CUSTOMER STORY BLAKE SHELTON NASHVILLE, TENNESSEE

Country Star Blake Shelton performs concert to a Drive-In near you

“We love these Award-winning country music artist Blake Shelton performed for capsules because an exclusive one-day-only drive-in performance screening, which took place simultaneously at 300 participating drive-in locations they have a high- throughout the United States. The recently taped performance fidelity sound, included a full set of Blake’s best-known music performed with but they‘re not as his six-piece touring band and also featured special guest appea- feedback prone rances by Gwen Stefani and Trace Adkins. as some other Monitor engineer Brad Baisley and The planned hour-and-a-half-plus mics with that Shelton’s touring band, including show was to feature many of Shel- characteristic. They drummer Tracy Broussard, were ton’s biggest hits, as well as some sit really well in a on hand to ensure a seamless ex- of Stefani’s and Adkins’s. Bais- perience that captured the energy ley turned to their trusted touring mix.“ of a true live show. For the perfor- complement of Sennheiser micro- mance, they turned to their most phones to stay true to their live Brad Baisley trusted gear for audio fidelity: sound. “We all knew from the be- Monitor engineer Sennheiser vocal and instrument ginning that we wanted this drive- Blake Shelton microphones and Digital 6000 wi- in concept to feel like a real Blake reless technology. Shelton concert, so it was great to CUSTOMER STORY BLAKE SHELTON, NASHVILLE

»Sennheiser sound quality is beyond anything else have our Sennheiser mics that Group) and VER (Video Equip- show. It was a seven-camera we use on tour,” says Baisley, ment Rental) warehouse space shoot, and we ran the whole who has worked with Shelton outside of Nashville without an show down in one take.” as a monitor engineer for eight audience. They set up a real To translate the compelling vo- years. “We recorded it at the pipe and drape area to create cal performances of Shelton joint PRG (Production Resource the ambience of a big venue and his guests, Baisley turned

to the combination of the Senn- 935 capsules on everybody. “We love these capsules be- heiser MMD 935 capsule and Having each performer on the cause they have a high-fidelity SKM 6000 handheld transmit- same mic ensures that we’re sound, but they’re not as feed- ter. “Whenever we do a show, starting from a level playing back prone as some other mics everybody uses Sennheiser,” field tonally.” with that characteristic. They Baisley says. “We had Blake, For Baisley, the MMD 935 cap- sit really well in a mix.” Those Gwen Stefani, and Trace Ad- sule has long distinguished it- qualities have only been height- kins all featured prominently self with both its sound quality ened since Shelton’s team ad- in the show, and we used MMD and external noise rejection. opted Sennheiser digital wire- CUSTOMER STORY BLAKE SHELTON, NASHVILLE

»We don’t need gear to get in the way of what we’re doing, we need gear that works all the time, every time. less. “We transitioned to the me the option to easily dial in drum, but having a mic like that Digital 6000 three years ago,” different sounds for everyone’s on the floor tom is something Baisley says. “That really took monitors based on their needs.” that I’ve really enjoyed.” Baisley the sound of the MMD 935 cap- For Broussard, he loves how the agrees. “It gives you that real sule to another level.” mics handle any bass drum he big bottom out of the floor tom, In addition to superior sound chooses. “No matter what kit I and clear attack, too,” he says. quality, RF flexibility and stabili- put up there, the e901 and e602 A pair of Neumann KM 185 con- ty has been another highlight of sound amazing,” he says. denser microphones capture the Digital 6000 Series for Bais- Broussard likes to use a me- the sound of Broussard’s cym- ley. “We don’t need gear to get dium-toned snare, with ample bals. “Cymbal definition is very in the way of what we’re doing baffling to drop its tone further important for our instrumen- from an entertainment point of for a fatter sound when neces- talists to hear in their monitor view, we need gear that works sary. With a vintage Sennheiser mixes,” Baisley says. “We use a all the time, every time, and Di- e905 on snare top and an e604 pair of KM 185 mics under the gital 6000 does just that,” he on snare bottom, Baisley has cymbals because their super- says. “And with today’s spec- access to all the tone and sen- cardioid polar pattern is very trum situation, having a digital sitivity he needs for Broussard’s effective at rejecting the rest of system that can navigate even monitor mix. “The e904 on bot- the drums.” For Broussard, the the most challenging RF envi- tom captures the attack and KM 185 microphones also ef- ronments has really been a life sizzle, while the e905 on top gi- fectively capture the full tonal saver.” ves me the body of the drum.” range of his carefully chosen Crafting a contemporary count- The result is a contemporary cymbals. “They’re truly repre- ry drum sound is key for Baisley sound that fits Shelton’s music sentative of what the cymbals and drummer Tracy Broussard. and feels great for Broussard. sound like,” he says. They’ve honed in on a selection “The snare drum needs to be Cymbal definition is further of Sennheiser and Neumann fat for modern pop country, and enhanced by a pair of e914 microphones to give them what those mics give you that while microphones on hi-hat and they need in any environment. also making sure all the ghost ride respectively. “Those mics For kick drum, the combinati- notes that I do are well repre- are important for bringing out on of a Sennheiser e901 inside sented.” the full tone of the hi-hat and the drum and an e602 outside Another e904 captures Brous- ride cymbals,” says Broussard. the drum provides the depth sard’s rack tom, while an e902 “With my ride cymbal, I get all and flexibility Baisley desires. helps translate the deep lows different tones from it depen- “I gate and compress it so that of Broussard’s floor tom. “The ding on where I hit it. The e914 I’m only getting the kick from e902 on the floor tom is pret- represents all of it, whether it’s the e901, and then I use the 602 ty amazing,” Broussard says. the washy sound on the edges for subs,” he says. “This gives “Of course, it’s great on a kick or the bell right in the middle. CUSTOMER STORY BLAKE SHELTON, NASHVILLE

First show after 110 days off

And it’s great to be able to ride the full-spectrum response help him feel connected to in that extra presence from the of a 421 works really well for his performance on-stage, he hi-hat when needed.” it. And of course, it’s great on also appreciates connecting Elsewhere on-stage, Sennhei- bass amps, too.” with Sennheiser off-stage. “It’s ser mics are ubiquitous. “The With only two weeks to pull been great getting to know e906 is incredibly versatile,” everything together, Baisley everyone at Sennheiser, and Baisley says. “With the 3-po- was impressed with his team’s their product support is ama- sition roll-off, you can always performance. “Blake and the zing,” Broussard says. find the right sound for guitar band had just one rehearsal Broussard is happy to once amps, and we use them on the together for the show after 110 again share the excitement of Leslie horn as well paired with days off,” he says. “But it real- live music with Blake Shelton an e602 for the low-end.” For ly came together quickly once fans. “As a performer, you learn pedal steel guitar, however, they got going. Having ever- to give the same show whether Baisley turns to another clas- yone return to all the sounds there’s 1 person in the room or sic design. “The MD 421-II is that they’re accustomed to 60,000. Working with Brad and the best pedal steel guitar amp with our Sennheiser mics de- our Sennheiser microphones mic there is,” he says. “Pedal finitely helped them give their helped give us the confidence steel guitar has such a wide best performance.” For Brous- and comfort to go out and play range, almost like a piano, so sard, while the microphones our best for the taping.”