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BIG 5 CONCERT DVD? The BIG 5 should go ALL IN and hire a FIRST CLASS video crew to record this HISTORIC CONCERT!!!

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By my estimation EACH BAND is going to play for about 30 minutes. About 5 to 6 songs each. So about 25 to 30 songs will get played. They should bring in a HIGH LEVEL video recording team to capture these performances with technical delight for the viewing audiences. The raw footage should then be sent to PAN MUSIC CONNOISSEURS like Glenroy Joseph and Bugs and Jonathan Scales and Andy Narell and Robert Greenidge and Tracy Thornton and Salah Wilson and Lynette Laveau among others around the world. (A special effort should be made to track down EXPATS who are involved in the MUSIC INDUSTRY in all corners of England, Europe and North America to bring their skills into the process.)

Along with the BIG 5 leaders, a majority decision can be made by one and all about which 12 songs should be included in the DVD. Just like that the BIG 5 killed two birds with one concert -- because they now have a PRODUCT that they could take to the INTERNATIONAL MARKET PLACE.

Cecil Hinkson is going to KILL ME. But I would strip out all that IRON and heavy ENGINE ROOM percussion from the LIVE PERFORMANCES. This music is for the GLOBAL MARKET and FOREIGNERS want to hear the SWEET SOUNDS OF PAN.

This suggestion makes perfect sense, given that this concert provides a golden opportunity for capturing pristine and innovative concert sounds by top steel orchestras that can result in a highly competitive product( i.e DVD/CD recording, edited or raw).

Be advised that before the raw footage or finished product is sent to "Music Connoisseurs' around the world as well as Expats involved in the Music Industry in the International Market Place' as was suggested, reliable legal counsel on International copyright laws should be secured to PROTECT THE PROPERTY.
If there are no funds available then some one needs to do the 'poor man's copyright', and do the grunt work of utilizing the internet to research the needed information.
For starters Google.com will provide the following sites which will provide valuable basic information:info.legalzoom.com-Music Performance CopyrightLaws, Copyright Basics for Musicians-Music Copyright Laws.
To be forewarned is to be forearmed. If this is not done in the beginning then it is quite difficult and fruitless to try to protect the product after the fact. Without copyright there is no defense against exploitation and outright theft of said footage. Let us all pledge to protect The Pan and Pan Musicians going forward. Its never too late to learn from mistakes of the past, by correctly handling them in the present.
Claude I also agree with your suggestion that the foreigners want to hear the sweet sounds of Pan. The IRON AND HEAVY ENGINE ROOM percussion is an acquired taste and while at a live concert it may provide certain aesthetics and nostalgia.
For the global market, it does not translate well in a recording to the uninitiated ear.( it sounds like a 'wall of sound' A. Bourdain). We can leave this up to the CD/DVD Technical and Artistic producer to decide on whether to include as a special 'innovative acoustics' segment. Nevertheless it has marketing merits if included as a special cut ( National Geographic , uses this method, as a filler in their DVD products)as opposed to being integrated in the body of each performance. I know for pan musicians this is highly debatable and may spark controversy, I am thinking here of the intended market, who must receive high consideration where this is concerned if the product is to be competitive in music sales and marketability.
My comments and observations result from my experience as an EXPAT and former booking agent for steel bands to universities, private venues and private individuals, public officials etc.
I am willing to present the finished product (copyrighted) on my show -The Callalloo Express Relationships Show as I have been doing with other music from T&T to present to my audience with alternative music and cultural heritage and entertainment. I can also influence other such media professionals and marketing outlets to engage with the assigned agents for product sales etc. Innovative ideas for global marketing abound, but first step after the concert is record is to secure copyright for the video product. Which means the concert producers should be assembling a Marketing and distribution team which should include legal counsel or a para legal who specializes in entertainment law.
This is my contribution to the furtherance of this terrific idea. Claude you just might get your desired Pan CD/DVD
materializing in the next 12 months!!
I am optimistic that a qualified and professional video crew will materialize for the right price.

Boot leg out in 2 weeks, to capitalize on whatever market there is you cannot let this CD/DVD overlap panorama 2018.

Cecil: I feel like the ISF needs an efficient ADMINISTRATIVE ASSISTANT down in the MECCA to process and relay all the input from WHEN STEEL TALKS to their UPPER MANAGEMENT. There are thousands of EXPATS and FOREIGNERS all over the world who are willing to help the ISF take PAN GLOBAL.

Time for the ISF to address the  WEAKEST LINK in the STEELBAND MOVEMENT CHAIN for decades: A lack of ADMINISTRATIVE SKILLS.

WHEN STEEL TALKS did these people the BIGGEST FAVOR in PAN HISTORY: Bringing PEOPLE from all over the world to a CENTRAL MEETING PLACE. Now all the ISF has to do is LOG ON here and REAP THE REWARDS without even a PENNY'S WORTH of investment. But if they do not have the ADMINISTRATIVE SKILLS (or the OPEN MIND) to capitalize on this WST GIFT -- then we all SPINNING TOP IN MUD.

Excuse me for sticking my oar in, again. For a DVD, or a presentation at a U.S. music festival, I have a few suggestions:
1. Have a camera or cameras, and a mic, at _each_ section of the orchestra, with a console (I think that's what they're called) controlling all. The recording people would _rehearse_with_the_band_ until they can anticipate changes in the music and focus accordingly. During one iteration of the music, they could educate the audience about the way a steelband is set up, explaining the instruments, perhaps using a few subtitles.
2. They would concentrate on the players and the instruments, and of course the music, always.
3. Players would wear very simple uniforms, say dark-colored pants (and skirts?) and a band tee. Or even just their street clothes. No headdresses. No "themes". The diversity of the players -- age, sex, skin tone, hair do's -- is part of the charm, and should not be concealed.
4. For (at least) one iteration, perhaps at the beginning of the piece and again at the finale, the cameras would pull back to show the incredible overall structure of a steelband, ideally from different angles and/or from all sides.
5. Please: No clowns, no dancing girls waving banners, simple signage, no "effects". This is about the music, the players, and the instruments. That's what thrills me, anyway.
6. Full disclosure: my favorite steelband video is The Silver Stars, "on the drag", rehearsing for Panorama 2013 Semis, playing "Shock Attack". On Youtube.
https://www.youtube.com/watch?v=_lTQR-KZBkw
7. All this is to introduce steel to the world and esp. the U.S. market. So play calypso, not classical, for now.

8. A _little_ brake drum wouldn't kill, at least for one or two iterations, IMHO.

Thanks for the professional advice Ted Cloak.

Not a professional, just a big fan. You're welcome.

I have another favorite, now: "Phase II Slow version on Drag '16" --
https://www.youtube.com/watch?v=eFdpH6hMUYs. Who is "Steeldrum Trust", and how do they get that great sound?

... And lots of CROWD SHOTS, Ted!!! Pretty faces enjoying the music.

Absolutely, Claude, BUT -- they gotta be jumpin'!

Thank you Ted for taking the time to lay out the procedure for getting the best visuals for the proposed video shoot. Be reminded that  a video/film cam has a zoom feature, so it is not necessary too many cameras on stage. All cameras( no more than 3) should be on rolling tripods.  

A 4th camera can be stationary and pre set to capture the long wide shots of the entire event. It must be located where no one walks in front of it during filming. The other three will each be positioned closer to the stage,so as to be able to zoom in or with some movement to capture the section to which it is assigned.Aerial cam also provides an interesting view and perspective.Visually the camera crew should not be included in footage captured.

The magic of producing a visually  polished  and acoustically exciting and satisfying product is further embellished in the editing phase,where the 'darling' shots of all three or four cameras are creatively woven together to tell an engaging story while the audio file of the piece being played is consistent on all cameras. ( For this reason Claude suggested professionals are needed for this task). It won't hurt to have shots of the audience's appreciation, and the MC or grand master or Host for the show and other relevant educational tidbits about the instrument, the orchestra, the evolution of the instruments etc can and should be included in the video. Whatever it takes to keep the music central to the effort.

Your points 1,2 and 4 are spot on in regard to the technical production. I also agree that a concert of this nature is more formal and the ambience does not lend itself to the party atmosphere that accommodates the effects that go with Panorama. This is about "the music, the players and the instruments" without competition, restlessness and razzmatazz. The audience should come away exhilarated,with a sense of pride, amazement, education, inspiration and wonder at the evolution of the pan and those who keep it alive.

NO ONE SUCCEEDS ALONE. 

Thanks for your valuable contribution here on the forum.

Lynette Laveau

Media Arts Entrepreneur

I'm delighted that someone with your real expertise is involved in this project. I needed a dash of reality there, and really appreciate your addressing the audience takeaway. If only you were in Trinidad!
Very best regards
Ted

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