Tags: Alice In Chains, Audio, Concert, Dodge Theatre, Lighting, projection, Rock, Sound, Visual
I’m happy to report that rock ‘n’ roll as we know it is still alive and kicking ass.
Warm up act Creature With the Atom Brain sounded pretty tight with a solid back beat. However, the guitars and melodies were probably more suitable for an all day festival where you could really get into a nice groove a la Deep Purple. Their stage set consisted of nothing but a big black curtain behind them and 8 moving lights in the front which were limited to color and iris changes. But hey, as an opener even being allowed iris changes isn’t always guaranteed.
As their set ended a big white drape came down in front so the set change could happen in privacy. Turned out that it really wasn’t just a privacy screen. Alice In Chains used it to project their shadows on as they opened their show. Definitely caught me off guard, and looked really damn cool.
That shadow screen dropped to reveal what we called a rock concert back in the day. With Sean Kinney pounding the skins and Mike Inez on bass; an incredibly tight, awesomely loud vibe filled the room at Dodge. I’m sure that had a lot to do with the fact the pit chairs were removed for Standing Room Only GA Pit admission. Something we almost never see anymore.
Jerry Cantrell’s definitive guitar sound and new vocalist William Duvall let us know immediately that Alice In Chains is back in full force. That was a big relief, as I’m sure many of my fellow concert-goers were unsure that AIC could rock like they did before the loss of frontman Layne Staley in 2002.
Opening with old, familiar tunes brought even the seated crowd to their feet, where they stayed all show. Familiar material dominated the first half of the show before they threw in new material from Black Gives Way to Blue at us. even though the new stuff was unfamiliar to me I can tell you it kicks ass. William has a great voice for rock in roll, though he did let us know he was “sick as a fucken dog”. That definitely accounts for his voice tiring a bit near the end.
Like I said above, this was definitely a rock concert. Moving lights were the order of the day. Looked like perhaps a mix of Vari-lites and some cool new stuff from High End Sytems including three DL-3 projectors and some fancy LED automated wash luminaires. I’ll have to see if Mike Baldassari can give me specifics. Update: Mike did get me some specifics. I was wrong on the Vari-lites. The majority of the movers used were actually Martin MAC 700’s. I knew something was different about their shape, but I didn’t grab any pictures – sometimes its hard to guess make/model numbers by memory.
Those DL-3’s are ultra-cool little units. They look like a standard moving light, but they pack some secret weapons. Namely, the ability to project and shoot full motion video. That means they can film the band and project them on any surface they can reach. They’re bright, so they can reach just about anything in the theatre, too.
Concert audio was supplied by the standard Dodge line array system (not sure of manufacturer – EAW perhaps? I’ll have to ask the guys next time) which, for the most part, sounded great because of all the standing people really tightening up the bass. It had some fleeting moments where the high mids broke up slightly and I’m starting to wonder if perhaps my “usual seats” might be a “weird spot” for those frequencies in particular, or if the system could use just a tad more headroom (insert standard soundman joke here).
All in all it was another great concert at Dodge Theatre. As usual, we took the light rail down there and I definitely encourage you to do the same as its very convenient and costs less than parking in the garages!
~~I’m throwing some photos up on the photo page but be aware that Dodge has a policy against ultra-zoom cams so these are done with a tiny pocket cam~~
Tags: Arizona, Concert, Dodge Theatre, Jazz, Phoenix, Review, Solo, Trumpet
Sound the horns, err…horn…there was a jazz soloist at Dodge Theatre. A trumpet soloist of all things. Yeah, I know – it sounds as crazy as a cello soloist or a guy that plays vibraphone taking center stage for an entire show. Oddly, these things all have something in common. Musicianship.
Soloists like this have come to terms with the fact that these instruments aren’t solo instruments, traditionally. However, if you can establish a rapport with an audience upfront then you can entice them to listen to what you have to say whilst saying it through whatever instrument you choose.
In the case of Chris Botti, that instrument is a trumpet and when Chris plays the audience listens. Then they applaud. Sometimes they yell funny things and Chris speaks back to them. His performance seemed more like sharing music with an audience than performing it in front of them. That’s jazz for ya.
Chris is a good entertainer. In addition to the great music, he tells back-stories for songs which immediately engages you on a personal level. He also seemed to be a genuinely nice guy. Nice enough that since there were a few open seats right up front he had his crew round up some young musicians that were seated in the back of the venue and escort them to prime viewing and listening area so that they could experience music up close and personal, rather than via the internet. That’s cool. Jazz guys are like that…nice and cool.
Now, I don’t claim to be a jazz aficionado, in fact I don’t even know if jazz listeners like the word aficionado…but this guy is good. His band consisted of Billy Childs (piano), Billy Kilson (drums), Mark Whitfield (guitar), Tim Lefebvre (bass), and Geoffrey Keezer (keyboards). They were all spot on. The guest vocalist Sy Smith, aka @syberspace on twitter, and violinist Caroline Campbell were awesome. The sound man understood the nuances and dynamic range of the band he was dealing with and had the sound dialed in very nicely. The light show was nonexistent, which is par for the course at a jazz show, so no qualms there. However, the follow spot person needs some practice.
Aficionado or not, when I get a chance to see a soloist perform, I definitely check it out. No matter what the instrument, you can bet that if someone is backing a nationwide tour that there is probably a good reason. That reason is almost always great music without any frills. You can never go wrong with great music.
Tags: Dodge Theatre, Livenation, Orchestra, Phoenix Symphony, Rock
Another night using the light rail to get downtown to Dodge Theatre has passed. This time it was to check out the music of Led Zeppelin and Queen with a full rock band and the Phoenix Symphony.
The show was pretty amazing. Symphonic rock bands are nothing new, but it’s always nice to go see and hear a symphony without having to get all dressed up beforehand.
I’m not sure why this is at Dodge and not Symphony Hall, but since I have season tickets to Dodge it worked out well for me. As well as can be expected without the orchestra in a proper pit anyhow. It’s really difficult to capture the nuances of an orchestra when a lot of their sounds are being sucked up by stage curtains and overshadowed by a lead guitarist. Don’t get me wrong, the guitarist was very good and has obviously spent a lot of time recreating the exact tones of Jimmy and Brian but last night’s performance was a little harsh on the ears in the high-mid frequencies. Not sure whether I should blame the player or the sound engineer there. Either could have alleviated that problem.
Conductor Brent Havens did a great job, considering he is touring around and working with a different group of musicians each day. He was also kind enough to step aside at one point and let an audience member come up and conduct a song! Her name was Morgan, and she did a pretty awesome job for an amateur maestro, so props to her.
The show is divided into two parts. The music of Queen and then Zepp after an intermission. All the players remain the same except for the lead singers. Randy Jackson does Zeppelin and Brody Dolyniuk fronts the Queen portion of the show. At one point electric violinist, Allegra, joins in on the fun. Powell Randolph, drummer, even pounds the skins bare-handed Bonham-style during the obligatory Zeppelin drum solo.
Lighting and sound were minimal, but adequate. They tossed in some good effects from the movable lights, and did some nice guitar panning during key points of guitarist George Cintron’s shining moments. The audience even showed its knowledge of symphony protocol by providing standing ovations a few times, and remaining seated the rest of the time. Of course, we all stomped and clapped along at the appropriate times and a few even brandished lighters, not cellphones, during the last song. That was a welcome sight. All in all – it was a pretty good show and I’ll definitely check it out when it tours again.
Tags: 3D, Avatar, Digital, Dolby, Film, Glasses, IMAX, Modern, Polarized, projection, Real-D, RealD
Let’s get one thing straight right from the start. I’m talking about modern 3d Cinema here, not the old-school stuff with the different colored lenses, nor some DVD you are trying to watch on your home television.
Modern 3d, a la Avatar, is done with a little more finesse nowadays. 3D nowadays is usually done with polarized lenses, not colored jobbies. Yes, polarized, like a camera filter or those cool fishing glasses that let you see into the water. Same idea. Every company has a slightly different take on it…this is how patent lawyers stay in business.
The differences are in the details.
Real-D uses a circular polarization. That gives the benefit of being able to maintain the third-dimension illusion if you tilt your head. It’s digital. It uses one projector. Movies can be transmitted to the theater, or sent on esy to transport and store materials. That means its relatively cheap to upgrade a theater to incorporate. It also means that a theater must use a silver screen (as opposed to current tradition of white) for the best effect, otherwise too much light gets lost and the movie gets dark. The big advantage to us is: it’s sharp. No dust bunnies on the film, as there is no film. The disadvantage is, its just a bit higher resolution than your HDTV and its way bigger.
Traditional IMAX…uses really big film. 70mm film, but it is shown sideways as opposed to vertical, so it has a massive area. It is 15 perforations wide, as opposed to the 5-wide it would be if it was vertical. See…BIG. That means BIG Screens (5 or more stories high and 7 or more stories wide). That also means big equipment like forklifts and specially trained personnel to work all the fancy gizmos in the projection booth. Of course, that means big overhead expenses – hence big ticket prices. Disadvantages to the audience, besides high prices, are: you can’t tilt your head and maintain the illusion. If your theater uses fancy electronic shutter glasses (not sure any still do) they are bulky (although cool from a techie standpoint). Seating is different than what you are used to. Your ankle will be at the level of the head in front of you…steep seating angles, a disadvantage if you are in a wheelchair or are mobility impaired. The advantage of IMAX? It’s BIG. It has totally awesome uncompressed audio tracks pumped thru massive multi-channel surround systems. Totally immersive. It’s on film. Resolution is NOT a problem.
Multiplex IMAX (referred to by some as minimax or LieMax) is a new creation. Some are digital, some are true IMAX film. The system is designed to retrofit multiplex and mall theatres. The screens are NOT massive like traditional IMAX. The seating is somewhere between your normal theater and the highly-raked traditional IMAX. The price is probably more than a competing 3D format across the hall, maybe as much as a traditional IMAX. If its a digital IMAX, it will use 2 projectors, rather than one. This may be brighter than the competitors in theory, but has some drawbacks in actual practice if things aren’t “just so”. Still can’t tilt your head, due to the linear polarized glasses IMAX likes so much.
Dolby 3D: Similar in concept to REAL-D, with some minor technical differences…you can look up more details yourself if you really care to. Keep this in mind…Dolby likes to patent processes. They have a certain way of doing things. Those things have a way of sticking for the long haul. Tape recorders ended up with Dolby C and/or B, your A/V receivers at home have Dolby Pro Logic or Dolby Digital, or those plus Dolby-“whatever”. They become the standard in a lot of media applications! James Cameron used this 3D format at the Avatar world premier (although tweaked a bit from what you might find at your local multiplex). ‘Nuff said.
Xpand 3D: Don’t know what to say here. Haven’t seen it. The Hollywood Arclight Dome (a favorite amongst movie buffs) is using it for Avatar with mixed reviews. Not sure how astute or trustworthy those reviewers are. Word has it that Disney, PIXAR and ILM have this sytem in their screening rooms. I wouldn’t count these guys out just yet. I’m sure Lucas is working on a way to try to one-up Cameron…so…keep your eyes on these guys. Keep in mind that REAL-D has an immense foothold on the majority of current theatres…but that’s not to say that this one won’t sneak into some “premier” locations…heck its going thru a trial by fire at the Dome as we speak.
Digital 3d: Anybody’s guess as to what’s driving this generic stuff. One local theatre chain here is using all-digital Barco projection equipment that is getting rave reviews and the theatre tells me the 3D system there is made by Imagemaster. Seems to be a REAL-D-like system made by a small upstart company and is cheaper than any of the “big names”.
So, now that you have a primer…go see Avatar, again. See it differently than you saw it last time. Back in the day Lucas marketed THX with “The Audience Is Listening”…well…when it comes to 3D formats nowadays, the Difference is in the Details. The levels of brightness and immersiveness are something you have to experience for yourself. I personally love traditional IMAX with its ultra big, ultra bright film, ultra-enveloping-sound but I really enjoyed the way REAL-D drew me into the film, rather than thrust it out at me.
Tags: 3D, Audio, Avatar, AZ, Camera, DigitalIMAX, Dolby, FUSECamera, Glendale, IMAX, JamesCameron, Movie, RealD, Sony, THX, Westgate20
Consumers, film buffs, home theatre aficionados; take note. You can bet Hollywood has. James Cameron has produced a “game-changer”. Yes, he also wrote it and directed it – but all in all its more of a production.
What’s a game-changer? Star Wars IV A New Hope (the first, original one was). Jurassic Park was. The Abyss (also a Cameron film) was to a limited extent – the extent that there was a lot of cool stuff filmed underwater. Star wars changed the game with never-before-seen visual FX (light sabers and blasters come to mind) and created a standard for audio presentation (now known as THX) unlike anything the world had heard before. Jurassic Park did it with lifelike dinosaurs that scared the **** outta you and ushered in a new audio era (known as DTS) among other things.
Avatar does it with…3D. Not your normal 3D. Revolutionary 3D. Game changing 3D. Believable 3D. Real-D, IMAX 3D, Dolby 3D…it’s available worldwide in a number of 3D formats…take your pick. Each has ins and outs…but behind them all lies a revolutionary camera system developed by Sony at the request of Cameron. Its not a film camera – but an HD video camera on steroids. It can use video standards, or film standards for how many frames per second it can capture. It’s light and mobile and can be mounted just about anywhere. It fits on a Steadicam mount. It has two lenses that can move independently like human eyes. It films in 3D. I don’t know all the specs but suffice it to say after seeing Avatar tonight (in Real D)…IT KICKS ASS.
There’s other ultra-cool tech that Cameron developed/employed here like real-time viewing of green screen stuff, where the actors are being filmed with green screens and he can see them in the virtual world onscreen as he films it. There is the cool underwater photography he is so good at. There are CGI worlds created that only he could visualize (or artists could draw because they have seen his underwater documentaries) containing amazing bioluminescent flora and fauna.
Apparently, James also knows when to say when. After all, he’s writing, directing, and producing – all while revolutionizing…sometimes you gotta delegate. Need a creature designed to meet your vision? Call Stan Winston Studios. Need excellent audio? Skywalker Sound is the place, they can master in Dolby and/or DTS. Need visual FX that are game-changing? Yep. Industrial Light & Magic. Got a few other things like makeup, design, models, weapons and such that need some awesome creation and detailing? WETA. Wanna show your 3D creation to as many people as possible?, Turn to RealD. Need to show it to cinephiles REALLY REALLY BIG…let IMAX handle that. No stone is left unturned. All the bases are covered.
Look for my reviews on the optical tech behind this shortly. Then we will cover audio stuff, if anyone cares. I’m sorry to say I didn’t catch who was behind craft services during this…you’ll have to look elsewhere.
In the meantime – just remember – all the 3D formats are propietary – so don’t bother to bring along the glasses from the last film to your next viewing…I know Avatar has a “green message” behind it all – but it apparently does not trickle down to eyewear.