Performed by 'Dr.Didg' at the 'Good Times' Brew Pub 9/2 1998 in Eugene, Oregon
Graham Wiggins (former 'Outback' member) on Didgeridoos, Keyboards, breath-controlled Synth, Melodica ........ Ian Campbell on Drums & Percussion ........ Mark Revell on Guitar .......... Tim Harries on Bass.
Visit Dr. Didge at http://www.drdidg.com/
Dr. Didge's album "Serontonality" is available from Rykodisc at http://www.rykodisc.com
Massive Bass & Hypnotic Dance rhythms with Didgeridoo acoustic loop'd sounds played to a mostly dance-floor-bound small crowd of under 150 people. Lots of crowd sounds from all around having a great time conversing and/or dancing. Overall, an excellent and rich surround sound ambient in a small pub environment that was almost half dance floor, filled with dancing people.
Unusual stage feature was a large 'Double Garage Door' wall and exit door to the band's left that were fully opened to air into a courtyard with another 100+ person seating area
Unusual PA system was a single 'Mono' virtual wall of 4 large 2-way horn type speakers facing into the dance floor and into the pub table seating & service area, but at a distance left-in-front of the band on the left perimeter wall, facing into the dance floor at 90 degrees to the bands view .
The PA mixing board was situated at the very end of the seating area mostly directly facing the speakers and with a view of the stage on the left; at about the same distance to both. The PA mix was an excellent combination of the bands instruments & stage amps with the PA, which was used only for the Didgeridoos and Synth.
The DSM Recording was done at a position directly in line at 18 feet from the mixing booth and 20-25 feet from the band/PA.
- Recording Equipment:
- Sony TCD-D100 DAT with MOD-2
- Sonic Studios DSM-6S/L Mics; Headworn on Eyeglasses
NOTE: Dr.Didg is a purely instrumental group with no vocals and I wish that more live PA'd sound was mixed like this! That is, using the natural stage sounds of the group as primary sound to the sparingly added 'PA fill' necessary to complete hearing all the 'acoustical' sounds of the group equally well. This is easily practical with audiences of under 350 persons where drums/percussion is NOT mic'd for PA boost.
Upper
range frequency equalization is often needed after making a recording
with true pressure omni microphones like the DSM. DSM mics
have an even frequency response without always having a common fixed 'far-field
peaked mic equalization' that is correct for only certain distances and
ambient conditions. 
