Can you explain a bit about your attitude to working with the house guy in a venue ?
The question is a general one about venue acoustics and why many venues make no attempt to address their acoustics.
Jon explains why he still prefers to mix live shows on an analogue desk and why they are better teaching tools.
What is the best way to achieve that ‘bass thump in the chest’ with a smaller rig?
What kind of venues do you prefer working in?
In this video, Jon talks about his early days sound engineering all those years ago and pays homage to his mentors
How have your microphone choices changed when working with Tori in the studio and live?
When recording vocals, what is your suggested position for the mic, how far would the singer be from it and how might that vary?
What is your favourite creative effect to use in production besides EQ and compression?
What is the most challenging thing when sound engineering for Tori Amos?
How can I make live drum recordings sound more vintage and aged?. This simple question has a simple answer: Use vintage equipment and recording techniques. Easy? Of course not.
Are compressed audio files acceptable?
Marcel’s answer is clear. “If you love music, then compressed files are no good. That is the end of it.”