Edward Powell
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my gig last night...
http://www.youtube.com/watch?v=uWnS2e6fhho&feature=player_embed...
...sorry for the bad vid quality.
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Sazi
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Nice big deep sound you have there, any idea what the signal chain was? (mic, pre, etc)
Is that the same instrument you had trouble with in Cairo?
well done Edward.
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Edward Powell
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HI Sazi
Yes, same instrument as Cairo. . . . finally the oud part is sounding kinda cool - however I admit that it is working best when plugged in. I am
still not super keen on the pure acoustic sound, therefore I am now slowing building a new design.
The had 2 mics, condenser, and dynamic, and I gave them a DI which I have a KK system with interior mic and piezo. The sound engineer was TERRIBLE!
The monitor sound was a disaster... but I think out front it was passable. Just next to the stage was a huge fountain - providing tons of background
noise :-) ...and I went on just after a 5 piece electrified kick-ass Salsa group!
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Sazi
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Quote: Originally posted by Edward Powell  | | The sound engineer was TERRIBLE! ... monitor sound was a disaster... a huge fountain ... tons of background noise :-) ... 5 piece electrified
kick-ass Salsa group! |
I think the sound engineer was DEAF! 
Definitely!
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Edward Powell
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thanks bro...
it is amazing how much it matters to have a good soundengineer - even for a solo concert!
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myeyes2020
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real cool Edward!
In your experience ( or anyone elses), what's the best way to amplify the sound of the oud in an auditorium or similar setting that captures the
highest quality oud sound without all the feedback issues?
Adel
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Edward Powell
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The best way is with a condensor mic in front of the oud. This gives the best sound.
What I do, and this is totally because of possible feedback problems, is to also use an interior system consisting of an interior mic, and piezo. This
is a great system made by K&K. It allows you to adjust the output volumes of the interior mic and piezo separately.
So you leave the exterior mic in the hands of the soundman... and you also give him some of the interior mic, and just a little volume on the
piezo... if the feedback situation becomes bad then you can give more of the interior mic - - - if you are playing with a Rock group then you might
have to rely 100% on your piezo (which will not feedback), but piezos do not sound very realistic.
You might want to start a separate thread on this topic?
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myeyes2020
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Thanks Edward!
very helpful
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Edward Powell
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...good luck. The main thing to remember is that an oud sound is very delicate and can only be amplified in the ideal way when you are in a very quiet
situation. Otherwise you will always be compromising tone to a certain degree to reduce feedback.
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spyros mesogeia
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Schertler products,
For me they are the top for profesionals on oud,and ofcourse the microfon,with a very goud sound engineer.
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Edward Powell
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...yes, this is really the MAIN INGREDIENT... however, very very rare!
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myeyes2020
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| Quote: Originally posted by Edward Powell | | ...good luck. The main thing to remember is that an oud sound is very delicate and can only be amplified in the ideal way when you are in a very quiet
situation. Otherwise you will always be compromising tone to a certain degree to reduce feedback. |
yes, I'm learning this the hard way through the school of hard knox.....lol. It becomes more of a challenge when we add percussion.
thanks guys!
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spyros mesogeia
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You are welcome Adel
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mrkmni
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Good gig Edward.
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Edward Powell
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another gig on Sept.24 in Prague.
http://www.youtube.com/watch?v=fXwxjAByaDk
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Sazi
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I like it! Is that your own composition?
Handy being able to change instruments/sounds at will without having to put one down/pick up another, I like the variety and freedom there.
One thought came while I was listening though,- when the violin did the instrumental/improvisational bit you seemed to dig in and get louder on the
oud, masking the violin a bit, where it would have been better to drop back a bit, play a little softer in that section so as to lift and draw
attention to the violin, and it would in turn lift your own impro section.
Minor details though, only realized after the fact...
Keep on keeping on
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Edward Powell
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Hi Sazi
Thanks so much for your feedback - it is great to know how others perceive what is going on in the music. Yes, I hear you about the dynamics, although
in fact the way it came out was intentional - it was not meant as a violin solo but rather a kind of shared improve where I would hold a powerful
funky groove, and he would noodle around on top  ...it is REALLY nice and very
UNEXPECTED to be told that I am actually "too loud"! This is always something I've struggled with with violin players who normally just seem to drown
out everything (in the high range). Ivo is great - very gentle and dynamic. It is almost like he can accompany me with a SOLO. Sort of like what was
happening here.
Yes, this is my composition (only a small fragment of it however). It uses makam ussak and raga bageshri.
- - -
here is a gig we gig on Sunday in a church - without amplification also.... you can hear how normally I am way too quiet when there is no mic. What
u think?
http://www.youtube.com/watch?v=hbNLcjDyAMs
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Sazi
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| Quote: Originally posted by Edward Powell |
here is a gig we gig on Sunday in a church - without amplification also.... you can hear how normally I am way too quiet when there is no mic. What
u think?
[url]http://www.youtube.com/watch?v=hbNLcjDyAMs |
[/url]
Ok, since you ask... firstly, I really liked it, 
Also, you arranged yourselves with you at the front, and the drums at the back which is where you need to be from an audience perspective, and I know
what you mean about the volume of a violin!...
I can only offer a personal observation of what has occurred with some of my own ensemble playing... I noticed after listening back to a radio show a
cellist friend and I played on that as we were playing the same thing, and sometimes in the same register, the two sounds blended together and it
became difficult to hear the instruments separately as the attack and decay of the oud was lost in the sustained bowing, so I find that being on
opposite sides of the sound-stage really helps with the separation and definition, though I realise that is a personal preference and others may wish
to be close so as to hear each other despite sometimes over-zealous percussionists... my pet hate
I'm really glad my bowed string player leaves his violin at home and plays sweet joza.
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Edward Powell
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exactly.... I wanted the violin as far away from me as possible, but he insisted he needed to be right there because he needed a light for his music
stand and that would have been difficult on the other side of the stage. Our last gig as a four piece http://www.youtube.com/watch?v=1bE_FikJ9eA our better percussionist was right beside me and therefore we could "groove" together and bounce off
eachother very nicely - but in the church he couldn't hear me to this element didn't happen UNFORTUNATELY! yes, member on stage placement is super
important... and I really really need a mic. I gotta make that a requirement as much as possible from now on.
also, yes, I wish for a more mellow bowed instrument rather than a violin....
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Edward Powell
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...fun gig last Saturday in Victoria, Canada... with Niel Golden (tabla, hang)
http://www.youtube.com/watch?v=XSsRdH15164
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