Sister Marie Says 19. Locomotion 20. Sailing On The Seven Seas 21. Enola Gay 22. Encore Break 23. Walking On The Milky Way 24. Secret 25. Electricity 01:39:20 Orchestral Manoeuvres In The Dark... Andrew McCluskey - Vocals, Bass Guitar, Occasional Keyboards Paul Humphreys - Keyboards, Vocals Martin Cooper - Keyboards, Saxophone Malcolm Holmes - Drums, Percussion The Band / Performance: OMD have succeeded where very few of their Eighties colleagues / counterparts have; they have released a very successful sophomore post reunion album in 'English Electric'. The band has eschewed the garish pop formula that has become a staple of their post 'Junk Culture' releases in favour of the more avant experimental tone found on 'Organization' and mixter_ favourite 'Dazzle Ships'. The almost too earnest 'Dresden' is perhaps the exception. Tracks like the 7-minute 'Metroland' and the Bartos co-penned 'Kissing The Machine' may borrow a bit heavily from their German predecessors, but are brilliant nonetheless. 'Night Cafe' is simply pure OMD perfection. After a 23 year hiatus (20 if you count the McCluskey / Kershaw years) from performing in The States, the band finds itself in the SoCal area for the third time and the second time in this venue in the last two years. The band performs a set of 14 classics, 2 hits from HOM and no less than 8 new tracks (3 of which are the interlude pieces that were features as animated videos). Once again, OMD have relied exclusively on their impeccable harmonies, performance skills as evidenced in the cannon fire drumming of 'Maid of Orleans' and Andy's eclectic dance manoeuvres. Once again the band left the video projectors and LED light show in the trailer. Over all an excellent performance. Fan favourite 'Secret' was performed as an encore this time around. A song they were ill-prepared to play two years ago as they did not have the Pro-Tools stems or Fairlight samples then. On a side note, I have always wondered if it bugs Paul to hear his ex-wife's voice throughout. On second listening, he does say 'Thanks for the vocals Mo' while introducing the song. A class act to be sure. 'Talking Loud And Clear', 'Radio Waves' and the pre-split 'Dreaming' did not make it this time around. The Recording: I had a particularly loud clapper over my right shoulder. Thankfully the worst parts are between songs. I have made an effort to attenuate most of the peaks through Audition. This has rendered the applause as sounding less than natural but has enabled me to better balance the musical portions. Also, I found it necessary to boost both 'Decimal', 'Please Remain Seated' and the intro notes to 'Metroland' by +6 dB. There is a volume and tonal shift in the synth notes before the under the stage subs kick in during 'Metroland'. The engineer should have pushed the levels a bit during 'Decimal' and PRS IMHO because they were pretty quiet. It's less than ideal that's why I have rated this as EX-. On a much more positive note, levels were dialed and I had no chatterers or screamers in my immediate vicinity. IMHO, the dynamics and stereo separation are about as good as my modest rig gets. You will not be disappointed by the performance nor the recording. My recording of their History of Modern Part One Tour from the same venue (now re-dubbed 'The Fonda Theatre') can still be found on the tracker here... http://www.dimeadozen.org/torrents-details.php?id=354121 My placement and rig are the same, so you may want to pick up that one as well while supplies last. Sadly my concert budget prevented me from attending and taping the soundcheck this time around. I can only imagine that it was fantastic. Dedicated to my brother who decided to attend 'The Selecter' instead and get his arm signed by one Paulina Black. Happy Birthday, bro! Please support the band by buying their excellent album 'English Electric' on Bertlesman's Music Group or attending one of their outstanding shows... http://www.omd.uk.com Is anyone out there listening? Feel free to comment. Enjoy, mixter_ |