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Paul Mitchell: Sound Engineer for David Sanborn, Montreux 2000
Meyer Sound: Tell us about the PA at Montreux?
Mitchell: These two halls (Stravinski Auditorium and Miles Davis Hall) are the only halls in the world that you walk in as a house engineer. I mean, I did not put in my tuning music. I put in Macy Gray, because I wanted to hear the PA rock. I know it sounds good. I didn't do anything to it. As a matter of fact all I did is flap it back. The guest engineer before me had taken out some low end, so I flattened it back. It was flat. It sounded really great. You know I've always been a big Meyer fan. I've been a Meyer fan since way back...I like the high end. I think its very high fidelity...The biggest thing about PAs, the hardest thing, is to cover the whole room. I pretty much mix mono now because I've finally figured out after all of these years that ultimately the people that pay the money want to hear the high hat. All the 6,000 people on the other side of the room want to hear the high hat too...The Meyer stuff has great coverage. That's the main thing. You want everyone to hear the same show...I think it sounds great. This room is unbelievable. I haven't mixed out front here for five years. It's a lot of fun. This band is being born as we're doing it. It's a Meyer fest here...I went down to the truck today, checked out the truck. They recalled the mix for me so I could see what he was using across the piano...It's the only venue I know I can walk into and just rock. It sounds great.
Meyer Sound: I was glad to see you walk in here.
Mitchell: Glad to be here. You have to remember I do jazz. I don't bring production very often. I get what I get. We request the things that we request, but you get what's in the hall. They're not going to change it for a jazz fest. You get what's in the hall. So, it's welcome to come into Meyer.
Meyer Sound: Well we want to make it comfortable.
Mitchell: Well, I'm very comfortable.