A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: peterromer on April 10, 2025, 09:06:44 AM
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Hi
Many years ago at a RAH concert (maybe in 2005?) a guy "hacked" the direct ear-in source for Mr. Knopfler during a sound-check, left it open and recorded the show.
I guess he uploaded his high quality recording somewhere and was reported to MK Management. It was something like both Guy (and especially) Mark was so pissed that someone would think of doing so. From there the story dies off for me
What happened to the guy ? Did he receive a warning? was he sued ?
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He was pointed by the finger of death.
Probably he's still recovering.
LOL
It was in 2008 and he recorded two concerts at the RAH, probably more in other venues.
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Also, in ear monitoring is very different to the out front mix.
I don't know what Mark has, probably not much guitar and a $hit load of vocal.
I usually have bass drum, a little bass, lead guitar and vocal. No kit, no keyboards, no rhythm guitars.
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I don't know this particular story, but didn't this also happen in Boothbay Harbor in 2006?
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You can still enjoy the whole incident and fallout :)
https://www.tapatalk.com/groups/mknewsforum/first-2008-soundboard-recording-spoiler-rah-last-n-t1416.html?sid=881ae39ffaaa4aeaec478defadf8416e
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I don't know this particular story, but didn't this also happen in Boothbay Harbor in 2006?
Whoever recorded that was smarter than the RAH guy...
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I don't know this particular story, but didn't this also happen in Boothbay Harbor in 2006?
Whoever recorded that was smarter than the RAH guy...
:thumbsup
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You can still enjoy the whole incident and fallout :)
https://www.tapatalk.com/groups/mknewsforum/first-2008-soundboard-recording-spoiler-rah-last-n-t1416.html?sid=881ae39ffaaa4aeaec478defadf8416e
Thanks for that interesting read. :thumbsup Even Guy himself replied.
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There is an IEM recording of Boothbay indeed which is nice to have and I know about at least one other 2008 show.
LE
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This story is exactly the same one I've told before. Artists do not want unauthorised recordings to be shared.
If this IS an IEM capture, it is 99.995% likely it doesn't reflect the sound the audience hears. IEMs and monitoring are a very specific thing.
My monitors are extremely unbalanced and sound nothing like a record, or what I hope the audience is experiencing.
Also, again, a lot 'entitled' chatter on that thread - if bands don't want illicit recordings to be shared, they should release unedited versions of the live show?
First, it's not possible logistically. Second, a live show is a LIVE show. It isn't a record.
For anyone who started playing live before the internet and iPhones, it was a communion between artist and audience. Nowadays you are playing to a majority of people holding iPhones in the air, concentrating more on their exposure, the camera angle, than they are on just enjoying the show.
Some artists ask people not to record the show on an iPhone and for the most part this is respected.
Which is great!
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there is also an IEM recording of LA 2001 with Bonnie Raitt as a guest
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Well isn’t it about time to release these for everyone via Tracker or Unlimited? Since they ain’t touring no more they can’t ban further audience recordings.
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This story is exactly the same one I've told before. Artists do not want unauthorised recordings to be shared.
If this IS an IEM capture, it is 99.995% likely it doesn't reflect the sound the audience hears. IEMs and monitoring are a very specific thing.
My monitors are extremely unbalanced and sound nothing like a record, or what I hope the audience is experiencing.
Also, again, a lot 'entitled' chatter on that thread - if bands don't want illicit recordings to be shared, they should release unedited versions of the live show?
First, it's not possible logistically. Second, a live show is a LIVE show. It isn't a record.
For anyone who started playing live before the internet and iPhones, it was a communion between artist and audience. Nowadays you are playing to a majority of people holding iPhones in the air, concentrating more on their exposure, the camera angle, than they are on just enjoying the show.
Some artists ask people not to record the show on an iPhone and for the most part this is respected.
Which is great!
I understand your point Chris, and your are right about "live experience" and "enjoying the moment"
BUT, on the other hand, videos of a show, even if they are amateurish, can bring memories, and even more, some stuff for the ones who didn't attend the shows.
I am glad to see some gigs that I couldn't attend
And when I write and publish live reports, I have often comments by people who says thanks for bringing some sounds ands images from the show. they are grateful for seeing things that they couldn't attend.
Sometimes they says "it's almost like we were there"
so I'd say there are both sides of the situation
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so I'd say there are both sides of the situation
As I've said before - it has changed the artist performance. You know everything you are doing is going straight up on to Youtube for global consumption. Also, it changes the performance from the stage as you look out and see a sea of mobile phones INSTEAD of happy smiling faces fully engaged in the music.
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This story is exactly the same one I've told before. Artists do not want unauthorised recordings to be shared.
If this IS an IEM capture, it is 99.995% likely it doesn't reflect the sound the audience hears. IEMs and monitoring are a very specific thing.
My monitors are extremely unbalanced and sound nothing like a record, or what I hope the audience is experiencing.
Also, again, a lot 'entitled' chatter on that thread - if bands don't want illicit recordings to be shared, they should release unedited versions of the live show?
First, it's not possible logistically. Second, a live show is a LIVE show. It isn't a record.
For anyone who started playing live before the internet and iPhones, it was a communion between artist and audience. Nowadays you are playing to a majority of people holding iPhones in the air, concentrating more on their exposure, the camera angle, than they are on just enjoying the show.
Some artists ask people not to record the show on an iPhone and for the most part this is respected.
Which is great!
In the case of the IEM recordings we have, the sound is well balanced and all the instruments can be heard well, one of them is a bit higher, usually the vocals and MK guitar when it comes from his signal, but we are lucky about them, as I know these kind of recrdings exists of other artists and are pure crap as they comes from very specific mixes from, for example, the bass, where eeverythig is very low except the bass and similar stuff.
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This story is exactly the same one I've told before. Artists do not want unauthorised recordings to be shared.
If this IS an IEM capture, it is 99.995% likely it doesn't reflect the sound the audience hears. IEMs and monitoring are a very specific thing.
My monitors are extremely unbalanced and sound nothing like a record, or what I hope the audience is experiencing.
Also, again, a lot 'entitled' chatter on that thread - if bands don't want illicit recordings to be shared, they should release unedited versions of the live show?
First, it's not possible logistically. Second, a live show is a LIVE show. It isn't a record.
For anyone who started playing live before the internet and iPhones, it was a communion between artist and audience. Nowadays you are playing to a majority of people holding iPhones in the air, concentrating more on their exposure, the camera angle, than they are on just enjoying the show.
Some artists ask people not to record the show on an iPhone and for the most part this is respected.
Which is great!
I understand your point Chris, and your are right about "live experience" and "enjoying the moment"
BUT, on the other hand, videos of a show, even if they are amateurish, can bring memories, and even more, some stuff for the ones who didn't attend the shows.
I am glad to see some gigs that I couldn't attend
And when I write and publish live reports, I have often comments by people who says thanks for bringing some sounds ands images from the show. they are grateful for seeing things that they couldn't attend.
Sometimes they says "it's almost like we were there"
so I'd say there are both sides of the situation
Personally, I am eternally grateful to all the people who made bootleg recordings possible. They are a true time capsule, whether in audio or video format. They have always been a very precious archive for me, especially because I have never had the opportunity to see a Mark Knopfler show in person, nor have I seen Dire Straits, who have never been to Brazil.
These recordings are very important to me and many fans. I dare say that no band's history will be complete without going through what the bootleg universe has to offer. How would we know what certain songs would sound like live? Angel of Mercy, Single Handed Sailor, Skateaway, It Never Rains...
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I liked the days when some people were dedicated to record while the vast majority, including me, was just there enjoy the show.
I think it was Metalica that in the days even did have a reserved area for the tapers.
Today attending show in the audience has become sad always getting the view more or less obstrued by some hands up.
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This story is exactly the same one I've told before. Artists do not want unauthorised recordings to be shared.
If this IS an IEM capture, it is 99.995% likely it doesn't reflect the sound the audience hears. IEMs and monitoring are a very specific thing.
My monitors are extremely unbalanced and sound nothing like a record, or what I hope the audience is experiencing.
Also, again, a lot 'entitled' chatter on that thread - if bands don't want illicit recordings to be shared, they should release unedited versions of the live show?
First, it's not possible logistically. Second, a live show is a LIVE show. It isn't a record.
For anyone who started playing live before the internet and iPhones, it was a communion between artist and audience. Nowadays you are playing to a majority of people holding iPhones in the air, concentrating more on their exposure, the camera angle, than they are on just enjoying the show.
Some artists ask people not to record the show on an iPhone and for the most part this is respected.
Which is great!
I understand your point Chris, and your are right about "live experience" and "enjoying the moment"
BUT, on the other hand, videos of a show, even if they are amateurish, can bring memories, and even more, some stuff for the ones who didn't attend the shows.
I am glad to see some gigs that I couldn't attend
And when I write and publish live reports, I have often comments by people who says thanks for bringing some sounds ands images from the show. they are grateful for seeing things that they couldn't attend.
Sometimes they says "it's almost like we were there"
so I'd say there are both sides of the situation
Personally, I am eternally grateful to all the people who made bootleg recordings possible. They are a true time capsule, whether in audio or video format. They have always been a very precious archive for me, especially because I have never had the opportunity to see a Mark Knopfler show in person, nor have I seen Dire Straits, who have never been to Brazil.
These recordings are very important to me and many fans. I dare say that no band's history will be complete without going through what the bootleg universe has to offer. How would we know what certain songs would sound like live? Angel of Mercy, Single Handed Sailor, Skateaway, It Never Rains...
Completely agree.
MK has boycotted himself big time by such a poor live releases strategy.
No BIA live ever until now, Imagine a well chosen show (not San Antonio) released just after that tour.
Imagine a complete OnTheNight released just after that tour.
Imagine at least 2-3 well chosen solo career concerts released both in audio and video format just after those tours.
Stunning how many jewels are lost forever.
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sorry, I would like to know if these concerts are still available...maybe on the tracker?
Thanks
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No BIA live ever until now, Imagine a well chosen show (not San Antonio) released just after that tour.
Imagine a complete OnTheNight released just after that tour.
Imagine at least 2-3 well chosen solo career concerts released both in audio and video format just after those tours.
Stunning how many jewels are lost forever.
That's not really true.
The final BIA show was shot by ABC in Australia and is available in full on Youtube. Likewise the 1992 Basel show.
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No BIA live ever until now, Imagine a well chosen show (not San Antonio) released just after that tour.
Imagine a complete OnTheNight released just after that tour.
Imagine at least 2-3 well chosen solo career concerts released both in audio and video format just after those tours.
Stunning how many jewels are lost forever.
That's not really true.
The final BIA show was shot by ABC in Australia and is available in full on Youtube. Likewise the 1992 Basel show.
Chris, but these videos you mentioned were not scaled like Alchemy or On The Night, they are not official releases, available for sale like the VHS, DVDS, LP, CD... of the shows I mentioned. I believe that Vape68 is reflecting something that I have also reflected, (as have many people) about how it could have been even bigger, this live BIA tour could have been released between 1986/1988, not 40 years later, for example.
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No BIA live ever until now, Imagine a well chosen show (not San Antonio) released just after that tour.
Imagine a complete OnTheNight released just after that tour.
Imagine at least 2-3 well chosen solo career concerts released both in audio and video format just after those tours.
Stunning how many jewels are lost forever.
That's not really true.
The final BIA show was shot by ABC in Australia and is available in full on Youtube. Likewise the 1992 Basel show.
Actually There are tons of great bootlegs, many more than the ones you mentioned, but they are not official live releases.
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Chris, but these videos you mentioned were not scaled like Alchemy or On The Night, they are not official releases, available for sale like the VHS, DVDS, LP, CD... le) about how it could have been even bigger, this live BIA tour could have been released between 1986/1988, not 40 years later, for example.
I know, but in the 70's, 80's and 90's live albums and films were rare. No artist routinely offered material from their tour.
Since the advent of digital, recording a live show has become very cheap and easy to do. Additionally, as most major artists are now touring with screens and multiple camera set ups it is also cheap and routine.
In the BIA and OES era you had to make special arrangements and hire a whole second crew to record and film a show.
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I guess the screen feeds (if there were any) would not on their own be good enough for an official release.
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Back in the day there were fewer cameras (if any).
Nowadays there are very small, high quality cameras (like REDD, Blackmagic Design) and even tiny go-pros you can mount around the drums have fantastic quality.
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We tend to forgot how fast and great technology have grown.
Just remember 2005 when Mark allowed his show to be sold in WMA 128 KBs audio resolution.
I don't know what gear was used then for master record but so far no lossless source appeared.
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When I was putting my book together I realised the OES tour was done with landline telephones, fax machines and cash.
I don't remember any computers on the road, virtually no mobile phones (may be the odd in car phone). No cell phone cameras or recording.