The Paul Colman Trio - Part I
Our tireless Shure missionary, Doug Gould, who sees many of you at various worship events, introduced us to this acoustic pop trio from Australia. They're taking North America by storm in their One Tour and it's easy to understand why. Here's Part 1 of our conversation with Phil Gaudion, drummer and Paul Colman, singer/songwriter and acoustic guitarist. (Part II will appear in the next issue.)
Paul Colman: Establishing a relationship with an audience is just the same as establishing that relationship anywhere. I think the mistake we musicians make is thinking that a good rapport with an audience only comes from many hours of performing.
Having said that, people have different gifts in relating with a crowd. It doesn't always have to be like Bono or Mick Jagger. Leigh Nash from Sixpence None the Richer is very quiet from stage but her sweet presence and enchanting voice capture the audience in a unique way. I think the bottom line is that you need to be yourself but consider that the people in the audience are more important that you or the music. Serving them through the music is something as entertainers we should think more about.
In this issue of Shure Notes, the subject is monitoring. When did PCT adopt personal monitors?
Phil Gaudion: we started using in ears around 4 years ago, so we've done a lot of shows with them now. Probably around 200 a year since then - maybe 800 shows.
Why were you dissatisfied with wedges?
Phil Gaudion: a couple of factors influenced the change from wedges. We are all fairly discerning about our monitoring. I think the first main factor is the separation each of us can get from each other. It's great not to have someone else's wedge blaring at you and you can walk anywhere on stage with the same mix, of course.
Dave, our FOH engineer, encouraged us to go to in ear for a clearer FOH mix also. That isnŐt always that important for a large show where you are all spread out, but we often do intimate gigs where wedges really interfere with the FOH sound and mic bleed.
Consistency of sound for the band is a big factor too. Moving from a large ice hockey arena to a small church can be really off putting - having in ears removes so much of the room, you get consistency and that helps our confidence I think.
What are you using on tour?
Phil Gaudion: we all use in ear monitoring - Paul, Grant and myself run on Shure PSM600 series and Mike Payne our guitarist is on a PSM700 series unit. Mike and I (Phil) are using the new E2 earpieces, which we already love after only a few shows, Grant and Paul have molded Future Sonics earpieces.
Grant's PSM in-ear belt pack ended up in a toilet after a last minute visit before a show one day. We are proud to say, after drying it with a hairdryer in a hotel room, it's still going strong today - that was 2001! How's that for bullet proof. They've been abused constantly, we've seen many a baggage handler throw our in ear transmitter rack off and on planes - ouch - but somehow they just keep going.
What mix do each of you prefer in your personal monitor?
Phil Gaudion: obviously each of our mixes are setup to favor our own individual voice and instrument, but I do know we all hear everyone's instrument live. Paul often uses a hall reverb on his vocal and acoustic guitar to help him feel like he's projecting. Other than that we don't use effects or compression at all and the mix is static throughout the gig.
How do you think in-ear monitors have affected your performance and the band's overall sound?
Phil Gaudion: Firstly, I think we all pitch our singing much better with in ears. I think in ears have helped all of us play with more excitement and precision too, it really does sound like a CD when the mix is great through a great console.
Any lessons learned? Phil Gaudion: recently we've really come to understand the importance of getting the sound right at the source. Taylor guitars have been kind enough to let us try a bunch of guitars for Paul through a PA to help find one that suits his style of playing best.
Also, every link in the chain, particularly with acoustic guitar, will affect the sound. The radical difference between a quality DI and an inferior unit are amazing. The same goes for mixing consoles, wireless units and just about everything else.
If you have to do a lot of EQ, I'd be asking whatŐs wrong with the chain that is making the sound flat. It need not be a finger pointing exercise, try things until you find the best combination with what you have. You don't have to be frustrated with a poor sound. I encourage everyone to experiment, get in there and find out how to make it better.
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Shure Notes for Houses of Worship thanks Phil and Paul for their thoughtful comments and helpful suggestions, especially during a busy tour schedule. Part II of this interview will appear in our next issue.
Paul Colman Trio has just released its second CD through Essential Records entitled "ONE". It's available in stores everywhere.
To keep up with the band, visit their website at www.paulcolmantrio.com for ONE tour dates, mp3s, pictures, forums, the PCT chat room, and a back catalog of independent CDs.
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Also In This Issue: All About Monitors Asking Questions: In Pursuit of Excellence at Willow Creek Down Under & On Top: The Paul Colman Trio The Shure Calendar Product Spotlight Change My Preferences Privacy Policy |