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    If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading. “Every singer is different. Some adapt to phones easily and don’t have any pitch problems. Then there is the other type who sings normally until he puts phones on. Then he drifts sharp or flat consistently. Each individual has to experiment and find out what works for him. He might need to pull one phone back a little bit to hear what is going on in the room. If the session is an all-acoustic bluegrass recording, then you can often go with- out phones. The musicians will gather around and let the leakage happen and go for that. Most of the things that I do, however, are a more controlled situation. I usually have the drums out in the room by themselves, with maybe the bass player. Everyone else is pretty isolated. A number of years ago, I did have a singer one time who was never satisfied with the cue system. He could never hear anything. One day he said, “I want to hear more highs in the lows.” I said, “I’m not sure how to go about doing that.” What I ended up doing was taking a stereo graphic equalizer and setting it up in front of him. I ran the cue mix through the graphic and said, “Here, have at it!” I let him EQ any way he wanted to. After the session I saw how he had set it, and it was pretty frightening. The level was even more frightening. Over the years, the consequences of playing phones too loud can be very alarming.” -John Guess
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