Ohio University's Scripps College of Communication, School of Media Arts & Studies (MDIA) now houses a 32-fader Yamaha Nuage DAW audio post production system and 30-plus seats of Nuendo 7.1.
By Rob Tavaglione As an engineer or producer, you're surely used to seeing weird looks on the faces of the talent—maybe it's just looking through the glass?—but sometimes, frankly, it's almost too much to bear. You've been there: You set up a nice cue mix, but the moment Ms. Diva dons the cans and you "roll-in-the-red," her nose turns up, she looks like she suddenly whiffed raw sewage, dramatically takes one or both ear cups off and says, "OMG, this sounds so weird!" At that moment, you've got about 10 seconds to rectify, tops, or you might just get that "tap on the shoulder" and your walking papers. Here's some emergency help.
"I've got two high-end engineers [Richard Sharratt and Howard Page] that have very good ears. They have totally different styles as far as how they are driving their consoles. So we've come up with a really good, happy medium. As far as what I give the guys on a day-to-day basis, I let them individually carve out the piece that they need." —Jamie Pollock, system tech, Sting/Peter Gabriel 'Rock Paper Scissors' tour
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