Steve Ball Road Show Photos

PHOTOS Steve Ball Road Show 1999 back next
photo: SB	walter harley sound hero Some personal observations on the KSER gig: We arrived 7:30ish, early enough for a leisurely and uneventful setup of personnel and equipment. There were correspondingly few last-minute equipment failures, missing guitar straps, et cetera. By about 9:30 the band was satisfied with the monitor system and room sound and was fully focused on preparation for the performance; by about 9:55 the same was true for me, the sound engineer. This was more smooth than I expected. It was extremely helpful that the band already had an idea of where to set up and did so without involving me. The performance commenced with introductions, conversation between Peter, Dawg, and Steve, and comments by Steve on the pieces which were about to happen. My perception was that this was not particularly intimate; it felt canned and was not different from other live band interviews on the radio. Interestingly, I don't recall how much of this conversation was backed by loops from Dean; so, my perception may just reflect my own eagerness to start performing. During the musical portion of the performance, the energy and the quality of the performance was thrilling. As a sound engineer, I felt myself to be in extremely intimate contact with the music; possibly this is the most intimate one can be with music unless one is sufficiently skilled as a musician to be able to play one's own part while still fully hearing all the others. In the role of engineer I am required (and empowered) to know what musical part each individual is playing; but I am also simultaneously required to place it (literally and actively) in a musical context. It took considerable concentration for me to focus on mixing the sound rather than just listening: it is hard, upon being presented with one appealing combination, to consider others - what will the music sound like if I emphasize a different part of it? I chose to present the musicians as though they were playing in a medium-sized room, standing in a circle. Which they were. The individual musical performances were, I thought, more precise than during the rehearsal on the preceding Wednesday, which I had observed. The ensemble performance struck me as that of a well-practiced group having fun by doing something well, but it was also graced by the presence of Music. My main experience, which only occasionally intruded on my ability to do my job, was that of awe and wonder at that presence. Thanks, guys. -Walter Harley
photo: SB	JT Milhoan mgmt and support My observations about the KSER live performance were very similar to Walter's. Load-in and setup was efficient, mostly due to the performers' preparation. I had the feeling they had done this before. I opted to stay out of the room to conserve space, temperature, and oxygen. I also wanted to address anything that might come up outside. There were two callers, possibly the same person. The first caller said Steve was too quiet. The second caller said Jaxie was. Dawg said although the signal was getting out, the difference between quiet (speaking and playing) and loud passages was very dynamic. One moment the meters were slightly moving, yet he had to be careful they weren't pegging a few seconds later. The conversations sounded slightly prepared, but not overly prepared. It came across just fine. There were moments when other performers were brought into the conversation. This probably brought the listeners a little closer into the performance. This was the first time I saw this group of performers in this configuration. It worked very well. The interaction and energy between the players was great. This was also the first time I saw this group perform at a radio station, for a live broadcast, and through glass. The glass was a physical barrier, though that sense dissolved immediately. At the same time there was a lot of intensity within the room I shared with Dawg and Falcon that only a few of the performers may be aware of. In situations where I am familiar with the performers and material, and am biased, I like to observe other people to view their unbiased reaction. Is it the same as mine? Stronger, positive, indifferent, etc.? Considering this, it is amazing when you are so immersed in the performance that the audience snaps you out of it to remind you where you are and what just happened. Some paraphrased comments in the booth as The Boxer faded were: "Oh, man..." "Everytime I hear this I feel like history is being made." "Yeah, this is the real thing. This is art, happening right now, in THERE!" I couldn't agree more. Similar comments continued throughout the show and after we left, while driving home. -JT Milhoan
photo: JT Milhoan	sbrs post show pose KSER 90.7 FM October 1, 1999
photo: JT Milhoan	sbrs std photo procedure (see twilight cd)
photo: SB	sbrs warming up bob, curt, jaxie
photo: JT Milhoan	sbrs warming up steve, jaxie greenthumb reminder
photo: SB	dean jensen ambient guitar
photo: SB	bob williams bass
photo: JT Milhoan	turn off that flash jaxie's studio tan curt's studio burn
photo: JT Milhoan	peter dervin & sb post show logistics
photo: SB	peter dervin dj hero
photo: SB	dawg (and friend) dj hero
photo: JT Milhoan	set list pre-show warm up
photo: SB	curt, chips, and bob mid-show break
photo: SB	bob and dean thinking about covering 'the lamp' from start to finish
photo: SB	strike KSER 90.7 FM October 1, 1999
Set List Greenthumb Ballistic Boxer Back in NYC Message in a Bottle - break - Beehive Hollow I am (not?) in Love Gravity Love Song
� 2002 Steve Ball