Paramore Tour Profile

Jan 1, 2010 12:00 PM, By Sarah Benzuly
Photos: Steve Jennings



Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

Paramore, from left: guitarist Josh Farro, vocalist Hayley Williams, drummer Zac Farro, bassist Jeremy Davis and guitarist Taylor York

Paramore, from left: guitarist Josh Farro, vocalist Hayley Williams, drummer Zac Farro, bassist Jeremy Davis and guitarist Taylor York

For front-of-house engineer Jason Decter (previously with Panic at the Disco!) and monitor engineer Travis Bing (Little Big Town), who are both Paramore first-timers, the name of the game for the current Paramore tour is re-creating the album sound onstage. At each sold-out club/theater date, the hundreds of teenaged fans have come to hear such radio-friendly songs as “Misery Business,” “Ignorance” (from the recently released Brand New Eyes) and “I Caught Myself” (on the Twilight soundtrack), and the engineers want to ensure that the fans are satisfied. Their plan of attack involves carrying digital desks (a pair of Digidesign Profiles), using little in the way of effects and keeping Hayley Williams' vocals on top. The tour is relying on house racks and stacks (a Meyer Sound system running through Lake Contour at the Warfield); Clair Global provides all other gear.


Paramore 2009 Tour Photo Gallery

Decter had his snapshots programmed a certain way since pre-production, but chose to go back to one scene doing manual cues for the entire set to have more fun with the mix each night. “For the past week or two, I've been mixing the show without any snapshots. I changed it up a little bit from one extreme to the other. I was getting bored just saying, ‘Next, next, next’ [laughs]. I have a Crane Song Phoenix on a lot of my subgroups — sometimes on my left and right — but I have a new trick: I come out AES in the desk and go into the Crane Song HEDD Harmonic device and convert it in that instead of the desk so it frees up some DSP. I only run on two cards, maybe three — two DSPs on the third card — but I have four cards in the desk. This gives me more plug-in power, more horsepower. Because I didn't know what I was going to encounter with the band as far as plug-ins, I've got it pretty limited to the Phoenix and Smack!, and I put Hayley's vocal out on an outboard vocal Distressor and it goes right through the P.A.

Front-of-house engineer Jason Decter

Front-of-house engineer Jason Decter

“I just try to hit the keys [that are on] the record,” Decter continues. “They want to create that feel with a bit of moving air on the bottom. We've had open discussions and I record every night [to a Pro Tools HD rig] so the band can hear what's going on. I just go for the open, non-compressed but still in-your-face sound. I leave the dynamics in; I don't squash anything to the point where it sounds bad.”

Bing is also using little in the way of effects — a bit on drums, keys and acoustic guitars: “Nothing crazy,” he says. “Just general hall, reverb and plate sounds.” He is also giving each bandmember a specific mix. “I give them a CD mix in their ears and tailor it to what they want specifically. Hayley's mix is very CD-esque: guitars and drums panned stereo with her vocals on top. I'm compressing the guitars a bit to keep it a bit more even in their ears. I mix in-ears very similar to how I mix FOH: lots of EQ, compression and soft gates across the board,” Bing adds. “Drums has a lot of click; I just drown him in click and snare, and he's good to go. I rely heavily on audience mics and sidefills to make the band feel like they're not wearing in-ears. Hayley feeds off of the crowd, and being able to hear them while hearing herself clearly is key to her performance. Sidefills allow the band to feel the energy from their instruments that they could once feel when they all used to use wedges.” In-ear models include Ultimate Ears UE-11 quad drivers (Williams and bassist Jeremy Davis), UE-7 triple drivers (guitarists Taylor York and Josh Farro) and a combo Weston 3Sxs and generic M-Audios for drummer Zac Farro. “Zac has an issue of keeping in-ears in his ears,” Bing says. “His head is just shaking too much. I think we're going to get him on UE-11s and get the molds just right.”

Acceptable Use Policy
blog comments powered by Disqus

Mix Books

Modern Recording and Mixing

This 2-DVD set will show you how the best in the music industry set up a studio to make world-class records. Regardless of what gear you are using, the information you'll find here will allow you to take advantage of decades of expert knowledge. Order now $39.95

Mastering Cubase 4

Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase(tm). Edited and produced by the staff of Electronic Musician, this special issue is not only a must-read for users of Cubase(tm) software, but it also delivers essential information for anyone recording/producing music in a personal-studio. Order now $12.95



Delivered straight to your inbox every other week, MixLine takes you straight into the studio, with new product announcements, industry news, upcoming events, recent recording/post projects and much more. Click here to read the latest edition; sign up here.

MixLine Live

Delivered straight to your inbox every other week, MixLine Live takes you on the road with today's hottest tours, new sound reinforcement professional products, recent installs, industry news and much more. Click here to read the latest edition; sign up here.

[an error occurred while processing this directive]

The Wire, a virtual press conference offering postings of the latest gear and music news, direct from the source. Visit the The Wire for the latest press postings.