Prosound News - April 2008 - (Page 64)

Jill Scott (continued from page 62) “I actually sat down in our mic locker and matched the mic to the instrument to best capture what they’re going for—and it’s worked out well.” Lorne Grabe, FOH engineer, Jill Scott style fare like The Music Man and Peter Pan on his resumé as well as having worked U87s and U89s, for instance—and all the singers are on KMS105s. Then, trying something a little different, I’m using the Blue Dragonfly cardioid condenser microphone for the guitar. I saw it the mic locker, and I was like, ‘Man, I want to give this a try.’ It’s E908s on the toms. “I like them a lot,” said Grabe. “They’re a lot warmer than other mics I’ve used—not as ‘condenser-sounding.’ I also like the 441s—they give the bottom snare a thick, nice tone if he’s going for it.” Despite mixing an eclectic, 14-piece with Michael Crawford, there’s also the responsibility for the sound design for the Japanese production of The Who’s Tommy as well. Given that broad background, he likewise has wide-ranging advice for those looking to break into the business: “Work STEVE JENNINGS Milo high-power curvilinear loudspeakers and four Milo 120 boxes, bolstered by a pair of 650-P subs and two CQ-1s. The bass is mainly propelled around the room, however, by a dozen d&b B2 dual mode subs; Grabe explained, “This band has a lot of 808 samples, a lot of different low-end stuff, so I wanted to choose to be able to control it, mold it and play with it a lot.” Although most of the musicians wear personal monitors, Meyer boxes also grace the stage with 10 UM-1P self-powered monitor speakers, eight UPJ-1Ps and a pair of USW-1P subs. A quartet of the UM-1Ps surround Scott in a semi-circle, though she mostly refers to her Sennheiser IEMs. In order to capture Scott and her cohorts with the level of fidelity that will best benefit the music, Grabe has been selective in his microphone choices—a series of decisions made in part based on his background. “Since I come from the theater industry, I brought a very eclectic mic collection,” he chuckled. “After I toured with them in Europe, I knew what they were going for, so before we headed out here in the U.S., I actually sat down in our mic locker at Masque Sound and matched the mic to the instrument to best capture what they’re going for—and it’s worked out well. “I’m using lots of Neumanns—some Handling sound chores are (l-r): monitor engineer Jim Roach, system tech John Graczewski, FOH engineer Lorne Grabe and monitor tech James Good. for free. Go out and be an intern—push boxes around, hook the cable and be ready to learn everything, because you can learn anything off of anybody. In this business, everybody has a new approach or new idea, so you have to be open-minded about it. This industry’s not that hard—you can succeed.” Masque Sound www.masquesound.com Meyer Sound www.meyersound.com Digidesign www.digidesign.com turned out to be a beautiful thing.” Drum mics out with the production include beyer M88s, Audix D6s on the floor toms and kick drum, Sennheiser 441s for the snare, top and bottom, and Sennheiser band, Grabe’s found that his theatrical background has stood him well; the group might head off in new musical directions from time to time, but mixing 45 inputs is easy compared to a few of his previous gigs. “Touring theatrical shows are hard work, and you learn fast,” he recalled. “You’re dealing with a whole orchestra, and it’s a lot of effort—I’ve moved theatrical shows where I’ve had 18 feet of console with two S-Type Cadac consoles, with almost 196 inputs, every day. I’ve had 57 live wireless mics that I had to actually tune and know everybody’s line daily. With 42nd Street, I had 115 live inputs—and 47 of them were wireless lapel and head mics and tap mics. It’s horrid, but once you can control that many little mics, anytime you’re in a band situation, it’s all cake.” That’s not to say Grabe is strictly a theatrical mixer, having paid his dues in the late Nineties on the Warped Tour, as well as mixing and tour managing classic hardcore act, Glassjaw. Even his theatrical work has returned to pop music on occasion, because while there’s traditional Broadway- vitalstats Jill Scott Masque Sound FOH Engineer: Lorne Grabe Monitor Engineer: Jim Roach Crew Chief/System Engineer: John Gaczewski System Engineer: James Good Tech: Matthew Denne FOH Console: Digidesign Venue D-Show Monitor Console: Digidesign Venue D-Show House Speakers: Meyer Sound Milo, Milo 120, 650-P, CQ-1; d&b B2 Monitor Speakers: Meyer UM-1P. UPJ-1P, USW-1P Personal Monitors: Sennheiser G2 Microphones: Neumann U87, U89, KMS105; Blue Dragonfly; Beyer M88; Audix D6; Sennheiser 441 64 prosoundnews.com April 2008 http://www.masquesound.com http://www.meyersound.com http://www.digidesign.com http://www.sensaphonics.com http://prosoundnews.com http://www.sensaphonics.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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