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This is interesting:

 

 

In the early 1960s, many professional live sound engineers were wrestling with the problem of giving the musical artist enough of their own voice to stay in tune during a performance. Using monitor loudspeakers may have been developed independently by sound engineers in different cities who were trying to resolve this problem during the 1960s. The first recorded time that a loudspeaker was used specifically as a stage monitor was for Judy Garland at the San Francisco Civic Auditorium on September 13, 1961. It was provided by McCune Sound Service.

 

Early stage monitors were simply speakers on each side of the stage pointed at the performers driven by the same mix as the FOH because PA mixers rarely had auxiliary send mixes. Today these would be called "side fill" monitors. Bill Hanley working with Neil Young of the Buffalo Springfield was the first person to combine putting the speaker on the floor angled up at the performer with directional microphones to allow louder volumes with less feedback.

 

Bob Cavin, a former engineer at McCune Sound, designed the first monitor mixer designed expressly for stage monitoring. He also designed the first stage monitor loudspeaker that had two different listening angles.
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I guess that is all they had then - the side speakers. I suppose when I think of monitors I think of the front wedge monitors. I know there are also photos of Hendrix out there with such things sitting on a chair on the side of the stage. And Monterrey Pop - as seen int he film. I am curious about this Buffalo Springfield claim. I am thinking also that you can see such things in the Rolling Stones 69 tour film. I suppose for Dylan - the tour in 1974 must be the first time he had the use of a modern sound system. 

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Keith Richards always talks about how they really had to learn to play live due the advances in the stage sound for the 69 tour. PA's and such. People could actually hear the concert in the space.

 

I would definitely credit the Dead and Bear for this - I think they were one of first groups to travel with their own sound system.

 

It would have been interesting to hear how the Beatles would have sounded with a decent concert sound system. Too bad they started to splinter within, while all the concert sound techniques were advancing.

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Keith Richards always talks about how they really had to learn to play live due the advances in the stage sound for the 69 tour. PA's and such. People could actually hear the concert in the space.

 

I would definitely credit the Dead and Bear for this - I think they were one of first groups to travel with their own sound system.

 

It would have been interesting to hear how the Beatles would have sounded with a decent concert sound system. Too bad they started to splinter within, while all the concert sound techniques were advancing.

 

Exactly. I suppose there are all sorts of fantasy Beatles 1970 tour lists out there. 

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The below link has the announcement, in the middle of the piece. Never seen an announcement before, rather odd way that they do it.

 

The interview at the end of the video was pretty good - the whole does he deserve it bit,  -- "well of course he does, he just got it".

 

It's seems like the European press hasn't change much since the 60s - the interview with the Nobel representative seems a lot like one from the 65 or 66 tour with Dylan.

 

It starts about 31 minutes in or so.

 

 

https://www.thelocal.se/20161013/live-swedens-nobel-prize-in-literature-2016

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Nice write-up from Rolling Stone on the Live '66 set. Looks like they did track down the master audience tapes - hopefully some more info the AUD's will be in the notes.

 

http://www.rollingstone.com/music/news/inside-bob-dylans-massive-new-36-album-1966-live-box-set-w444654

 

To round out the box set, Dylan's team scoured the planet for other 1966 live tapes ... American fans also taped February shows in White Plains, New York, Pittsburgh, Pennsylvania and Hempstead, New York. "We got those from the collector community," says the source. "Some people spend their lives, a lot more time than we have, trying to find first generation tapes." The sound quality on these is pretty subpar, so they were placed outside of chronological order at the end of the box set. "They aren't the reason to buy the set," says the source. "They're more for historical purposes."

 

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Bad Brains ( I doubt they will get in.)

The Cars (They should already be in there. I suppose they are mostly forgotten today.)

Chaka Khan ( I doubt she will get in.)

Chic (Maybe they will?)

Depeche Mode (Still at it, maybe they will get in)

Electric Light Orchestra (Probably about the same as The Cars.)

J. Geils Band (Probably about the same as The Cars.)

Jane’s Addiction ( One good album?)

Janet Jackson (I don’t get this one.)

Joan Baez (Should be in there – probably not really interested.)

Joe Tex (One of those early influence type deals)

Journey (Probably about the same as The Cars.)

Kraftwerk ( Probably more important in Europe than here)

MC5 (More legend than band?)

Pearl Jam (One of the greatest bands of all times)

Steppenwolf (Once great – now it is one guy playing biker bars)

Tupac Shakur (I don’t know anything about this guy. Whenever I see people wearing a T-shirt with his photo on the front – I expect trouble)

Yes (One of the greatest bands of all times)

The Zombies (Should thank Al Kooper if they get in)

 

 

 

Did you put the above in this thread because of the Al Kooper reference? 

 

Did you know it was quite by accident that Kooper played keyboards with Dylan and without Kooper, Dylan probably never would have won the Nobel Price....

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LOL - wrong thread

 

Delete the block

 

Al Kooper helped to break The Zombies in America

 

 

By the time Odessey and Oracle was released in April 1968, the band had broken-up (in December 1967). The album sold poorly and was given a US release only because musician Al Kooper, then signed to Columbia Records, convinced his label of the album's merits. One of its tracks, "Time of the Season", written by Argent, was released as a single and eventually (1969) became a nationwide hit (Billboard Hot 100 peak position: No.3)

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I love that the Nobel people are saying how arrogant it is of Dylan not to acknowledge the award. Ironically they come off as arrogant for being all: hey, why won't you acknowledge us? We gave you the greatest award possible, don't you know everyone wants to win this? It must be really throwing them for a loop.

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