(L to R) Ian Charbonneau and PogoArt engineer Wojtek Igielski Buena Park, CA (June 26, 2013)—Nineties punk hitmakers The Offspring recently tapped sound engineer Ian Charbonneau to record and mix an online broadcast for the band.
The recording took place in Warsaw, Poland at the Orange Warsaw Festival held at Narodowy Stadium. Charbonneau has worked with the band for the past five years, recording and mixing live TV, Webcast or Radio broadcast the act does internationally. For the recordings, he used LeMobile’s Le-Fly-Pak system with a Yamaha DM2000 digital audio console for live broadcast mixing.
“Doing live projects on the road is always a lot of fun and can be very challenging, not necessarily knowing which console and set up I will have to work with. It is always different,” Charbonneau said. “A big part of the challenge comes from the very little prepping time and often without any soundcheck—you’ve just got to nail it. In the last few years, I’ve expanded my own business in consulting, recording and mixing for artists, managements and labels when doing live TV, webcast or broadcast appearances around the globe. It gives both artists and production teams great assurance that someone is looking out for them. As most know, when doing live projects, there’s only one chance of getting things right. I was excited when I found out for this particular project, I would have the opportunity to use the new Yamaha CL5 digital audio console.”
The Poland set up consisted of two consoles: the CL5 used as the main console and a Yamaha DM2000 for backup purposes, all recorded to Steinberg Nuendo Live. “I chose to try out the new CL5 even though I’m very familiar with the DM2000. I was quite pleased with how easy it was to get around this console,” said Charbonneau. “Very simple and logical layout. I find some digital consoles today seem to have lost their logic with too many places to do the same things, busy layouts or too many menus and layers like trying to please everyone. It is often too easy to get lost or make mistakes.”
As for its sound, Charbonneau said he was also happy with what he heard: “It was really responsive; I learned over the years working with our DM2000 and other digital consoles that you often have to exaggerate a little when EQing and compressing. The CL5 seemed more natural.”