Prosound News - April 2008 - (Page 62)

livesoundshowcase She’s the Real Thing by Clive Young come into, but it’s a good family.” His main concern, of course, is the stage full of performers every night, as the singer is backed by no less than 11 other musicians, including two horn players, a percussion player, drummer, keyboardist, three backup singers, a bass player and a guitar player. Despite having so many performers to keep track of—and having a Digidesign Venue D-Show console as his exception. That said, however, Grabe is the first to admit that he’s gone for “a really street, clean, ‘add nothing’ approach to it. I use the Digi Comp, and Revibe when it’s a dry hall, but that’s about it. “Actually I’ve taken off the Smack and a lot of the different high-end ones. Jill’s studio engineer, he’s a big Pro Tools guy, so he’s been listening to all these plug-ins for years; he’s come in and we’ve worked on STEVE JENNINGS H er first album, released in 2000, was called Who Is Jill Scott? These days, people know: She’s the three-time Grammy Award-winning R&B, soul and jazz singer, songwriter, actress and poet who’s currently playing to big crowds across the country. Touring behind her latest release, The Real Thing: Words and Jill Scott and her band hear themselves via Sennheiser personal monitor systems and Meyer Sound monitors. Sounds Volume 3, the songstress is on the road with Masque Sound (East Rutherford, NJ) and bringing down the house at every stop, from Radio City Music Hall to the Greensboro, NC Coliseum. Handling the FOH position for the journey is Lorne Grabe, a new addition to the singer’s touring crew. While Scott has been touring regularly since her first album, Grabe joined her production during a European leg last fall, quickly finding his place: “Most of her crew and some of the backline guys have been with her since the beginning and they’ve all grown up together, so it’s a tight-knit family to disposal—the show boils down to 45 inputs on the desk. Grabe doesn’t use any preset scenes for the act. “We didn’t get a chance to do any type of rehearsal, so I’ve been just treating it like an analog desk,” he said. “I just mix it oldschool style—which fits, because she goes into such a dynamic show. I really watch her and all of the band, because she’ll change it up and play with things or pause on a moment—she can go anywhere at anytime.” Like many tours these days, racks and racks of outboard gear has been replaced with DSP and plug-ins, and this jaunt is no what’s best for the show. He’ll say, ‘That one adds a little bit of fragments here, this one does this,’ so he’s kind of steered me from the fancy plug-ins towards the ones that sonically sound the best and that will give me what I need for her sound. It’s taken a lot of the guesswork out, which was great because I’ve been mixing theater and Broadway tours for the past eight years with Masque; I’m used to Cadacs and orchestras and area mics, so that got me up to speed fast.” Bringing every note to the crowds is a sizable PA based around 20 Meyer Sound (continued on page 64) 62 prosoundnews.com April 2008 http://www.meyersound.com/seminars http://www.meyersound.com/seminars http://prosoundnews.com

Table of Contents Feed for the Digital Edition of Prosound News - April 2008

Prosound News - April 2008 Sound Business Contents Sound Retail Mojo’s Working at NY Noise Studio Showcase: Jungle Room Studios Software Tech Tracks Sessions Nomad Takes Root TCB at NYC’s JSM SoundScreen White Space Turning Gray Audio for Video and Broadcast Field Reports:Sony PCM-D50 Linear PCM Recorder; Holophone H4 SuperMINI Surround Microphone Sound Innovations: Earthworks Audio PianoMic System Frozen Liquid Live Sound Showcase: Jill Scott Centerstage Soundcheck Sound People View From the Top Product Spotlight Advertiser Index Company Index Classifieds Music, Etc.

Prosound News - April 2008

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