I had a really fun show last weekend - I was mixing a regular client, Haim, but we were doing a special benefit show for VetsAid. It’s organized by Joe Walsh (guitarist for the Eagles) and raises money for veterans groups around the country. Of course, he got a bunch of great artists to come support the good cause, including Chris Stapleton, Don Henley, James Taylor and Ringo Starr.
My friend Nathan (aside from offering great training on sound system tuning) has a podcast called Sound Design Live. And he interviewed me recently!
We talk about a handful of things, including finding work, being nice to people, and using EQ as much as necessary. It was fun to talk about this stuff "on the air" - sometimes it takes someone asking good questions to get insightful conversation.
Want to know what audio gear and equipment is most important on tour? I’m often asked: "Do you use your own console for that or do you use a festival desk?" which is something I’ve often asked myself the first few times I saw how big festivals operated. So, this post is all about the most important audio gear I carry on tour.
When we get to the size of production that requires a separate console for the monitors, we also need a splitter. This takes the Inputs from stage and splits them to both the FOH and Monitor consoles. There are a few methods for doing this, but the one I prefer for live music is a transformer isolated splitter.
One of the things that's not so fun about theaters is that the FOH mix position is usually stuck underneath a balcony. This means that you can't really hear the whole PA (sometimes almost none of it), and the low/low mid frequencies are probably way louder than they are for the rest of the audience.