She & Him Tour Profile

Aug 1, 2013 9:00 AM, By Barbara Schultz

LUSH RECORDINGS COME TO LIFE ONSTAGE

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photo of Ryan Doordan, Matthew Anderson

Monitor engineer Ryan Doordan (left) and monitor tech Matthew Anderson

On the monitor side, however, mixer/production manager Ryan Doordan is carrying a full package: console, Sound Image’s proprietary single 12-inch wedges, and in-ear systems for Deschanel, Hagerman and McPherson.

“Zooey’s using Sensaphonics, and she tunes her vocal to the bass guitar, so I’ve been putting a lot of bass and a little bit of guitar in her ears, but it’s mainly her vocal with lots of [ReVibe] reverb to mimic what’s on the records; different songs require different reverbs.”

Hagerman’s in-ears are Westone. “He likes a more general mix—as much like a front-of-house mix as artists will ask for,” says Doordan. “He needs to hear some of everything because his violin ties the stage together; it fills an important space in the music.

photo of She & Him

“Then the drummer [McPherson] is on Ultimate Ears; he mainly wants drums and guitars, just for timing and pacing onstage, because while he plays to a click on a couple songs, he really needs to take his cues from what Zooey’s doing. When she’s playing ukulele, for example, that becomes the driving force for the pace of the song, and he needs to hear it clearly.” Doordan is also an Ultimate Ears user. He’s on UE-18s and notes that he endorses the company.

“Everybody also has a wedge with their own mix, in case someone needs to pop out their in-ears,” Doordan continues. “I have seven different reverbs lined up for the instruments, for the way people want to hear things differently. I try to route them just as inserts or to a direct out on the instrument itself, and it changes by song, so I might have a channel that’s only used once. I think I’m using 70 channels on my console, even though it’s only 40 inputs.”

Doordan has a challenging job, doing double-duty for such a large ensemble. Assistance by monitor tech Matthew Anderson from Sound Image has been a great asset, he says. It also helps that the tour is so rewarding musically—something Doordan says he knew from day one.

“The first few rehearsal days, we were doing six-plus hours straight with Zooey singing the whole time, and she would sing every song at full volume,” he concludes. “I’ve worked with other artists who can only sing solid for an hour and a half, and then they need to take it down a little bit. She would go full on every time and always sound great, which is pretty remarkable.”






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