Author Archives: Danny Maland
Meeting the fans where they are, even if only in a small way, is one of the ultimate labor-savers in this business. It’s not necessarily a trivial thing, but it’s much more likely to be rewarding than swimming against the raging current of what fans have no desire to do.
If your EQ isn’t flat, and everything sounds great, then leave your EQ alone. If your EQ is flat, and you don’t like what you hear, you may as well start turning some knobs.
In this month’s contribution from our resident audio-human, Danny Maland shifts the perspective from “assigning blame” to “harnessing power”. An important distinction if you want to make it big in this business…
Their mastery of what was going on was so high that they could (seemingly without effort) take a musical detour to fix an issue…and not only keep their audience entertained, but use the problem as an occasion to show just how completely they were in command of what was going on.
In this month’s installment from my favorite audio-human, Danny Maland expands on his explanation of balancing your live sound and how to use that as a tool against incompetent (or inexperienced) audio techs.
I’m wary of oversimplifying live production. The more years I spend on doing it, the more I realize that the rabbit hole goes far deeper than I can imagine. The notion that there could be “One Crazy Trick” that can improve your show almost automatically makes me a little nervous. It’s a notion that seems to validate the idea of being merely a button-pusher. It seems to reward the tendency to memorize a procedure without understanding what the procedure means, or where it comes from.
But, in a way, there is that “One Trick.” It’s not crazy, nor is it necessarily simple to pull off.
Even so, if you do this one thing you will have taken a huge step towards making your live shows a lot better:
There are no hard and fast rules. In some cases, the band must be an inoffensive background element. In other cases, they must be front and center. The case that applies may even shift in the middle of the show.
The managing, mangling, massaging, and massacring of audio can be strangely abstract. I have a theory about why. My notion is that we are much more culturally ready to be analytical about visual information than we are about sonic information.
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