c2meworld.com: These days, Blake Shelton may be as well-known for coaching on NBC’s The Voice as for his country music career, but when he takes centerstage, it’s obvious how he earned the TV gig. With five Grammy Award nominations and 15 Number One country singles to his credit, the singer has the musical skills to go with the affable personality. Shelton got to put those skills to the test for much of 2013 when he toured behind his platinum, Grammy-nominated Based on a True Story album, which became the ninth best-selling album of the year. Helping make sure audiences heard every note of the tour were a team of audio pros riding herd over a sizable audio system from Clair (Lititz, PA).
3 comments:
I always like reading articles about concert tours and what stuck out to me the most in this one was what the monitor mixer said about getting a more analog sound. Instead of tweaking the sound using the on-board eqs and effects, he used outboard gear to get the sound he wanted before he even got to the console. I find this idea of "get it right going in" really interesting. Personally I don't have a side when it comes to the analog vs digital sound quality debate. I've never really heard the difference between digital and analog but I've also never had anyone really demonstrate it to me. I would be interested in hearing the difference and learning about what it takes to make a digital signal sound analog.
Like Phillip mentioned, I also really appreciate articles about concert tours and I wish there were more posted on the blog. This article was interesting for me because I know nothing about sound. It was refreshing to read about another aspect of a live concert other than the lighting. I was surprised to learn how much they edit the sound with eqs and effects before it even enters the console. Prior to reading this article I thought most live sound went straight into the console and was adjusted at that level. Aside from what I learned in the article I also appreciated an article featuring a country artist. Something it seems I never hear about around Pittsburgh and even Purnell.
Being that concert/touring Audio is something that I want to go into this article stood out to me as soon as I saw it. I loved reading about how strikingly different the mixing style was between the Monitor Engineer and the FOH Engineer. Besides the obvious that the FOH Engineer is trying to develop a mix that the audience wants to hear (typically largely based on the album) while the monitor guy is trying to create a mix that the performers want to hear to make them best preform. I was more interested in the fact that the FOH guy preferred to add all of his plugins within the console while the monitor guy liked to do most of it prior to the signal getting into the console. To an extent I think that this is better sounding due to the lack of digital processing you are doing to the sound which takes some of the warmth out of the sound. This being said, the FOH guys method allows for a more simplistic method of setting up and makes it easier to alter and save settings to effects on the fly and during the show. It is this type of article that I really like reading. It helps me learn what is going on in a field that I want to eventually enter that is not necessarily theatre.
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