Paramore Tour Profile

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



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Monitor engineer Travis Bing

Monitor engineer Travis Bing

Onstage, there are only wedges for Zac Farro and Davis, as they both like to feel the sub energy from the kick and bass guitar. Sidefills alone were not enough for Davis to “feel” his bass, and even some wedges could not handle the output Davis was requesting. Decter says they've gone through quite a few wedges for Davis (moving from a 12AM 12-inch woofer to an LP115 15-inch woofer) as he has a way of “killing the driver,” the FOH engineer says. “There's basically a P.A. system onstage for him.”

The engineers' main concern is keeping Williams' vocals on top, and so the choice of mic was key. Interestingly, she sings through a hard-wired Sennheiser e935 as she likes to whip around the long cable as she jumps around the stage; brightly colored tape (matching whatever her hair color is at the moment) is wrapped around the handheld. The rest of the mics are Shure and Sennheiser models. Another interesting choice is Royer R121s on overheads. “We picked up the Royers in Nashville when the tour started,” Decter recalls. “We started them on guitars but we have iso cabs and it didn't sound natural because there was just too much SPL. I wanted to use them on something else so we switched them to overheads. In both guitar cabinets, there's an SM7 and a Neumann TLM194 on a 4×12 cab — it's very, very loud.”

And just like any tour where there is a young audience, keeping volume (both onstage and through the P.A.) is crucial. “We're running at 104dB A-weighted,” Decter says. “It can peak at 106, 108. I definitely put [the band] over the kids screaming, but they don't go much farther than [108 dB].”

“We work together, and if we get into a room where it's too loud,” Bing adds, “we talk to the band about turning down the stage volume to help out with FOH sound. We're both new to the band so we're trying to figure out what works for everyone.”

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