09/03/2009 [Services]
PROG SUMMARY
This month we look at how to make yourself heard as we lift the lid on PA systems, big and small. And so we talk to top Sound Engineer for events like Live Earth and the Concert for Diana – Bunny Warren. Yamaha’s Nick Pemberton takes us through the John Peel stage at Glastonbury and offers his ‘Top 5 things to make any PA system better’.
Last month’s ‘Band For A Grand’ session came from Nottingham rockers Ocean Bottom Nightmare…this month we head to London with ‘Station Parade’
Then, from front of house to monitors and Razorlight’s Phil McDaniel talks ‘in ears’ … And finally, Take That Musical Director Mike Stephens checks in to talk about his career.
GUEST 1 - BUNNY WARREN (DIRECTORS CUT AUDIO)
Bunny Warren
Mike 'Bunny' Warren has been a sound engineer for 30 years. He began his career using his own PA system working with acts like ‘Fairport Convention’ and ‘The Albion Band’. As his career progressed he began to work with major jazz artists including the late Ella Fitzgerald and George Shearing.
When Bunny became the principal engineer for Status Quo, things moved forward quickly, leading him ultimately to be the first choice for the likes of Sir Cliff Richard, Take That and Girls Aloud. He’s also worked on some of the biggest multi artist events ever including ‘Live Earth’ and the ‘Concert For Diana’.
His principal desk of choice is the Yamaha PM5D. “To me it’s like the SM58 of digital boards. You know exactly what you’re getting and it just works. I’ve never known one of these not to do exactly what it says on the tin. “It’s so flexible; you can use it any way you want. And it’s a small footprint so, from a production manager’s point of view, it’s great.” I’ve also never had a PM5D fail. Not once.”
“I used it on Girls Aloud earlier in the year, Mick Hucknall’s tour and other things. It’s something that I ask for wherever possible. I just love it. I very rarely use anything else.”
GUEST 2 – PHIL McDANIEL (DIRECTORS CUT AUDIO)
ESS”S Phil McDaniel picture with M7CL on tour with Razorlight
At 20 Phil took a scarier path change, opting for the life of a sound engineer over pure electronics. With a new business partner he set up his own PA hire company ‘Entertainment Sound Specialists’. As the years passed the company has grown in size, supplying sound equipment for festivals and shows across the country.
As an engineer, Phil’s specialty is monitor mixing for artists such as Razorlight, Don McLean, Faithless, Nick Kershaw and Manson.
GUEST 3 – NICK PEMBERTON
Yamaha technical sales specialist and Freelance sound engineer Nick Pemberton is credited with designing and constructing a revolutionary “analogue free” sound system for the John Peel stage at Glastonbury 2008. His experience and technical know how puts him at the front of the digital sound revolution.
During his Yamaha Download interview Nick expands on the following ‘Top 5 Things to make any PA system better’
TOP 5 THINGS TO MAKE A PA SYSTEM BETTER
- Keep the rig as simple as possible – only use what you need.
- Use effects sparingly
- Place speakers in front of the mics
- Position Mics properly
- DON’T MIX TO LOUD!
Monitor engineer Mike Taylor on the John Peel Stage at last years Glastonbury with PM5D, he’ll be running monitors with PM5D this year on the Peel stage this year too...
GUEST 4 – MIKE STEPHENS (DIRECTORS CUT – VIDEO)
Mike Stephens is one of the UK’s most experienced and sought after Musical Directors. Current projects include work with Annie Lennox and Take That. Mike began his career as a session saxophone player and grew into his current role over a number of years working with some of the biggest artists in the world.
British musical director, producer, writer and musician (primarily keyboards, guitar and saxophone). He was born in Wisbech, Cambridgeshire. He graduated from Birmingham School of Music where he studied clarinet, euphonium and piano.
In recent years he has worked as long-term Musical Director for artists such as Annie Lennox, Take That, Sugababes and more recently Will Young, James Morrison and Mika. He performs in the live band for Annie Lennox and Take That (including a saxophone solo in ‘A Million Love Songs’.
Stevens has also been Musical Director for The Eurythmics, Bill Withers, Gary Barlow, Mark Owen, Atomic Kitten, Gareth Gates, Geri Halliwell, Billie Piper, Blue, Lady Sovereign, Alex Parks, Donny Osmond, 911, Patrizio Buanne, B*witched and others.
As a session musician (saxophone) Stevens has recorded on albums by Tina Turner, Tom Jones, Mica Paris, Glen Goldsmith and Barry White.
He co-wrote and co-produced ‘Can I Go Now’ for Jennifer Love Hewitt; ‘Forever Begins Tonight’ for Patrizio Buanne; ‘Never Knew I Was Losing You’ for Westlife; ‘Life’ and ‘Keep It Together’ with David Grant.
As a producer, Mike Stevens has worked on tracks on Annie Lennox’s albums ‘Songs of Mass Destruction’ (2007) and her 2009 ‘The Annie Lennox Collection’; the Sugababes download single ‘You Look Good on the Dance Floor’, Deni Hines’ ‘Pay Attention’ album and others.
During the late 1980s Stevens was part of the band L.A. Mix which enjoyed 3 UK Top 40 hits which he co-wrote, produced and performed.
Stevens was the Musical Arranger/Producer for Peter Kay’s 2008 reality show spoof ‘Britain’s Got The Pop Factor’ and Musical Supervisor for the West End stage show ‘Oh What A Night!’ starring Kid Creole.
