Blue Man Group & “The Time Traveler” 5088

The first thing I’d like to say about
the console is, I mean – we really have to credit Todd Perlmutter, who was the music
supervisor for me and friends of ours for a long, long time. He got us into
the studio, and the Neve console was a big reason why – and when we made the
decision to combine the 5088… He nicknamed it, I think
appropriately, “The Time-Traveller” – which is how we still occasionally refer to it,
you know, for obvious reasons. It’s obviously a gift to get to work on this
console, every day, day in and day out just to have the access to the
1064s and the 1081s of this caliber they’re pretty well maintained, to be able to
lean over and grab that every day is fantastic. But in the Blue Man world,
there is, you’re definitely dealing with a ton of drums and you’re
dealing with a ton of transients a lot of the tube instruments, it’s a lot of
fast attack stuff and then a lot of low-end, low-mid sort of information. As
the head composer will tell you, there isn’t a lot of space, there’s a lot of
really dense music and you have to make your choices, and to be able to
swap back and forth between the old-world guts and really, really clean
front end of the 5088, and to do so seamlessly, back and forth, is
great. I’m constantly doing it just seeing how much I want to work with
the old, you know the pre-existing EQ on the 1081 for instance
and then like I’ll be popping back and forth and it’s really it’s it’s a it’s a
game time decision on every channel as I’m running through the mix and that is
a luxury. The other thing again talking about the
same frequencies in the same dynamics you’re dealing with a lot of stuff that
sucks up your master section pretty pretty fast, and
as we spoke about before, these rails are they’re made to take it. You know, you’ve
got two full drum kits with double toms and then three perc rigs that all have
four toms each, and then another drum army, which is five guys all that have
two toms and a snare and a line then another percussion layer on top, playing toms…
and then you have the all the tubes on top of it and I
tell you, more consoles than not, you would lose it in the master section – and
the clarity and the space is still there. So, it’s fantastic. The need for high
bandwidth and low distortion in your monitoring path is extremely important. A lot of people, when they think about Blue Man, they you know they they so closely
associate it with their home city, they don’t realize that we actually have
shows all over the country and in places all over the world as well. All of those
shows are constantly being serviced with new material, new content that’s
emanating out of this creative collective that we have based in New
York and drawing on all of our creative resources in those cities as well. What I
like about the console is that these guys love the console. That makes my life
as a producer extremely easy. The gear is never the complaint. There’s also an ease of use on the front end of this console. I feel like this is
a sort of a breath of fresh air when you’re working on it. It’s very
simple in its design and in its layout for what we do here that actually
works, it works great. It gives a lot of flexibility but not unnecessary baggage,
in a way and at the end of it, it sounds…it sounds great. You know we’re all
forced to work on computers at this point and especially in this company
there’s a need to be working in the digital form, in digital formats for
a lot of reasons, so to be able to have the hybrid and be able to use the
benefits of both basically is… Every single time we run something through
that thing, it sounds better!

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