Professional Sound - February 2018 - Page 32

e S6L n Avid Venu nd with a Mike Rowla world in monitor sounds phenomenal and they upped the preamp game, EQs are smooth, and it’s just so intuitive.” Both McLellan and Rowland say the real game-changer in the S6L, which was particularly helpful for Caesar’s Danforth shows, is its Pro Tools integration. For one, each night’s show was recorded by both Rowland and McLellan for use in a future documentary, and the Pro Tools integration made this exceedingly easy. The recording was also very helpful during rehearsals. VER Toronto System Tech Jon Halliwell “With the S6L, we figured it’s not a whole whack load of additional gear to record; the cards are already in there, it’s just done via Cat-5 into a MacBook, and it reads the E6L engine and just uses input gains at the stage rack – done. So we’ve been 32 PROFESSIONAL SOUND recording every night and basically, within the console software, you have two options: the E6L is either listening to the stage rack or it’s listening to the Pro Tools return, and it’s down to independent channels, which is fantastic,” says Rowland. “In rehearsals, there was one day where the [backup singers] were introduced and they wanted to run through stuff while the band weren’t there. But I recorded a full set in preproduction, so they came in early one morning, we got them all hooked up with their in-ears and mics, and I started the show on playback and ran the entire show through virtual soundcheck, but I used their four channels and turned them back to the stage rack. So all my 60-odd inputs were running the show but their four vocals were live. So we ran the show as we would and they were able to tweak and adjust and it was brilliant. It is really beneficial and the best part of the monitor set-up by far.” During the five days of preproduction and rehearsals at the Sony Sound Stage in Toronto, Rowland and McLellan sorted out their microphone options, and Rowland describes the end result as “a dream mic selection.” To start with the most important source, Caesar’s voice, they opted to stick with the Sennheiser e935 the artist had used on the preceding tour. Rowland originally wanted to do a shootout to test the e935 against some vocal mics he enjoyed using over the summer while touring with rock band AFI – Telefunken, Neumann, and Audix models – though ultimately, the e935 was working very well with Caesar’s voice and technique, and they figured it was best to keep him comfortable considering all the other changes happening ar չ)ѡ͔Ѡ̸͡)ɕձȁѕȁٽݡͽѥ)́Ѽ͵Ѡ͕Ѽ51ͅ)ѡԁѕٕ́ݕѼ ͅˊéٽ+q!́饹ѕՔ!)ЁݥѠѡͻeЁձ݅)ɥѡѕ́Ёͥ́)ݡѡeɔЁɔѡȁэ!)́ѡɽӊéхѥ)ɽЁ͔ѽ̳t́ͅѡ)ȸqQ䁥Ք$ٔݥѠmѡt)Ё͕́Ѽͥȁ嵉̸)5Ё ɹЁ́յ)͵́͡ѡ͡ЁЁ́аݡ)́饹$ٔ᥹յ)éѡЁ'eٕٔȁᕐ)Uչѕ䰁́嵉́ٔ)éٽЁӊéЁͽѡ)ݗeٔхѼɽ͔ȁ͵)х́ݡɔéɥЁ䁅$)ЁٔѼЁݥѠлt)%ѕɵ́D́ ͅˊe)ٽ51ٕ́́ͅ䁱ѱ+qѡɽ'éѼ(ԁȀm!tѡ́ٽ)͕́Ѽٔѡ͔ܵ́ѡ)Ёѕȁ܁Ս$)Mё́́ѱɕ̴)ͥٔЀͼ'eЁЁ܁͡)ݥȁՔͼӊéЁЁєɽ)ЁɔЁͱѡЁ́ɥ)ѡѼܵ́ѡЁݥ)ɽչȁѱгt͡ɕ̸+q=ѡȁѡѡаЁՍ'eЁɥ(̸ԁm!tЁɽЁ͔)$єЁѡЁ́ݥѠѡ嵉)͹ɔմѡЁ͕Ѽѡȁ݅)Ѽѡɽt)Iɑ͕ѥѕɕѥ)Ёȁ51݅́ѡ1ͱ)ȁѡɝȁ͕ѡ͡ϊd)ѡɕͽ̃LqɕՑtq ͕t+qЁe׊tLݡͼݥѠѡɼ)Սѥѡȵͽȸ+q'eٕȁ1ͱɔͼ)$Յ䁡ѼɕȁѼ5ѡа+a]Ёݔ͔d́ͅ51q%ӊéЁݼ)mMɕtM4́ѡѽM4)ѡѽȁܵ$͕ѡ)ݼѽ$͕ܵѡѽ)ɕͥMѕٔm!t)饹ɝȁé她)!́Ѽ1ͱeԁeЁٔѼ)ѡѼ쁥ӊéЁɝ́䁥͕t+qQЁ́Յѡѡѡ́)ѥɔ͕Ёݡɔ$ЁЁ)ܵ́ѕ́ݡɔ