00:00:00: Hey there, my name's Usheen Loni and welcome to Audio Talks presented by you by Harman.

00:00:05: Now this is the podcast where we explore how sound shapes culture And this series is actually going to be a very special series.

00:00:14: This entire series, it's at JBL.

00:00:17: Takeover!

00:00:18: That right my friends as JBL celebrates eighty years of audio excellence... ...this entire series of audio talks will take look back eight decades of powering voices across studios screens stages and our everyday lives as we all know so well.

00:00:35: Now, we're also going to be looking forward of course at what's next the immersive audio innovation.

00:00:39: but this series is gonna be a treat.

00:00:41: buckle that chin strap now.

00:00:43: today We are going to diving into one of the most fascinating evolutions in live entertainment how concerts became cultural movements.

00:00:52: These days, fans aren't just attending shows.

00:00:54: They're entering fully realised worlds complete with narrative arcs costume themes community rituals and immersive production environments that rival film and theatre.

00:01:04: now to help us unpack this fascinating shift we are today joined by Stu Hume the managing editor of Total Production magazine who's been in The Frontlines covering their creative and technical breakthroughs behind Today's Megatourists.

00:01:18: welcome to the podcast.

00:01:19: you

00:01:19: Thanks for having me

00:01:20: And we are absolutely delighted to be welcoming back In this episode, we're going to be having a look at the complete spectrum and look how live music became a cultural force.

00:01:56: So let's set the stage, set the scene it's Act One, Scene one And were gonna look out how concerts become a cultural phenomenon.

00:02:04: Now Stu Total Production magazine has of course covered The biggest tours in world from Taylor Swift eras To Beyonce renaissance.

00:02:12: From your point view when did concert shift from performances into full-blown cultural movements.

00:02:19: It's funny when you look back at the history of live shows because especially where we're right now, but if I was to pick one show that is still referenced Now it would be U twos free sixty show and its a time like even...I mean..it was back in i believe two thousand nine.

00:02:40: but the fact is we're kind of like several decades and it's still referred to in terms a pinnacle, stage design something that people are still referencing.

00:02:48: It had such an unique look And it seemed to be a real turning point from when you have a show at the end of your room or stadium To a point where you made a real immersive show.

00:02:58: There was not saying these theatrics or bombastic stages didn't happen before But there did seem to be bit of a turning point.

00:03:05: And you look now at shows, and we've just had a whole summer of very big stadium show she mentioned.

00:03:11: I mean obviously Taylor was here before but Beyonce... It's all these shows that… Just having a show which is kind of like the stage in the room almost doesn't cut it anymore!

00:03:20: That what every artist are looking for.

00:03:24: shows that have catwalks go out and kind of like immerse the crowd in audio, immersive lighting.

00:03:29: And it's going on one stage beyond.

00:03:32: so yeah I think...and then you also look at how production is where we're gonna see my wheelhouse played a part in it if you also looked at the development moving lights.

00:03:41: So when Genesis first brought up The Very Light i think thats another point were you are kinda moving away from classic the Queen Look, killer queen look parkans behind you all this sudden Moving heads.

00:03:54: suddenly a stage is more than just like, A place they perform.

00:03:57: It's a place that moves and reacts And kind of the audience can really experience it.

00:04:01: rather then Just The artist being in the center stage Is also moving world as well.

00:04:07: So I think That would be another point you'd have to include In the history Of cultural movements And becoming More Than just show More Then just Abandoned Stage.

00:04:17: Really

00:04:18: I love that reference.

00:04:19: And yeah, you too my goodness what pioneers?

00:04:22: I saw them had the great pleasure of seeing them in Las Vegas when i was over there for CES and got to see their YouTube VR show it jaw-dropping.

00:04:32: It was so beautifully done at Sphere, of course.

00:04:35: and yeah I know exactly what you mean but that is great to put a pin in it from that point onwards.

00:04:40: But coming over to your good self role now obviously You can see things From very much the pro engineering perspective.

00:04:48: Now Can you take us through how Harman and JBL have really seen The expectations for A concert or What a concert means nowadays?

00:04:56: How has this evolved as artists have been moving towards these multi-act narrative driven immersive productions?

00:05:03: Yeah, let me backtrack a little bit to Stu's answer which I love.

00:05:09: You know your original question talk about these events being cultural moments.

00:05:14: right and to me i like to go back probably to Pink Floyd with their quad systems because if you...you know which were JB allotted Turbo cabinets, turbo sound cabinets.

00:05:27: And so this was decades ago and they're scenic elements you know?

00:05:34: The concept of we are going to put these quads system around the audience is like what are we doing?

00:05:39: I mean obviously from a cultural moment... You could go back to Woodstock if you wanted to have a cultural movement right?

00:05:45: I think us humans always want it be in community sharing same experience Right!

00:05:51: So maybe that's rather We had this conversation on a previous podcast about the impact of Woodstock and their entire future of concerts.

00:05:59: But we have seen how you go back to those original quad-concerts, things that always been pushing into getting the audience... ...to forget where they're at?

00:06:12: In other words, How do we make the environment you are in disappear?

00:06:15: You know it could be as extreme as what we see out here which is completely audio lighting video immersive.

00:06:23: If you have Vertigo, it's probably not a good thing.

00:06:26: Or we were talking about all of these shows where there is Roger Waters or Enrique Iglesias who are having this show, Harry... All the great walkways to the opposite side of the arena Where they're going to have an A main stage along B stage and C stage which is completely opposite with those intimate moments you know, because the artist wants to be that close to the audience and so it presents a big challenge for technology.

00:06:57: Because You have to provide constant clear pristine audio at all times regardless of where the artists chooses us go.

00:07:06: So it imposes challenges you know, I would think ten years ago.

00:07:10: maybe we're very difficult to execute on.

00:07:15: You are always going well...you cannot hang that many speakers and video walls or much lighting.

00:07:20: the building will not just... nowadays things get in agile!

00:07:24: You have lights that project videos..you can do lighting create complete immersive spaces ..you have loudspeaker systems.

00:07:31: now with digital signal processing completely change the coverage of audio.

00:07:36: So it's something that from our end at Harman, we have to be continuously vigilant of technology.

00:07:46: And more than that you had to be willing push the envelope and edge-of-technology to propel things forward.

00:07:53: because ultimately this is an environment where people went into a theater play developed sometimes by actual play.

00:08:02: so now they go on concert And people already have surround systems at home, so the very basic of that has to be delivered.

00:08:10: People go well.

00:08:11: you know I want this sound like if i'm in my living room.

00:08:14: You know

00:08:15: and I love.

00:08:15: obviously.

00:08:16: say it now because you're mentioning kind of the quad system a pink Floyd.

00:08:19: but Now these and I'm sure there's a conversation we get on too.

00:08:22: But when talking about cultural movements?

00:08:27: because everyone is like and we've seen that you know when there has been kind of audio problems, it's already online.

00:08:34: It's so unforgiving for the engineers having to be on whatever discipline they're working in?

00:08:43: No absolutely So yeah!

00:08:45: We can talk about shows like this.

00:08:47: obviously I think at the top end.

00:08:49: where we are seeing right now for example is Fear.

00:08:51: You can see Radio City adapting a new completely immersive system.

00:08:55: So we're seeing that more and more, We see it quite a bit on the installed permanent site projects.

00:09:02: by now you know that Harman owns one of the premier Immersive engines called Flux And-and we have been deploying that into A lot of install projects!

00:09:12: Y'know The challenge with production, y'know Turing shows if you will is That...is they cost?

00:09:19: And this speed to which you set out if you're doing a one night concert, If You are Doing A Residency Or A Multiple Night Stay Even For A TV Award Show.

00:09:30: I Remember Working On The American Music Awards A Few Years Back Where We Set Up A Complete Atmosystem Hanging Big Clusters Of Lots Speakers From The Ceiling of the Microsoft Theater And It's Like Okay Some These Award Shows Are Moving Towards This Immersive Experience Just like people at home are getting starting to put atmosystems at home.

00:09:54: Yeah, so it's important that we don't stay.

00:09:57: We're not behind work.

00:09:58: kind of you know going along all these.

00:10:01: You Know new technologies.

00:10:04: but its funny say as well because I feel All everything you said completely correct in terms of the touring side of things?

00:10:10: The expensive and they kind of logistics have kind of doing a system.

00:10:13: I think the other big problem is that you're re-engineering mixes with stereo.

00:10:18: And I've been to so many shows where they have started to mess around with the idea of immersion, what could it be?

00:10:24: My personal opinion when it comes to real innovations in production... You gotta look at dance music EDM because here's my mix but i already think about this as a Large soundscape anyway.

00:10:37: Yeah, if you're a band maybe less and be will sound experiment But I think we there's still couple years away.

00:10:42: because when now needs it You know the bands to go way write whole new album with the idea that It's gonna sound different live And i think That was going but is really exciting Because all of a sudden what?

00:10:52: We're talking about The benefit of Still having live shows all of A sudden.

00:10:55: There Is more.

00:10:55: yes you can as you say you Can have an atmosphere at home you can Have.

00:10:58: you Know you can have headphones that can create immersive mix for one Way or another but you want To Go to that show because they've.

00:11:04: They've done a whole album written for the immersive space.

00:11:08: And I think that's what was really exciting as well,

00:11:10: absolutely from the creative side of The Artist in recording and mix process.

00:11:15: That kind of comes in.

00:11:16: but also now for bands are re You know like For example if you go see Kenny Chesty right when he was on his fears?

00:11:23: i had A long conversation with my old friend Robert Scoville Who is probably one Of the premier front house mixing engineers that adopts and loves Immersive.

00:11:34: The challenge is very significant to actually transform your, like you were saying.

00:11:40: Your stereo or maybe your left-center right mix into a fully immersive object mixing type process and he goes... You have to kind of start over in some respects.

00:11:52: how do you do that?

00:11:53: And I think we're gonna see it as the technology evolves As we create more tools to facilitate the process.

00:11:59: both creative processes for new music will include from the gig.

00:12:04: I mean, if we think about it right?

00:12:05: We started with mono and then somebody said what did we do?

00:12:08: two tracks can we do in stereo?

00:12:10: And then somebody you know a thing was Les Paul.

00:12:13: they say how about he would go multi-track.

00:12:15: Then here we are now where beyond gazillion tracks You have the ability to just grab groups of instruments put them somewhere In space which is like yeah

00:12:28: I love it a bit.

00:12:29: so come along way since dear friend previous podcast guest, Bill Hanley was actually building those cabinets at Woodstock.

00:12:37: sixty nine by hand with JBL components and putting a block of ice on top of the optical compressors.

00:12:42: And really flying by their pants.

00:12:45: we've come along way very quickly when you think about it.

00:12:48: but I love all other things you were talking about there how they're.

00:12:51: concert experience is influencing that in-home experience and have that kind of lifting tide of quality an immersive potential as lifting all the boats.

00:12:59: But i'd love to go back point around narrative driven live experiences.

00:13:04: Because I'm wondering from your perspective, Stu.

00:13:06: obviously you spoke about some of the things that you're seeing in the magazine and a lot of other things you are covering?

00:13:10: And have been covering since they were twinkling an audio designer's eye.

00:13:15: talk to us how cinematic storytelling is kind the live music experience from the tech side of things.

00:13:23: You've got multi-ax structures, you've got character arcs...you've got new things happening in live music.

00:13:29: and how does this influence from your point of view their production disciplines that you cover?

00:13:34: From things like set design to lighting to audio.

00:13:37: How is it kind of move towards cultural events changing the production landscape?

00:13:42: Yeah so its interesting.

00:13:44: I think if we speak If you lead to a lot of line designers, especially ones that are kind of veterans of the industry.

00:13:49: Many of them did come from a theatre background in one way or another and they would probably always argue within their stage show designs even when they had limited tools at the disposal where it was the days of parkans and gels... That they would have always had narrative arcs as a theatre production.

00:14:06: And then obviously you've got mentioned Pink Floyd.

00:14:08: You've got those more theatrical shows which were always said To One End Another.

00:14:12: We've Always Had This Free Act Structure But I think in kind of a point as making before with like artists always looking for the next thing and what they can do, What we saw.

00:14:21: In big way almost say ten years ago there was when artist were like i want something else from my show And you assigned to see actual theater stage designers.

00:14:29: creative design is jumping over To live touring because everyone's looking at someone knows that but seeing that show Can get somebody completely new?

00:14:39: One production which stands out is Sam Smiths.

00:14:42: I think it was The Frill Of It All Tour.

00:14:45: I think that was the name of it.

00:14:46: It's just, i think The James Bond Song had come out so around that kind of era and whole show is based on this triangle at end to stage which opened up into various parts like a flower then final reveal singer on top of stage amazing but very theatrical in every aspect.

00:15:07: they got Jason Sherwood who he was broadway set designer no anything live touring.

00:15:14: him and Sam had a relationship in one way or another, kind of they knew each other.

00:15:17: So I said can you please come in and give myself something new?

00:15:19: And it was that year!

00:15:21: It did stand out from everything else out there.

00:15:24: so i think that's one way that show designs have gone.

00:15:27: changed is actually kind of borrowing from theatre.

00:15:30: these two worlds are always being two different spheres like we're rock n roll with theater... Two different things no.. Actually There Is A Middle Ground and how thats manifested nowadays is when you go to any show, not even just like kind of Madonna for example.

00:15:44: who's always gonna have this setup.

00:15:46: You will have a creative director...you won't just have front-of-house engineer lighting designer video director or video engineer and these three different departments that come together there.

00:15:54: someone at the top of it has perhaps relationship with an artist?

00:15:57: Has had their initial conversations then its trickle down effect.

00:16:01: And thats why your son.

00:16:03: to see shows are frankly more cohesive conversation, if you're talking about a big old pop show.

00:16:11: They are all on timecode as well because they want the show.

00:16:14: that is super tight and you've got in this kind of video stuff going on.

00:16:18: thats gotta go on lyrics.

00:16:19: it's gonna be to the point.

00:16:20: its gotta be so all of sudden everyone is singing from same hymn sheet cause we were all on the same time code even the audio engineers.

00:16:27: I think there was for long term.

00:16:29: some crew didn't wanna talk before like oh people think i'm cheating.

00:16:32: but no thats not the case.

00:16:34: just making more cohesive shows.

00:16:37: And then when I'm talking about theatre practices, you've always had a show called and granted some tours have had that as well.

00:16:43: But now that's almost becoming like a really prominent part of the show as well.

00:16:48: so yeah hope to answer your question.

00:16:50: That is kind what we are seeing in terms production side of things

00:16:55: Phenomenal!

00:16:55: That was interesting.

00:16:56: thankyou very much to you.

00:16:57: there were real insights from amazing publication ahead of the curve in terms of reporting on these things.

00:17:06: And Raul come over to your good self, I mean what does this shift mean from that detailed kind technical point view?

00:17:13: Are there new things you and colleagues have do with technology to deliver those experiences?

00:17:19: Absolutely!

00:17:19: The position let's say a creative producer or director for all shows is now given.

00:17:27: It's called the middle grants too.

00:17:30: The middle is really getting to the point that it's like you have a few shows on one side That are completely fully theatrical Broadway Cirque du Soleil Super theatrical shows and then maybe You still have some tours.

00:17:45: They're still the classic, you know To this space Yorg over there of the stage big PA lighting And they were all over here at the audience.

00:17:54: but that's becoming the smallest Of the roots.

00:17:57: the Middle ground is really become in larger and larger, I find.

00:18:02: And it means that for us in the technology side is we have more a greater variety of shows to attend too right?

00:18:13: The inclusion of things like SIMT timecode on the automation control there is staging where there's pop ups There are lasers fireworks all these kind of synchronization stuff that affects everything We do in our business and the technology side, because we have to then bring in technologies that may not be born out of our industry.

00:18:38: We are continuously grabbing and adapting technologies developed for something else.

00:18:44: by the way we transport digital audio or control whether it's fiber optics where there is Dante, whether it was Maddy, radio frequency technology all these things a lot at times technologies that were not developed for our industry, we need something that can do XYZ.

00:19:04: Oh you know what?

00:19:05: There's this military thing that can't do that.

00:19:08: let's adapt it.

00:19:09: oh!

00:19:09: We need a connector that is waterproof to connect the fiber.

00:19:12: okay lets get these HMA whatever and so its important in technical side are always open and always scouting other technologies that then allow the creative process to happen sort of what we can say well, We cannot do.

00:19:29: That

00:19:30: yeah I mean it's funny.

00:19:32: The one question i'd love To ask kind Of like people on the road is just Like What?

00:19:36: Was the missing person On a tour roster?

00:19:39: at the moment and nine times out of ten so many People Say we need network engineers.

00:19:43: we Need because they're creating.

00:19:46: you know It when You say boring from Well its Boring From the world of av And Its all of A sudden You know what, we almost don't need another kind of like sound expert lighting video.

00:19:55: Whatever it is We need someone to deal with these massive networks because often It seems be falling on the side of a department.

00:20:01: that's just slightly... The departments got them biggest requests ends up looking after their network.

00:20:05: But there always needs this completely different department being used by everyone Because they're becoming so much more complex as years and years

00:20:15: go by.

00:20:15: All these large award shows ports, Super Bowl type shell have two key positions now that didn't exist before.

00:20:26: One of them which has been for a little while is our radio frequency coordinator person where you're coordinating hundreds of frequencies from all the microphones to instruments and in-ears or communications right?

00:20:37: And thats across stadiums Like we just did, for example this the Latin Grammys and there were four different rooms that had events at the same time.

00:20:45: So We have a senior coordinator looking at four different events of the same Time And then each Of our spaces.

00:20:52: I had Our own network basic engineer who looked At everything?

00:20:56: We're moving audio from this mobile truck to that compound over here, our fiber and we're moving control and backups.

00:21:04: So those positions are key now in the resume right?

00:21:09: In building up of a crew.

00:21:11: so it not just that but network engineers and RF engineers who attuned into their entertainment industry.

00:21:20: they understand the level of stress when we say, We lost audio at this Dante note.

00:21:27: We have three seconds to air...we need these back up.

00:21:30: so there is you know that happened.

00:21:33: I was gonna mention not to step back into the previous question a little bit but it's interesting how.

00:21:45: hanging loudspeaker clusters all around the upper level of the stadium was a twenty-twenty Super Bowl with Jennifer Lopez and Shakira.

00:21:53: You know, so historically we have used The House system in combination with ground cards And then you producers to the event came.

00:22:01: I said We want the experience To be more impactful More concert like more like at home.

00:22:08: stereo systems Thus were going to hang all of these loudspeaker clusters, all around the periphery on the roof to give the audience this super-consecuality even if you're sitting at the four hundred level of Hard Rock Stadium in Miami.

00:22:26: And it's like okay well... This is new and now that we have gone that direction there not coming back right?

00:22:32: So the audiences are like oh no!

00:22:35: We want THAT.

00:22:36: And that's the first time it has happened in terms of... The first

00:22:39: thing is being hung all around a roof on the stadium.

00:22:41: Remember, this was something you can only do at very few stadiums and so now most of these stadiums are used for Super Bowls or stadium with roofs otherwise they don't have anywhere to hang them right?

00:22:52: So there could be some things we couldn't do everywhere.

00:22:54: It turns out that in Miami We Could Do It!

00:22:56: So the producer decided To...it adds You know..It adds an entire week to set up You know and to get it all balanced on everything else.

00:23:06: So you're seeing this kind of impact off the audio, not exactly immersive but certainly stereo Getting into that even through those sport events.

00:23:17: It's not just standard concerts or theatrical plays.

00:23:21: are things like that?

00:23:22: You were seeing these kind of permeate Everything.

00:23:24: whether you are at church Yeah Whether you are a massive sports event I think its given is very expected thing in Concert type residency or whatever that people go.

00:23:35: Yeah, I expect to have.

00:23:37: but when you go to a sports event and You got our church then i go well?

00:23:41: I didn't expect the sound To be so magnificent.

00:23:43: on mercy for what not?

00:23:45: it's like no.

00:23:46: So we're seeing that quite a bit in In hour clientele who are coming to us saying You know, I want an immersive church where these sports arena to be XYZ-immersive.

00:23:58: And so that creates challenges because it means we have to provide for example on the loudspeaker side.

00:24:04: things are very powerful and yet they're small in a light weight or like.

00:24:10: no okay technology has to kind of push into this direction Yeah,

00:24:15: and plug-and-play as well.

00:24:16: Especially when you're talking about like the most high tech kind of system in all of a sudden.

00:24:20: but it needs to be very simple.

00:24:21: just for person Just any anyone can walk off the street plug themselves in and be presenting sweet beaking talk and singing

00:24:26: Absolutely

00:24:27: Wow.

00:24:27: I mean Raul talked us a bit about The elements from the JBL Pro perspective.

00:24:32: You know your got your VTX line arrays you sub base?

00:24:35: You've got this control software.

00:24:37: How do these go into delivering that kind of High quality consistency?

00:24:43: We have a very unique interesting thing specific to, well in the basic side.

00:24:48: So we have the loudspeakers and we have an amplification system which takes digital audio on its own control software performance manager And of course...we've developed a three-D engine where you can simulate the space that's going to be in.

00:25:03: precisely It is like an architectural three D model in Engine.

00:25:07: Where actually design the room with all the loud speakers?

00:25:10: so it will be precise as How many loudspeakers do we need?

00:25:13: Where are they pointing to, how can we make sure that the coverage and sound pressure level is going be very similar everywhere you go.

00:25:21: And this all way ahead of anything being set up.

00:25:24: so I know Do i need a hundred twenty four speakers or do i need one hundred forty eight speakers?

00:25:29: You know... Do i have to put them on fifty feet in there or sixty feet in here?

00:25:32: All these decisions can made highly accurately ahead o time.

00:25:36: Well.. We have done it's little bit sort of pushing the envelope has to do with flux and immersive engine, which is that we can then take an immersive space in our Immersive Engine.

00:25:50: And actually bring it into a architectural model.

00:25:53: so you can go back-and forth where you could use a real Space and say this is what loudspeakers are going be... ...and bring them through your Immersives Engine so they evaluate their immersive audio either over headphones or maybe in a studio that you have prepared to kind of listen to your pre-mix.

00:26:12: Or vice versa, You can create space on an immersive engine and cannot bring it into the actual architectural engine and go this is where the loudspeaker should be to recreate that.

00:26:22: And then all those adjustments you made for level delay, some equalization All these things are pushed by amplifiers.

00:26:32: So that's sort of trinity.

00:26:34: Immersive modeling with architectural modeling that has loudspeakers in it into the control software is extremely powerful for us.

00:26:42: And I think more and more we're going to see that process, so now you are gonna have system engineers or a team who actually sets up this system and helps adjust its systems.

00:26:52: using all these tools to push that envelope We will be able to see them more obviously like anything else as we talked earlier in Turing shows some of the production challenges, time money logistics and whatnot.

00:27:09: But I think that for a lot other events that are residency-like or permanent types these will probably become standard process where you can actually create a three D model in space.

00:27:21: utilize the immersive engine using architectural models.

00:27:26: so we see your home studio check mix then push everything into amplifiers.

00:27:31: this would have been Impossible ten years ago impossible.

00:27:36: Yeah, it was great to acquire flux and actually have our software team developing this kind of stuff.

00:27:41: That is phenomenal.

00:27:43: Thank you Ralph.

00:27:43: Wow You've just blown my mind.

00:27:45: I mean the possibilities there with architectural modeling The immersive modelling Just incredible Stu what's your reaction?

00:27:52: To that?

00:27:53: And then i'm sure very familiar With all of these technology in how comes together.

00:27:57: but How do you think This Is Gonna overlap with the future Of These Production-minded live events.

00:28:05: We're gonna see more of this in the Live Arena, would you say?

00:28:07: Of

00:28:07: just immersive audio I mean yeah

00:28:09: immersive audio and kind of these sonic experiences designed to help tell that Kind a story into help reinforce our cultural moment.

00:28:19: think so Just because everyone is at the moment There's so much touring going on and cramming before we get into the home.

00:28:25: This could be all over podcast but they're touring budgets And it's like an effect keeping its not the best.

00:28:31: There's no two ways about it.

00:28:33: It is one conversation, Ailis' another conversation.

00:28:36: if you're talking academies but to park that for a second yes I think there will be more of them mainly because everyone looking at the next thing and this other tool would take the right artist a big Petri dish for experimentation, but video or audio is great because I know this sphere can be controversial in some places.

00:29:00: Is it the way we want to go?

00:29:02: It pushes production elements and new tools which wouldn't have been available to touring bands on hold like what else could you do with that?

00:29:11: The audio question's interesting as point me alluded before.

00:29:17: everyone who goes into one show right now is capturing.

00:29:20: I'm sure they might be taking a photo, but on the whole.

00:29:23: They're going to take your video now you don't see many engineers or system designers out in the road right?

00:29:30: Now that haven't taken that into account.

00:29:32: some have been bit more quiet about it.

00:29:33: But on the hole and especially speaking of what they actually test it In productions they've got several iPhones and droids whatever is around A rehearsal facility and seeing What the mix sounds like because there no full.

00:29:44: well That is what everyone's going to know.

00:29:45: You're not gonna have a lot of and yes, you've got this several thousand people coming into the arena each day But we've gotten million people watching it online.

00:29:52: So I think that more tools at engineers disposable where they could control an audio space Is going be an extra kind of reason why?

00:30:00: Artists but management let's be real are gonna buy in too.

00:30:03: This being like we have our whole system because here's what we can do.

00:30:05: We can control the space more so we can ensure that you know The right frequencies.

00:30:09: or getting to the game two fans beat by their ears on their phone.

00:30:13: I think, you know the shows that have already kind of at the forefront of using spatial audio and immersive audio whichever term we want to use.

00:30:21: The difference is incredible!

00:30:25: You can make a place louder but it's not louder... A lot like your regular people.

00:30:31: yes there are few who will know what they were listening in why it was different.

00:30:35: But on the whole ninety percent of crowd aren't going understand why this show so much better.

00:30:39: They're gonna remember And I think you can start to see that with certain acts, yes.

00:30:44: You have the ones who kind of like blasts your audio but those are just so much better and it will lead to a return visit when people want speaking more positively about this.

00:30:53: It's subliminal.

00:30:54: how much of an effect is there?

00:30:56: But as i said before ,I guess they need some artists to really lean into it too.

00:31:01: So they know what, because the source material is going to be most important thing at end of day.

00:31:05: Engineers can only do so much there and give them what's given it to them.

00:31:08: I think that will take you till next level.

00:31:12: Amazing!

00:31:13: And staying with yourselves too... Where did see like a broader tech stack for live concert production fitting into this?

00:31:21: Because its well known.

00:31:23: if you hear something in higher audio quality, like you say it's has a greater emotional impact.

00:31:28: It actually hits better!

00:31:29: It is more meaningful.

00:31:31: and we're talking about these live events becoming cultural movements... You know?

00:31:35: Its not just the content but its a complete immersive experience.

00:31:39: What other kind of live production technology do you think comes into play alongside this pristine audio?

00:31:46: I mean definitely over all stage design what you can do with kind of gags and it's every single department is just taking everything to such a grand level.

00:31:57: You don't have the big LED screen behind, but there are curved architectural LED screens that no longer seem like they've got a video screen behind them.

00:32:05: No good tour these days has done some curvature or some bit so looks pretty as well when its on-and off!

00:32:14: sky's the limit.

00:32:15: Drones is also an extra element that kind of like.

00:32:17: tools are starting to really experiment if you saw it with Oasis this summer, but a whole other department that sort-of falls into special effects or falls in video and lighting.

00:32:26: so there're just more and more tools out there because everyone's needing that extra grab.

00:32:30: what else can we provide them?

00:32:31: people haven't seen before?

00:32:33: And I think thats kinda end question.

00:32:35: What could give the crowds they havent' seen?

00:32:38: And yes, that kind of starts with a creative.

00:32:39: on the whole it's you know.

00:32:41: The production departments are providing the solutions.

00:32:43: well how about this?

00:32:44: How about this?

00:32:45: and there is going to be constant push-and-pull like...how about this?

00:32:48: can we afford?

00:32:49: maybe not let us draw back little bit then each year get closer something new or exciting.

00:32:56: I think also.

00:32:57: how were consuming tours?

00:32:59: as all has changed i think the smarter artists have relented.

00:33:06: You've mentioned Taylor Swift already.

00:33:08: Taylor Swift also has had a number of documentaries about her, and that's also going to raise interest.

00:33:13: Billy Eilish on this tour.

00:33:14: we covered that one as well And That was personally One Of My Highlights This Year because of the level production.

00:33:20: when you talk About using cinematic processes in video techniques In The show it is at next Level.

00:33:26: but she just announced She Is Also Doing Oh I'm Blanking On The Director Christopher Nolan.

00:33:30: That's it.

00:33:31: She is about to do a kind of video, not completely clear what it is but that will be some, I think the live replication on The Live Show so you can live-on.

00:33:39: and i think this other thing as well like just don't think there are shows going at all.

00:33:43: how could we make them mass market?

00:33:44: because they're not gonna make money from CD sales anymore obviously.

00:33:47: or maybe streaming?

00:33:48: The artist is leaning into the cinematic stuff, documentation and documentaries.

00:33:54: And then live tour is just a gathering of joy about these cultural movements.

00:34:01: It's outside production but having to keep pace with it because that will always be the gathering.

00:34:07: That where fans come together they find through stream or Netflix documentary.

00:34:13: so you better hope for how great this was showing on the small screen.

00:34:18: Amazing, I love that.

00:34:19: and of course this feeds into what you do with our JBL Pro role because concert directors in front-of-house will be coming to us saying how can we make it as powerful or meaningful?

00:34:35: And the standards are raising all the time.

00:34:37: I mean, what kind of requests do you get and What kind of technology?

00:34:41: Do you use to deliver these next level experiences?

00:34:44: if i could expand on stew's answer which i love i find that a request That we get just happened.

00:34:51: Just last week during the latin grand was mixing The latin gramming person of the year and the ticketed producer Of the show says to me said he is one artist who's gonna.

00:35:01: We're doing an homage to this mega legend from Spain named Rafael, and there's this younger artist name David Vizbal who is going to sing his song for him.

00:35:12: He will walk down the steps all of a sudden.

00:35:15: he'll sit at the table and sing full out to the guy like okay thank you very much.

00:35:22: in the meantime everybody that sitting here and everywhere around this person has to hear pristine intelligibility, high quality no feedback because it is going into broadcast.

00:35:33: So that's a challenge right?

00:35:35: The thing I'm seeing more and more as to love your impression about this we are seeing a lot of requests for the artist be closer to audience.

00:35:47: so whether you're an Enrique Iglesias with very long walkway in Mumbai recently with JBL, a hundred and seventy speakers at a massive stadium show.

00:36:01: The Pasarela was like two-hundred feet deep.

00:36:03: And then they set up another stage.

00:36:06: you know way over there You have the long stage.

00:36:10: He wants to touch access those people But he want's bring entire band Over To this C stage So that audience over There can have these intimate moment with him and the band.

00:36:28: And so you can scale that up, go to the Metallica and Ed Sheeran Stadium tours where they completely said we don't want do the end stadium anymore.

00:36:41: We wanted a completely distributed system video audio in stereo.

00:36:47: That brings people not just closer but really inside us.

00:36:53: So the audience is like, there are these pods of audiences all in sight.

00:36:58: so everybody's having their own mini concert experience right?

00:37:02: And they're people that have gone to show multiple times.

00:37:05: I went to Ed Sheeran a couple of times and depends on where you are this show experience it completely different.

00:37:11: It's when you go see Cirque du Soleil.

00:37:13: You sit at a different seat or different balcony.

00:37:16: It's the same show, but what you see and experience is different.

00:37:21: So I think that we're seeing artists actually coming to us going this my creative desire.

00:37:28: We want be these close to audience.

00:37:31: You need figure out how put video on loudspeakers in places to make it stereo or immersive Loud, impactful, intelligible.

00:37:43: And by the way it has to be very lightweight because we're using these towers or this wires for whatever.

00:37:48: so It just pushes the envelope where you kind of go.

00:37:51: okay engineering team Whatever what materials can we use to make this light weight?

00:37:56: What new amplifiers that were used to make us faster?

00:37:59: all Of those things are always pushing the envelope and saw.

00:38:02: we love that.

00:38:03: You know.

00:38:03: I think The artist wants is gonna weird.

00:38:06: the larger stadium they closer than one of each other audience.

00:38:11: I love it.

00:38:12: These are just great examples and you're really giving us a look behind the curtain, so to speak of what's happening now?

00:38:18: What is coming next with these amazing iconic cultural moments...I loved the Billie Eilish reference there.

00:38:25: that was amazing!

00:38:26: I'll be looking forward for that film.

00:38:29: Raoul no pressure we want...Kaitan walks through the entire audience at The Latin Grammys sit beside the dude.

00:38:36: he's serenading him Christine for everyone with no feedback

00:38:41: just coming.

00:38:42: I mean all of the videos that have been posted, you know Are people with their phones recording?

00:38:47: The entire experience.

00:38:48: You know it's like a go okay.

00:38:50: so which means at our systems Have to be.

00:38:53: i mean i guess we had always kind of gone That direction besides being off course impactful and whatever.

00:38:58: but its all about intelligibility.

00:39:00: Amazing

00:39:00: see your mixing not Just for the folks there you're mixing For Everyone who is going To Be watching Their Video on Their Phone On Instagram in Like two years time as well.

00:39:09: That's just mind blowing, wow different ballgame altogether to Bill Hanley and his handmade JBL cabinets back at Woodstocks' Sixty-Nine.

00:39:17: but it you know moving so quickly.

00:39:19: But the impact of these mega tours And this kind of global movements

00:39:25: is

00:39:26: profound.

00:39:26: You know tours like Renaissance and The Eres have really measurable economic impact on the whole city So also cultural impact as well that stays long after Left.

00:39:38: so stew, you know from your point of view would just say that these Incredibly kind of meaningful cultural moment tours.

00:39:45: These events like eras renaissance etc.

00:39:48: Are they?

00:39:48: Kind of reshaping how the industry approaches these light this large-scale shows.

00:39:53: Well I think it moves off.

00:39:54: see a lot more than Just one show is kind of like changing in The Industry.

00:39:57: but It's interesting when You look at kind Of the can the back end of the live touring world now because its matured So much.

00:40:03: you're looking At some of the biggest rental houses.

00:40:05: Just use Britannia Rose as an example because we featured in our last issue with TPI, but they're celebrating their fifth year anniversary this year.

00:40:12: And during that article we talked about where the company came from... to now.

00:40:16: I mean, Britannia Rose's story is very interesting.

00:40:18: he mentioned like Pink Floyd originally that how the whole business started.

00:40:22: they were kind of sub-renting the gear at a bandone but couldn't use it.

00:40:26: then all this underbusiness for rental house develops and you're looking in there.

00:40:29: these malls have changed faces often as multiple ownerships with various acquisitions But no big business!

00:40:36: This looks real industry right now which has moved on into such big strides to deal with the sheer demand that The World of Touring is giving it.

00:40:50: We always joke in the office, so... ...the way our year works as we do arena touring and the spring.

00:40:55: then we do festivals with a few stadium shows And have full touring But this year couldn't move for stadium shows.

00:41:02: There was just SO many!

00:41:04: You need A real driving force of equipment Of people To make sure these things happen.

00:41:10: It's interesting Because you have got these big organizations, You're now having kind of people coming into the industry.

00:41:17: And their first shows when they let out to a wide world will be this arena tours.

00:41:22: because that's why we are getting all those various training courses and why there is such an assesity?

00:41:29: No longer working at a club set for your whole life and then you slowly kind of make your way up, build a reputation.

00:41:39: You're like no...you need to get these skills and move on.

00:41:41: but that's the problem the industry is having as well.

00:41:43: Like it still hasn't quite found the golden answer Of like..kindof The way training needs to work But It NEEDS TO WORK BECAUSE IT'S THAT YOU CAN'T RELY AND AGAIN.

00:41:51: IT KIND OF ALL COMES BACK TO EVERYTHING LIKE IT'S VERY MUCH MORE IN THE LINE LIGHT THAN IT HAS BEEN BEFORE.

00:41:55: SO IT NEEDTS TO BE PROFESSIONAL, IT NEES TO BE SAFE because when it not in time goes wrong the world knows.

00:42:01: So, I think that's the other thing as well.

00:42:03: The stakes are just very high right now because touring is front page news and not saying it hasn't always been but feels like has moved on an extra level And i think its kind of building a whole topic in this conversation.

00:42:14: they're more cultural movements.

00:42:16: Cultural movement used to happen organically whereas it does feel like its a bit more manufactured nowadays.

00:42:23: Yeah indeed Im big shout out for amazing work at Music Venues Trust who are, you know doing sterling work.

00:42:30: They've got great support recently from Sam Fender.

00:42:33: I think Ed Sheeran is a great supporter.

00:42:35: it's like they are keeping those on ramps open that are so important to the future of industry To make sure just doesn't all go extremely high-end.

00:42:42: but as he mentions The pressure for IttoBePerfect has never been higher.

00:42:48: and Raoul coming back yourself i know From our previous conversations You are a consummate professional and you've always had this highest level of professionalism, but do you think that the expectations for technical delivery?

00:43:01: Are getting higher and higher as the stakes get higher in this era.

00:43:05: That we're in

00:43:06: no doubt about it into two experiments to is coming?

00:43:10: I think that that you mentioned that some younger technicians are coming into their first Coming into the industry on the first event might be these massive arena show.

00:43:18: so That is pushing organizations, for example the largest audio company in the world right Claire who acquired Britannia Roe recently.

00:43:28: It's great that now big massive productions like this can benefit from their acquisition of multiple companies.

00:43:36: so you have the same equipment across multiple continents in a matter of days, if not immediately.

00:43:42: Right?

00:43:43: So that is important.

00:43:44: so we're gonna do this show here and eat this console these many loudspeakers And then three days from now We are going to do it in Dubai.

00:43:50: No problem Our Dubai team will take care of that.

00:43:53: You send your specs Boom!

00:43:55: It's all set up and the same SIMT, console, loudspeaker Rear speakers whatever.

00:44:00: What also means they are leveraging their expertise into their campus, Their massive Campus Rock Lettuce and then the new one that is coming up, Rock Nashville to actually unify all of these organizations.

00:44:13: And to expand on their training programs.

00:44:16: so not only are they having now you know a day-on-campus where A lot of younger high school level college Level entry in our students coming in to go.

00:44:27: Is that?

00:44:28: The career I want have.

00:44:30: And then once they decide that's what they want to do and see how the industry kind of works, Then there are going through a very strict training program where you have to learn everything from how to load a truck.

00:44:45: How to do safe rigging off the loudspeakers if your gonna work on audio distribution?

00:44:51: networks, computer management.

00:44:53: How do you adjust to some systems?

00:44:54: So the educational element of this has taken a huge step forward is no longer just kind of came from.

00:45:01: I used to sound at the club and now i'm doing a stadium gig that it's not going to cut anymore.

00:45:08: You know.

00:45:08: Now I like when I tell you that Dante engineers we have in these award shows are probably better than Some of the IT people they're having my office And its that challenging.

00:45:20: Oh, is that challenging?

00:45:21: So I feel like on the one side culture.

00:45:24: everybody talks about whatever show.

00:45:26: Did you see it or did you hear this and go to that show now...I gotta get into a show!

00:45:29: I've got an experience of how I'm gonna take my kids through those shows because they're kind of cultural thing.

00:45:35: but at the same time there's a panel universe running where all of the technicians and organizations companies video company lighting companies are going.

00:45:44: How do we move our staff forward to deliver what the new creative team is asking for, you're gonna need that kind of team train at that level.

00:45:56: So it's not just culturally happening but also pushing their educational part of things.

00:46:01: I remember someone had this comes... It was a great chat about how the industry is maturing and professionalizing And i remember like somewhat..it was a Great Learner.

00:46:10: forget if you want real marker on how its changing.

00:46:14: How many people these days say compared to how many people say I'm an engineer or a technician.

00:46:20: Like we wouldn't, it'd be very rare... It's almost a bit jarring if someone says i am a rodeo Or they are saying that its alluding to like kind of a slight mentality.

00:46:28: but That used to the job.

00:46:30: If you were having this conversation You know twenty years ago would still have been a common thing.

00:46:36: Oh!

00:46:36: I work for Zone.

00:46:36: So But now is like oh no Im an audio technician and an audio engineer.

00:46:40: And just even that change of.. I guess thats kinda down from.

00:46:45: They're becoming cultural movements and there's a whole army of like real professionals.

00:46:50: As Rao said, they are very, very talented people because it is not only very technical you do in the most highly stressed situations that we think about.

00:46:58: There are details for those who go to our show would never think about... For example some of these mega tours use seven forty-seven cargo planes.

00:47:06: You have this airline airplane specific people experts on how load these airplanes.

00:47:13: You know, the transport company has these people in staff or bring them to specific tours?

00:47:17: because when you move this stadium system from one place to another it's not...you just don't show up at the airport and go of course.

00:47:25: If

00:47:25: we have these mega cargo planes then okay how do you do that?

00:47:29: There are people who like now tours on the Taylor Swift level, Beyoncé level.

00:47:36: have those people on staff.

00:47:38: you know, same thing for the logistics of their trucking team.

00:47:42: You don't show up with forty-two semis and go where are we gonna park this?

00:47:47: And in what order... This is all choreographed to a level that they will have the drawing on Google Earth or the arena at that stadium.

00:47:57: They'll say okay We're going to draw exactly where our trucks are going to park.

00:48:02: It's not accidental.

00:48:03: it isn't just that.

00:48:04: were hiring structural engineers to figure out how we're gonna build these towers at this particular and certify the safety, because there's.

00:48:14: as all of these creative challenges go get more complex.

00:48:19: The safety factor gets more challenging.

00:48:22: And ultimately you have two number one ensure the safety of the audience but also assure the safety Of the audience right?

00:48:28: And so it creates.

00:48:30: You know when you have somebody like pink flying on that rig in a stadium, not trivial You know, Beyonce.

00:48:36: Not trivial you know?

00:48:38: We did.

00:48:39: Bad Bunny recently did a residency in Puerto Rico for thirty shows at the arena.

00:48:43: it was interesting from the theatrical.

00:48:46: It was a cultural phenomenon, of course.

00:48:48: People from all over the world came over and it became this mega event thing for the industry and economy in Puerto Rico but not... But on my technical side I thought that's very interesting because i had the chance to go visit with his production manager Roli Garbalosa who is probably one of the quintessential best production managers in the industry.

00:49:07: And if you look at the setup at the arena You couldn't see the loudspeakers.

00:49:13: What happened?

00:49:13: He goes oh no!

00:49:15: The artist said, we have this set stage.

00:49:19: It's a mountain with these beautiful trees and chickens walking

00:49:23: around.".

00:49:24: And it was like all of the loudspeakers were seventy feet high okay?

00:49:29: With all the loud speakers pointing down... Like if he had an Atmos system you know clusters of lanner rays pointing down with that video mesh wall Okay.

00:49:40: And a safety wire under the speakers, so seventy feet up in there you have six clusters of line arrayed speakers pointed on to the floor You know?

00:49:49: So it was very interesting experience because everybody goes through that arena and goes The stage is over there... ...and the speaker should be over there.

00:49:57: but this show wasn't like that he said.

00:50:00: well.. ..the main stages are over here.

00:50:03: I had B-Stage Over Here and other C-Stages where Forna House normally Is.

00:50:08: he built another little structure house where, you know a quarter of the show happened on that other structure with the audience completely turned around looking the other way.

00:50:17: He goes I'm not gonna limit my show to just everybody always looking that way.

00:50:23: i'm going to move this show two three different places and the audience can move around and the audio needs to be good.

00:50:29: no matter which way you're looking.

00:50:31: it's like okay that's a challenge And it seemed to be a video element.

00:50:35: So, you know... To me that's not even- It wasn't intentionally going to be an immersive thing as though it doesn't make us an immersive sphere type of things.

00:50:46: but in the end being something where no matter which way we turned audio was pristine.

00:50:52: and so challenge right?

00:50:54: The way you hang the loudspeakers, it pushes the envelope.

00:51:00: So you have to bring back these three D modeling tools and kind of look at them before you actually spend money on putting that up?

00:51:07: How much weight was in the roof

00:51:08: then?!

00:51:09: A lot!

00:51:09: That's

00:51:12: a technical term.

00:51:13: They're

00:51:14: real heroes with the riggers.

00:51:16: Yeah absolutely.

00:51:17: The riggers are structural engineers.

00:51:19: yeah absolutely.

00:51:20: Wow

00:51:21: that's phenomenal.

00:51:22: I mean Yeah, we could have this discussion in like six months time and you'd have another example just to knock it out of the park there.

00:51:29: But listen I wonder if we could just cast our eyes towards the future?

00:51:34: And Stu coming to your good self first...I mean are there any trends that you see in particular that are emerging in future world tours that will continue to blur the line between entertainment community performance and cultural identity?

00:51:50: what do you say on The Horizon?

00:51:51: I think in terms of kind of like trends, it's the idea if this show living on past a show.

00:52:11: Taylor Swift's swimming pool gag.

00:52:13: It's something I've seen everywhere, it was like how did they do this?

00:52:16: And you know just regular people would try to work it out and the video team on that one must have been oh well we definitely earned our paycheck because we've done very few productions of not only doesn't look cool except for How Did They Do This?

00:52:30: When a kind of gag or anything hits that way.

00:52:32: so i think That is going be trend.

00:52:34: People are gonna looking more at those moments.

00:52:38: I already mentioned it, but Billie Eilish had kind of a hide-and-reveal scene that happened during her show where she appeared on the B stage as if by magic.

00:52:47: The magic is... this is well documented now so i'm not revealing anything!

00:52:50: But there was very quick distraction.

00:52:53: She then has an electric scooter to get around the arena and then she pops up And its all just kinda stage acts in theatrical tricks.

00:53:00: basically That will be something too.

00:53:03: everyone knows these things are gonna happen.

00:53:06: So they're kind of there for the gag element.

00:53:08: And again, this is nothing necessarily new but I definitely think it's something that... It does so well on social!

00:53:14: There's no reason why another production isn't going to be like.

00:53:16: where can we have our moment like that?

00:53:18: and i don't know if anyone has cracked as well But people have experimented with how you could maybe start using phones As part of their production.

00:53:27: Yes We've already seen everyone use lights That got that replaced light as a long time ago, but I think there is an element.

00:53:34: There's well where somehow it could be used whether it's like in using AR technology.

00:53:39: people have experimented with already because of the bit more commonplace and something this was talked about at The Festival Industry for a Long Time by the gamification of live events.

00:53:48: so there's an element we are kind to use your phone interacting what going on you see.

00:53:52: some great festivals have like a QR code near front of house.

00:53:55: So if you're discovering new artists, you can scan that and then it kind of goes to a playlist.

00:54:00: so when you go back home You can explore.

00:54:02: maybe live touring could also have something on the lines out there was just like your continuing experience past-the show And I think they were gonna be more and more.

00:54:10: those elements are kind of like Eek into their production side things.

00:54:13: what we keep giving fans.

00:54:15: Oh nice

00:54:16: but yeah i think another trends.

00:54:17: We've covered alot bits & pieces.

00:54:19: I'm wanting see some more immersive audio in live show.

00:54:22: I've seen an awful lot on the visual side of things and it'd be kind of cool to see more, more than the visual conversation as well.

00:54:26: because yeah that's what i like to talk about.

00:54:29: Fabulous all right?

00:54:30: Well folks who are tuning-in will have a link to TPI magazine In The Show Notes And if you want to keep up with all future trends What is coming next make sure you check out this one Raoul.

00:54:41: Final word over your very good self would say You About the Future Of This Technology.

00:54:47: Is there anything from your point of view or the Harman JBL point of view that you see coming down the road.

00:54:53: Yeah, I also am a big fan of Jacob Collier and i like how he makes it a point to turn the audience into part of his orchestra right?

00:55:09: And people know this now.

00:55:12: they want to be part of their experience because Artists wanting to get closer, but also artists making the audience part of their show.

00:55:27: So I see that happening more and then it scales up which means technology has to follow.

00:55:33: Technology can never be something that prevents an artist from creating a creative process right?

00:55:40: It's gotta be something if anything enhances their creative processes.

00:55:45: taught on tour, you know with Holy Iglesia thirty years ago was the answer is never.

00:55:50: well we cannot do that.

00:55:51: That will be a good way to go home and uh it's like... We'll figure out a way to do that!

00:55:57: And so I think that-we're gonna see more of that.

00:56:01: The other thing that i'm thinking is that A lot of artists, story artists are going to really We think a lot of their music in the way that how can we take these arrangements and recreate them in an immersive way?

00:56:14: And that's a collaborative process between The artist, the band and the engineer.

00:56:19: You know what is possible What is available or whatnot.

00:56:22: from the point of view of technology you know obviously will continue on this trend of loudspeakers That are obviously high fidelity very small Very powerful etc.

00:56:31: etc.

00:56:32: but we also see Start leveraging AI into what I call the analysis process of the sound system.

00:56:42: And so just to be very brief, you know if we are calibrating a sound system in a stadium right?

00:56:48: We use a lot of microphones to make measurements...we take that data into a software tool and we look at all these measurements..and then we make adjustments based on those measurements....to try to make everything sound this measure the same ...so that audience receives or experiences experience, right?

00:57:07: So it sounds the same everywhere.

00:57:08: Similar SPL similar frequency response etc.

00:57:12: etc.

00:57:12: This is a fairly time-consuming process that sometimes we have to cut corners in because maybe their loading process took longer or whatever and then weather didn't help.

00:57:24: I think with the advent of some current AI technologies We will see a lever.

00:57:29: you know where can actually have an AI engine consuming data.

00:57:35: We have already told the engine what kind of frequency response and levels we need to see in all these predetermined zones.

00:57:43: And this system can go through automatically, make all the measurements collect all data adjust a system because we have our computer integrated systems that controls the amplifiers on only signal processing and then present us.

00:57:57: This is no possible solution.

00:57:59: What do you think?

00:58:00: And those kind of things can happen in a fraction of the time that we can do it right now.

00:58:08: So I see that process of AI-based system analysis coming into our role, and the question is how do we leverage this?

00:58:17: so though?

00:58:18: We still have to have human touch on it, right?

00:58:20: Ultimately, we need make decision about yes or let me adjust you know, et cetera.

00:58:27: But it also helps when in big stadiums and facilities to keep an eye on multiple zones at the same time right?

00:58:34: You get a big audience temperature changes... It's difficult to keep eyes of all this stuff but I think that we will see AI coming into all these things.

00:58:43: Ultimately i think that the theatrical experience That were seen In big theatrical production Whether it is Wicked Cirque du Soleil Phantom, whatever.

00:58:56: That type of level of everything immersive experience not just audio.

00:59:01: Everything is around you right elements of the scenery that fly past you or whatnot.

00:59:06: I think people are gonna continue to expect those levels of theatrical experiences To come into The concert experience and that drives this cultural phenomenon.

00:59:18: Did you experienced it?

00:59:20: Were they there?

00:59:20: did you feel them?

00:59:21: You know, it's just kind of a moment.

00:59:25: So I think that like i said... ...I think we're going to see all those technologies coming into our industry and pushing us more.. ..to create somethings that support the process.

00:59:35: Amazing!

00:59:35: My

00:59:35: goodness!!

00:59:36: I couldn't have asked for two more exciting views on the future right there.

00:59:39: Thank

00:59:39: you!!!

00:59:39: You both absolutely knocked out at The Park.

00:59:42: I am very excited about the future.... ...of live music in the Live Music Experience.

00:59:47: but I have one more Final question for each of you and it's one that all our VIP guests answer from Bill Hanley to Carl Cox, to AR Rahman.

00:59:56: And that is to choose a track for our VIP title playlist!

01:00:00: We're gonna start with the good stuff... Stu?

01:00:02: Yeah so he prepped us a little bit before this.

01:00:05: I'm kind of metal guy not sure if i want anything too extreme on my playlist but My track I have to choose is Ocean by John Butler.

01:00:14: It's a bit audacious because it was about twelve minutes long, but one of the best instrumental acoustic tracks.

01:00:20: and if you've got new pair of headphones that has so many peaks and valleys... That might always go too!

01:00:25: Can't you pay our headphones at Ocean?

01:00:27: So that's mine.

01:00:28: Loved.

01:00:28: And also kind of pro tip as well for checking out your new pair wonderful AKG headphones there And coming over to you, good self Raul.

01:00:36: Now You've seen so many of the world's best artists live in concert.

01:00:39: I know it is going be a tough decision but for what track are your gonna add?

01:00:43: It Is!

01:00:43: You won't...I don't think its on your list When i saw your email like.. I'm kind old school and there was so much new music and doing this event at Latin Grammys with these artist who now is eighties.

01:00:57: All his arrangements had this lush string arrangement timpani life horns And it was like, I was going.

01:01:05: oh my god how much do i miss these arrangements from the Raphael era?

01:01:09: So uh-I'm gonna have to go with a track for Rafael.

01:01:13: From you know Como Yo Te Amo How I Love You.

01:01:16: and It's just lush strings and timpanies and horns in this big cinematic orchestral sound that propels his voice forwarding him Like Oh My God!

01:01:25: I'll have some more of That.

01:01:29: Yeah, absolutely superb choice.

01:01:30: Thank you so much Role and my own contribution is just going to reference a moment that I had at live concert.

01:01:37: i think it was like ninety-nine or two thousand an event in the UK called tribal gathering rave early rave type event.

01:01:43: staff punk were doing one of their sets and this is before they had the costumes in the mask.

01:01:47: And I remember that was brilliant.

01:01:49: but then a few years later, i think it was like two thousand six...i saw them at global gathering which was the kind of next iteration of tribal gathering and they came on stage with this pyramid and none of us are expecting it!

01:02:01: And my goodness..I can't even describe the excitement when all the lights started flashing went straight into Robot Rock, I mean there were people lying on the floor with a grass should i say it was a tent after their performance and just kind of saying what did i just see?

01:02:17: People were in bits.

01:02:18: It was so impactful!

01:02:20: And when i was trying to think of a concert as a cultural moment or something that just you know blew the old paradigm apart... That for me was it.. So i think Robot Rock from their performance in Global Gathering two thousand six Daft Punk.

01:02:33: So listen, thank you so much both of you for joining us on this really fascinating chat about how concerts evolved into global cultural movements and your'e taking under the hood what's going to happen next why it is important?

01:02:46: And whats some magic behind scenes that actually gives people these life changing moments!

01:02:54: A huge thanks to Stu Hume And with Chisumas Grasius to our dear friend, Raul Gonzalez.

01:03:04: Thank you so much for coming back to the podcast!

01:03:06: Great to be here.

01:03:06: So listen.

01:03:07: that was a real look behind-the-scenes of The tech, the artistry and the sheer cultural power Of today's live music experiences from the engineering precision of JBL Pro systems To the world beating creativity shaping tours like eras and renaissance.

01:03:22: one thing is clear Live Music has a significance That goes way beyond the concerts just that performance, it is something that can change our lives.

01:03:33: So my dear friends for more exclusive content from behind the scenes goodies and maybe even some competitions head on over to the Instagram.

01:03:39: you can find us at audio talks podcast.

01:03:42: until then keep listening Keep showing up For The Moments That Move You And we look forward To seeing you next time.

01:03:48: Thanks For Joining Us.