Mark Knopfler gear

The Peavey Deuce VT – David Knopfler’s amp with Dire Straits

This blog post is not about a Mark Knopfler amp but still has a clear connection to Dire Straits: the Peavey Deuce VT was the amp that David Knopfler played on stage with the band between 1978 and 1979, and thus contributed to the band’s unique sound.

Note the red light which shows that the effects channel is activated

 

The Peavey Deuce VT was built from 1978 to the early eighties. Before, a similar model called Deuce (without the VT) was available that had – besides various other technical differences – a tremolo effect instead of the phaser.  As a combo with two 12″ speakers, it has similar dimensions as the Fender Twin Reverb or the Music Man HD 130 212 that Mark played at the same time. In fact David started to play the Peavey at the same time as the Music Man appeared for the first time, in late 1978. Before (mid 1978) both Mark and David were seen with Fender Twin Reverbs on stage. I assume both were bought together when they felt they needed to upgrade their equipment for the following tours.

The Peavey Deuce is – just like the Music Man – a hybrid amp which means the pre-amp stage is solid state, while the power amp has four 6L6 tubes. Today solid-state is considered to be inferior because of the harsher distortion compared to a tube, but back then it was almost high-tech, considered to be more reliable than an all tube design – no crackling noises, no whistling pre-amp tubes, less danger for a failing tube in the middle of a performance. The amp is bulit like a tank, solid and heavy, suited for professional usage on big stages.

While Mark’s Music Man is basically an upgraded Fender Twin Reverb, with the same controls, the Peavey Deuce VT has its own layout: two channels (Effects and Normal) , built in reverb (works on both channels) and the phaser effect (effects channel only). On the left we find four input  jacks, two for the effects channel, one for the normal channel, and one to use both channels (together or switchable with a foot switch).

The Normal channel has a control for pre gain (gain before the EQ section), bass, treble,  and post gain (after the EQ section), the Effects channel has controls for pre gain,bass, middle, treble, post gain, and color and rate for the phaser. The phaser of the Deuce VT is said to be really good sounding. The phaser we hear live on the songs Down to the Waterline or Once Upon a Time in the West might be from the Deuce, but some sources also claim that a MXR stomp box was used for this matter. However, many pictures from this time seem to prove that David’s guitar cable went directly into the Peavey,  so live it should come from the Deuce.

Finally we have  a Master section on the amp that has only one control for the reverb which affected both channels.

The four 6L6 tubes creates an output power of 120 watts. Most amplifiers in the pre-amp section are ICs (TL 072 or 478).

The amp was optionally available with heavy-duty speakers called Black Widow. These are much heavier, more solid and can handle more power  than the stock speakers. I know from David himself that his amp had  these.

MK guitar style and licks

Dire Straits – Where do you think you’re going – spontaneous cover on acoustic guitar

Today I was jamming a bit on the acoustic guitar and still had the camcorder ready from the last video yesterday, so I simply let it run a bit and recorded this sponatneous version of Dire Straits’ “Where do you think you’re going”. If you wonder about the sound or even about the string bending on the acoustic – check out this old blog post about the string gauge on this guitar.

I always find that playing at low volume leaves you more room to get louder when necessary and causes a much nicer guitar sound. Unfortunately you get some noise when recording with the built-in camcorder microphone as it turns up the record level automatically and catches more noise from the cheap mic pre-amp in the camcorder. The camcorder compresses the dynamics, and youtube compresses again I think, so you will lose much of the dynamics anyway but still it makes a big difference I think.

Guitars, Mark Knopfler gear

Demoing pickup combinations of the Schecter style pickguards

Here is a youtube video that demonstrates some of the 36 possible pick-up combinations of our loaded Schecter-style pickguards. Each pick-up can be switched to the full or tapped coil which means a fat sound or a vintage-like sound. This way you will not only get new combinations that are not possible with the standard 5-way switch like bridge & neck or all three PUs, but you can also mix full and half pick-ups in any combination.

The guitar is my old Japanese JV Squier, over a brown Fender Vibrolux amp, no effects except some reverb.

 

MK guitar style and licks, Understanding music

The bridge section between Expresso Love and Down to the Waterline on the Making Movies tour

This blog post is about the 50 seconds instrumental part that bridged the two songs Expresso Love and Down to the Waterline on the Making Movies tour (aka On Location tour) of Dire Straits in 1980/81. I always admired this part, especially how it transferred the energy of the ending of Expresso Love to the ‘foggy mood’ of the Down to the Waterline intro.

For all who don’t know this part – it is only available on several unreleased bootleg recordings -, here is a sound clip (I am sorry for the bad sound quality). To recapture the mood of this section, you should play it *loud*!
(Note that you can click  on the blue position bar of the player to jump to any part of the clip)

 

Analysis

On the Making Movies album, Expresso Love ends on a 4 bar pattern which is repeated until the song is faded out. This pattern goes like this:

 

 

 

On stage they added  eight bars over a C major chord after this pattern (0:12) . Note that the pattern above already ended on the C chord at the beginning of the last bar, so adding 8 more bars of C should have resulted in 9 bars. Instead, the last bar of the pattern was omitted so that the new part (8 bars of C) started directly after the Bb chord. Doing so the beginning of the new part was highlighted.

Next (0:24) after these 8 bars of C, the chord progression jumps to E major for the next 8 bars. This is totally out of the harmonical context of Expresso Love (which is in the key of D minor), neither does it fit to the previous C chord (If you want to learn more about which chords have a close relationship and which not, refer to this blog post about the circle of fifths). Again, such a sudden transition to an unexpected chord created a moment of surprise. Knopfler – who played the complete song with  a plectrum by the way – added various chord licks over these E chord bars.  The feel and the sound of this part strongly remind me of Bruce Springsteen’s E-Street band of this time – in fact Knopfler was obviously heavily inspired by them around this era (note that Springsteen’s keyboard player Roy Bittan played all keyboards on the Making Movies album).

Next (0:36), they played four bars over the B minor chord (Bm) – which is already the key of Down to the Waterline. Now we understand the role of the previous E major chords as it is the subdominant chord of Bm and thus naturally  resolves to Bm.

At this time it becomes necessary to reduce the high tempo of Expresso Love for a smmoth transition to the Down to the Waterline intro. For this reason, the tempo gradually decreases for the next 8 bars which run over the following chord pattern (0:42).

 

 

 

The last bar features a keyboard bass line of the notes  b – f# –  c# – a which resolves (1:01) to the Bm chord of the Down to the Waterline intro.

Here is the complete chord scheme again:

Misc

Click track on the 2010 Mark Knopfler tour

We already knew from Guy Fletcher’s forum that on stage the band plays  some songs to a click track – a metronome only the musicians (or at least drummer Danny Cummings) could hear on their inear monitors – but we could only speculate which  songs these were. A click track means a steady beat at a 100% constant tempo while without there are normally little tempo changes going along with the different parts of a song, often very subtle but still a possibly different feel.

I meanwhile know from a reliable source on which songs a click track was used. These were:

Border Reiver:  precount to get into the right tempo after the intro of the song (side stick sound in quarter notes plus hihat sound in eighth notes)

What it is: side stick sound in quarter notes throughout the whole song, including the lower parts before the final solo

Sailing to Philadelphia: side stick sound in quarter notes throughout the whole song

Coyote: side stick sound in quarter notes plus “cricket sound” percussion throughout the whole song

Prairie Wedding: no click track

Hillfarmer Blues: side stick sound in quarter notes plus maracas (shaker) sound in eighth notes , switched off at final solo

Romeo & Juliet: no click track

Sultans of Swing: side stick sound in quarter notes plus hihat sound in eighth notes until first solo

Done with Bonaparte: no click track

Marbletown: side stick sound in quarter notes plus hihat sound in eigth notes in the intro (ends when Mark’s guitar starts)

Get Lucky: no click track

Speedway at Nazareth: side stick sound in quarter notes plus hihat sound in eighth notes throughout whole song

Telegraph Road: no click track

Brothers in Arms: no click track

So far away: no click track

Piper to the End: no click track

Amps

Mark Knopfler’s brown Fender Vibrolux vs Fender Vibroverb

This post is about two of Mark Knopfler’s Fender vintage amps, the brown Fender Vibrolux – the  Sultans of Swing amp that was covered in this blog article – and the similar-sized and similar-looking brown Fender Vibroverb.

The Fender Vibrolux (model 6G11a) was one of Knopfler’s earliest guitar amps. Probably it belonged to Dire Straits’ bass player John Illsley and was used for the first demo recordings of Dire Straits, and also for the first record and for their live gigs of this time (late 1977 – early 1978). He still owns this amp and used it regularly on the last albums.

The brown Vibroverb (model 6G16) was a much later addition to Knopfler’s amp arsenal. From what I heard he got it probably in the late 1990ies with some help of John Suhr, and used it e.g. on some Notting Hillbillies gigs of that time.

Both amps were only produced for a very short time: the brown Vibrolux from 1961 – 62, and the brown Vibroverb in 1963  only. Consequently, both are ultra rare. The Vibroverb was reissued in the early 1990ies (1990 – 95).

Both amps have a lot in common: two channels with a  similar pre-amp layout (same tone controls, same pre-amp circuit), about 30 watts from two 6L6 tubes,  tremolo, and of course the same design like as all amps from the brown tolex era (wheat cover grill, brown barrel knobs, brown tolex etc.). Note that both – like all brown face amps – don’t feature bright switches. Nevertheless, the little capacitor to boost treble that is normally added with the bright switch is still present on the right channel of both amps, so imagine these amps as bright switch off for the left channel and bright switch on for the right channel.

Differences

The major differences are the speaker configuration – one 12″ Oxford speaker in the Vibrolux but two 10″ Oxford speakers in the Vibroverb – and the reverb which was only  featured in the Vibroverb. In fact, the Vibroverb was the first Fender amp with reverb, and the only one of the brown tolex era. The Fender spring reverb was available with the brown tolex reverb unit and was later – to be concrete with the introduction of the black face design – added to most of the Fender guitar amplifiers. This combination of features – two 10″ speakers with reverb and tremolo in a middle -sized tube amp – turned the Vibroverb to one of the all-time favourites for many players.

Normally it is easy to distinguish both amps on pictures because only the Vibroverb had the grill-mounted Fender logo, while the Vibrolux and other small Fender amps had no grill logo. However, Knopfler’s Vibrolux has a non-original Fender logo that was apparently added later (the logo itself looks like the ones from the black or silver face era).  Normally there is a special piece of wood for the logo screws, but not so on the Vibrolux. For this reason, the logo on Knopfler’s amp had to be moved extremely into the upper left corner of the grill so that the  logo screws hit the wooden frame of the grill front. Other optical differences: only the Vibroverb has those tilt legs on the sides, and the Vibroverb has one additional control – the reverb control on the second channel – so that is has a total of 9 controls (vol, treble, bass / vol, treble, bass, reverb / speed, intensity). This and the two 10″ speakers are the reasonwhy the Vibroverb is a bit wider than the Vibrolux.

The Fender Vibrolux in the studio in the mid 90ies. This picture shows why the (non-original) Fender logo has to be located in the extreme upper left corner of the front grill which makes it easy to identify this amp even on low quality pictures.

 

Both Mark Knopfler and Steve Phillips play a brown Vibroverb on stage on this charity gig in 2002.
A brown 1961 Fender Vibrolux
A brown Fender Vibroverb. This amp was produced in 1963 only.


The amp in the background on this video clip from is the brown Vibrolux, as the position of the logo tells.

Effects, Mark Knopfler gear

Mark Knopfler’s Guitar Rack of the 2008 Tour

With this blog post I will try to compile some info on Mark Knopfler’s effect rack for his latest tours – based mainly on pictures of his 2008 tour. Probably the same rack was also used on his latest 2010 tour.

Here we have a picture of the full rack:

The Devices

Tuner – On top we have a chromatic tuner, as it seems a Korg DTR2000.

Power conditioner – The second device we can see is a Furman power conditioner (not sure about the exact model). A power conditioner stabilizes the AC power supply and removes voltage peaks that can be dangerous for the following devices.

Preamps – Below the tuner there seem to two units with various preamps by D.A.V electronics. These are used to raise the guitar signal to the correct level that is required to feed the various studio effect devices we can see a bit below.

Switching – The next unit seems to feature individual switches for the various effect feeds. The control on the left is a gain control, followed by various push buttons, each witch a green pilot light. I guess here Mark’s guitar technician Glenn Saggers mutes or activates the different aux effects.

Delay – Next comes a TC Electronis 2290 Dynamic Delay –  a state-of-the-art digital delay. Note that Mark has two of these, the other one being the last device (bottom).

Reverb – Next we see two Bricasti M7 reverb units. Bricasti is a relatively new company founded by some ex-Lexicon employees. One of these costs about 3.700 Euros ! Note that these were not used at all because it was prefered to put a reverb on the guitar sound on the mixing desk.

It will hardly be a surprise that the rack features only components of the highest available quality. While the previous racks built by Pete Cornish featured Cornish’s own signal preamps and buffers, now these are by D.A.V. (Dave Electronis) – a company that also supplied Knopfler’s  British Grove recording studios. Possibly the switching unit was also supplied by them (?). We can assume that the overall logic behind the rack – sending effect feeds in parallel just like studio mixing desks do – is still valid for this rack.

Misc

Brett Whiteley – Alchemy – The picture on the Alchemy cover

This blog post is not about guitar, not even about music, instead it is about a piece of art – Alchemy by Brett Whiteley, the painting that gave its name to Dire Straits’ first live album in 1984, and appeared on the cover.

Brett Whiteley (1939 – 1992) was an Australian artist who is represented in the collections of all the large Australian galleries.

Brett Whiteley - Photo by Jacqueline Mitelman

Paintings

For your pleasure, here is a collection of some of Whiteley’s paintings. Interestingly one of his most famous pictures – The Jacaranda Tree (1977) – which sold for almost $ 2 million, cannot be found in the whole web.

 

Brett Whiteley Screen as the bathroom window 1976 National Gallery of Australia, Canberra
The Olgas for Ernest Giles, 1985, sold for $ 3.48 million in 2007 - the highest price paid for an Australian artwork at auction
Balmoral

 

These pictures appear on the screen courtesy of the estate of Brett Whiteley. More info on http://www.brettwhiteley.org

 

Alchemy

The original Alchemy painting was done between 1972 and 1973. It was composed of many different elements on 18 wood panels.

 

Alchemy is the ancient progress to transform ordinary components into gold. Transformation –  “Alchemy is seen as an allegory of life’s journey, from birth to death, and the ultimate transmutation. It wanders from darkly sexual surrealist forms through beautiful Australian landscapes with native animals and birds, to the flashing sun against a golden sky.”

The parts on the Dire Straits Alchemy cover can be found on the right. The guitar and the lips and some other details of the cover are not original.

This is what the Wikipedia writes about it:

Part of his work Alchemy was featured on the cover of the Dire Straits live album Alchemy although it had the addition of a guitar with lips held by a hand. Alchemy is the ancient process of turning ordinary compounds into gold.The original painting, done between 1972 and 1973 was composed of many different elements and on 18 wood panels 203cm x 1615cm x 9cm. Reading from left to right it begins with an exploding sun from a portrait of Yukio Mishima that Whiteley had started but never completed. The famed author Mishima had committed seppuku in 1970 and the literary mythology that arose of his apparent final vision of enlightenment in the form of the exploding sun,as he pressed the knife into his body inspired and became the basis for this work. In terms of media it used everything from feathers and part of a birds nest to a glass eye, shell, plugs and brain in a work that becomes a transmutation of sexual organic landscapes and mindscapes. It has been regarded as a self-portrait, a giant outpouring of energy and ideas brought forth over a long period of time.According to art writer Bruce James the self conscious inclusion of the austere pronoun ‘IT’ that also makes up part of the work compacts life, passion, death and faith in a single empowering word and unites the notional wings of an altarpiece to nascent addiction. Alchemy

Effects, Mark Knopfler gear

Mark Knopfler’s effect rack of the Making Movies tour in 1980/81

One of the commentators to my previous blog post (on the Rock Pop TV gig Dire Straits did on December 20, 1980) asked for Mark’s effect rack. He triggered this blog post in which I would like to put together all information I have about it.

The Making Movies ( On Location) tour was the first tour on which Mark used a fully loaded 19″ effects rack. Some of the devices were probably  still  used on the Alchemy tour, and some of them even on the Brothers in Arms tour. Later Knopfler had a rack built by Pete Cornish.

The rack was on the right side of the stage, near Knopfler’s two Music Man HD 130 amps. It was visible from the audience but almost all pictures we have from the various gigs of the tour do not let you see anything more than some control lights and some knobs. The main source of information we have is the On Location tour book that does not only contain the closest picture of the rack but also a list of the built-in effects. Unfortunately the list is not too accurate and only mentions a handful of devices, but no concrete model numbers or such.

The list reads like this (see explanation below):

Customised rack comprising:

Deltalab Delay Unit
Flanger
Master R Reverb
Roland Equalizer
Mantec Switch Unit
Roland Choms Echo
Mantec Preamp Main Transformers
Morley Volume Pedal
Mantec Remote Switching Unit


With the help of the picture I managed to identify most of the devices. Here  is what I found out:

Deltalab Delay Unit: Deltalab DL-4 Time Line

The Deltalab is a very early digital delay – this was really high tech stuff in 1980!

 

Master R Reverb: MicMix Master Room Reverb XL-305

The Master Room Reverb was a stereo spring reverb, typically used in studios instead of in guitar racks. Both channels had different decay times to create a very special reverb. In fact MicMix modified the common Accutronis springs to get exactly the result they wanted.

Flanger: MicMix Dynaflanger

MicMix was a US company that was mostly known for studio reverbs and this special flanger device. The Dynaflanger was also used by Frank Zappa who created some astonishing sound effects with the help of two of these flangers. A unique feature was that the delay time could be controlled by the envelope of the incoming signal – in other words a loud note lead to a different flanger setting than a soft tone, the effect reacted musically to what you were playing.

 

Roland Equalizer

I could not determine the exact model number of this graphical equalizer. It seems to be a mono device with  31 bands with a height of two rack units – like the common EQ-131 but this one was only one unit. It was possibly used for the National resonator guitar.

Roland Choms Echo: Roland SRE 555 Space Echo

This one is another representative of Roland’s Space Echo series, basically an RE-501 as 19″ rack version. Like all the other space echos, it makes use of a tape loop to record and playback signals, something that modern devices do digitally. A tape loop was the only way to create long delay times since analog delays became duller with rising delay time, and digital devices costs a fortune and mostly did not have enough memory for long delays.

The SRE 555 also features a chorus effect which sounded great in combination with the delay.

 

The Morley volume pedal is the same model he used before, we don’t know at which point it was inserted into the system.

 

The rack itself was said to be from “Mantec”. Unfortunately I did not find anything about such a company. Nevertheless, it seems to be evident that the first stage of the rack was a pre amp that boosted the signal to line level which was required to drive the following studio effect devices. Probably the effects were not in a direct one-after-the-other chain but were used inparallel – just like you do with studio effects connected to a mixing desk.

Knopfler controlled everything with a foot controller that featured big coloured foot switches so that everything was easy to operate – especially on a dark stage.

It seems the rack had 8 effect ways – at least there are 8 control lights. Interestingly these can easily be seen from the audience, even on the dark stage.  Checking videos from this era, it might be possible to tell which effects were switched on or off on different songs, compare the two yellow lights on the pictures below. If  someone finds the time to do so, you can use the comment form for this blog post to let us know.

 

Dire Straits/ Mark Knopfler live pictures and videos, Misc

The Dire Straits Rock Pop in Concert TV show in Dortmund 1980

The Dire Straits concert from the German Rock Pop in Concert TV show in December 1980 was indeed a very special concert for me. The reason is simple: it was the first concert of my life. I was 15 then and had been a Dire Straits fan for one and a half year. Dire Straits were still a new band at this time, but were already big. Their first two albums had both been mega-sellers here in Germany, and they had just released their third album Making Movies.

Dortmund – a city at the eastern edge of the Ruhrgebiet,  one of Europe’s biggest urban areas – was my hometown, so it was no question for me to see this concert as soon as I heard of it. The ticket was 20.00 DM (German Marks, about 10.00 Euros now !!!), really not much for something that was not only a concert of one of the hottest bands but in fact a complete festival evening with four bands. These were – in the order of their appearance:

Talking Heads

Roxy Music

Dire Straits

Mike Oldfield.


Rock Pop in Concert vs. Rockpalast Night

In fact there were even two shows, the first on Friday, December 19, 1980, the second on the next day, Saturday 20. My ticket was for Saturday.

These shows were the first Rock Pop in Concert festival. At that time Germany’s TV channel ARD broadcasted the legendardy Rockpalast Night twice a year, a six-hour rock show that was broadcasted via Eurovision to most parts of Europe. Germany’s second big TV channel then, the ZDF, started Rock Pop in Concert to establish something similar to compete with the Rockpalast Night. Unlike the Rockpalast Night, Rock Pop in Concert was not broadcasted live, but about two weeks later.

Before the show – Meeting Mark Knopfler

The concert officially began at 7 p.m. It was about midday that day when I got a phone call from a girl who was a class mate of mine, saying something like “I am here at the Westfalenhalle [the venue], Dire Straits are sitting in the hotel lounge next to it. They are really nice and I already got  lots of autographs. You better hurry …”.

I was there about one hour later (no car, I had to take the bus – remember I was a kid), together with a friend of mine who was also a mad Dire Straits fan. In fact some band members were still sitting in the cafe next to the arena. I cannot really recall who it was – mind that Allan Clark and Hal Lindes were new in the band, and I did not even know about them them at that time, neither did I know their manager Ed Bicknell. All I remember is that Dire Straits’ bass player John Illsley was there, but neither Mark nor drummer Pick Withers. I still have those John Illsley autographs in the Dire Straits book I had with me for that purpose (see pictures). I of course asked where Mark was, and someone gave me the advice to wait for him near the hotel elevators in the hotel because he was in his hotel room but probably came down soon. This was what we did.

 

Autographs John Illsley

I don’t remember how long we were waiting there, or how many times the elevator doors opened to let out some ‘ordinary’ people, but then they opened again and Dire Straits drummer Pick Withers stepped out. We spoke to him, saying something like “You are Pick Withers, aren’t you? Can we have an autograph?”, but for some reason he replied – in English of course – that he was not the person in question. If we wanted autographs, he advised us to try in the near hotel cafe were “the others of the band are” (!!?) …

It was only a few minutes later when the elevator doors opened again, and I still clearly remember that there was only one single guy in it: Mark Knopfler. It then turned out that we were not the only ones waiting because a few guys near us immediatley were off their seats pushing towards MK, and asked him for autographs.  We also got an autograph each, but there was no time for a chat about whatever. At least  I got the chance for a picture with MK.

Note: I would like to add the picture of MK and me plus the autograph here, but I cannot find them right now. I think I remember putting them into one of my Dire Straits books or vinyl records not too long ago, but I don’t find them 🙁

The girl who had phoned me that day got even more luck: she managed to get into the arena (I remember she regularly did so to collect autographs from all bands she liked), and she watched Dire Straits during the sound check. She even took some pictures,which you can see below. I also remember she told me later that she was just watching them from in front of the stage, when Mark came over to the stage front to give her an autograph (she did not even had to ask for it).

Dire Straits at soudcheck, Dortmund, December 20, 1980
Mark Knopfler at the soundcheck
Rhythm guitarist Hal Lindes

The show

The Westfalenhalle in Dortmund was one of Europe’s biggest venues at that time. There were two stages, one at each end of the oval shaped arena. This way it was possible to change the stage line for the next band while some other band was playing on the other stage. Talkin Heads and Roxy Music were alright, but for us they were not more than some kind of support act.

The Dire Straits show was spectacular  and left a deep impression on me, a 15-years old watching his first concert. I guess many of you know the concert from videos of the TV broadcast. While the sound on TV was terrible, I did not feel so during the concert. I later read an interview with Pick Withers where he also stated that they had the worst sound of all four bands on TV, but the best during the concert. The setlist was – as far as I remember it – probably something like:

Once Upon a Time in the West
Expresso Love*
Down to the Waterline
Lions
Skateaway* (? not absolutely sure anymore)
News
Sultans of Swing
Tunnel of Love
Where do you think you’re going*
Solid Rock

The songs marked with * were not included on the TV show. I am rather sure that they did not play Romeo & Juliet, which became a hit shortly afterwards.

Mark played all songs on his new red Schecter “Dream Machine” Strat, except the last three. Tunnel of Love and Where do you think you’re going were the sunburst Schecter Strat, and Solid Rock was his new black Schecter Telecaster (which was also used for Telegraph Road a few weeks later on that same tour). The amps were two Music Man 212 HD 130 into Marshall cabs, and he had a rack full with effects.

Here is a video clip from the show. By the way, both me and my friend bought a Dire Straits poster at one of those merchandisising stands in one of the breaks between two shows, shortly before the Dire Straits appearance, and neither of us thought too much about what to do with a rolled poster during the concert…  Funnily you can see where we were standing in the audience waving those posters, e.g. at 0:38 🙂