The F5 key came through, back in the queue for both Autobahn and Man-Machine, though being still stuck the queue 23 minutes after the opening, my chances have got to be slim...
"All tickets for all Kraftwerk performances are either being held by other users while they're being purchased or completely sold-out. If those ticket buyers that have reserved tickets do not complete their reservation, those tickets will become available for purchase again within a few minutes."
I guess the odds of landing this must have been pretty bad, neither of my two friends also going for this having landed any tickets. I'm guessing 300 to 500 spectators for each show, something like 50,000 fans worldwide vying for 3000-4000 spots.
My point was that most of their music lends itself quite well to the kind of acoustic distortion you get in a space like this, in addition to the atmospheric synergies such a setting provides.
And mine is that nothing will sound good in a highly reflective space like that if you're going to ampify multiple sound sources (particularly with regards to the bottom end of the frequency spectrum and the inherent long wavelengths) which is what Kraftwerk are big on live, unless either really attenuated or properly measured and treated.
The room may look nice and be in accord with their quirky material but it sure won't sound good.
One day in the late 70s, my Ma arrived home to find me listening to Autobahn. "Turn that bloody rubbish off, I've been listening to it all afternoon" [at a work colleague's atheist funeral].
I guess the odds of landing this must have been pretty bad, neither of my two friends also going for this having landed any tickets. I'm guessing 300 to 500 spectators for each show, something like 50,000 fans worldwide vying for 3000-4000 spots.
Not too mention the scenesters that have probably never listened to them, but heard that everyone was talking about these shows, so they needed to get tickets to say that they were there.
Reminds me a bit of the Hop Crisis of 2007-8, which our local bolshy homebrew suppliers dealt with via rationing rather than price increases. Call me an elitist plutocrat if you must, but i'd rather buy an ounce of hops for $10 than be forbidden to buy one for $3.
Still, this is no excuse. We should have never advised MoMA to allow the tickets to be sold in the fashion in which they were, because in the end—even if everything were to go smoothly—many people would have been very disappointed. ShowClix didn't set the proper expectations from the beginning, nor did we properly prepare our load balancing servers in order to prevent the queue from timing out. Ultimately, we failed many of you.
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