METHOD AUDIO

Grateful to be back for another year of NHL Winter Classic mixing the pregame broadcast for @solomongroup on TNT. A special thank to @rmrkpdx for sorting us out on the technical details and logistics. It’s always nice to be back for an annual show and to have things run so smoothly because of the professionalism and collaboration of each department. We ended the year with a great crew in Nashville for NYE on CBS and started the year right in Miami with another great crew for Winter Classic. Our killer crew consisted of @jnjhacker who is one of the smartest and best audio EIC’s in the country (IMO) and just an all around kind person, @andyofsuburbia took care of Pro Tools and Truck A2 duties along with general moral support and comic relief, and coming in strong taking care of liaising with the artist camp and taking care of all the important bits on stage is @tmbwater - the legend. This show was especially unique for us being the first broadcast we were able to use our very own, brand new @thirdear.inc AT6 monitors. Gotta say, it really made all the difference in the world for us. This show in particular required speed since the artist (Role Model) had a very compressed schedule for camera blocking both outside at our show, and inside the stadium for a performance for the game. That said, we had 3 passes for a sound check/rehearsal for 1 song, and that was it. No real solid line check, no stopping down, so we had to be on it. With such honest speakers in the Third Ear AT6’s, we were able to confidently dial things in knowing our compression was accurate, our EQ choices were spot on and not too heavy handed or light, and our space within the 5.1 mix had proper placement. Being able to hear .5dB moves in gain with EQ, reduction in compression, and all of the other nuanced changes in the mix made such a massive impact on how we approached the mix for this show. Thanks again to JJ and @tndv_television for providing their truck Vibration for this show and for helping us pull off a smooth broadcast. Side note, our new favorite reverb is this @liquidsonics.plugins Seventh Heaven - M7 on stun. Also, the immersive wrapper from @wavesaudio on our LiveBox is 🤌

Finally able to post about a project we got to be a part of in October 2025 thanks to @pdhmix and @fortressstudios We recorded, along with Paul and Fortress Studios, Chappell Roan’s Kansas City show. It’s always a good time when we get to work shows by artists we are fans of. Kayleigh and her band were phenomenal, and her fans were amazing. Hope you were able to catch Chappell’s performance on Dick Clark’s New Year’s Rockin’ Eve. Paul Hager did an incredible job mixing the show and the visuals look insanely good thanks to the team @dvndhvn put together. So very grateful to have been a part of this amazing show. For the technical bits, we captured audience mics and MADI split via our @directout PRODIGY.MP into @avid.protools Our @wearefocusrite Rednet TNX’s performed flawlessly and allowed for maximum flexibility at ultra-low latency.

It’s always nice to have an acoustically sound, controlled broadcast truck or treated room, but sometimes they put you in the room where they store chairs for the venue. I hesitated to even post a picture of the least sexy space we’ve worked in this year, but highlighting the importance of the right tool for the job often requires context. When the necessity arises to set up in a place such as this, monitoring gets exponentially more difficult. Headphones aren’t always practical (monitoring comms, communicating with producers and other crew in the room, etc) so having these @thirdear.inc AT6 monitors that work pretty much anywhere you put them, at whatever volume you need to throw at them, is priceless. It’s easier to make speakers sound nice and usable in a treated room, not so much in a cinder block storage room. Enter Third Ear with a crazy good sounding box that seems to mitigate many problems associated with a poor space. #speakercult

Last night we wrapped a solid month of mixing and recording with a hometown show and a badass audio crew right here in Nashville. Very grateful for getting to do this sort of work and even more grateful for the people we get to work with! Over the past 4 weeks: •We recorded 13 episodes of The Dailey and Vincent show (guests included Vince Gill, Wynonna, Jimmy Fortune and more) •Taped performances in Atlanta for the HBCU Aware Fest with artists such as Adam Blackstone, Jill Scott, Jeezy, BigXthaPlug, Common, Yolanda Adams, Metro Boomin, and more. •Mixed the live broadcast and stream for March Madness Music Festival on Turner in Indianapolis with headliners Post Malone, Zac Brown Band, 21 Pilots, and other acts through the weekend including Megan Moroney, Keshi, Dominic Fike, Joey Valence and Brae, Russel Dickerson, Breland, and Ravyn Lenae. To wrap this run mixing The Killers, T-Pain, Dominic Fike, Janelle Monáe, and Avery Anna for the Freely Fest livestream was pretty rad. Our killer audio crew for Freely (from left to right) included: @m.a.n.i.x (Music Mixer) @jeremy__collins (Production A2) @steven.pulse (A1 and audio producer) @andyofsuburbia (Music Pro Tools and mix assist) @joshua_m_hughes (Music A2) @jordan_camosy (Music Truck Second Engineer) @jnjhacker (Music Truck Engineer in Charge) @plochie (Comms Lead) hey, you made it in the photo! Thanks to everyone who hired us this month. Very grateful for the opportunities and for the chance to be a part of some memorable musical performances. Our last show for a while with the loaner @shure DCA901’s and we have to go back to our stereo pair of @thirdear.inc monitors (unless we just don’t give the 3 back to Chris he so generously allowed us to test on this run).

Wanna know what we like better than our 2x @thirdear.inc AT6 reference monitors…? 5x AT6 reference monitors. This is my first time mixing a 5.1 show on these boxes and it was out of control good. I tend to shy away from putting too much information in the rears because we have had issues keeping things accurate in the downmix with less reliable speaker sources. With these AT6’s and the less than 30 minutes it took for Chris (founder, president, and designer of Third Ear) to dial them in for us with these newly configured positions on @tndv_television truck Vibration, we were up and running cranking out the best surround live mixes we’ve done to date. When you can trust where in space you are placing things, the accuracy of phase and stereo downmix picture you need to reference for certain paths and destinations, the job gets whole lot easier and infinitely more enjoyable. Please check these monitors out when you get a chance and let me know how happy you are with them. Go to thirdearinc.com to read up on specs.

Another great year mixing music for the broadcast and livestream of March Madness Music Festival for the NCAA basketball Final Four. Had a lot of fun catching up with some old tour crew friends and meeting some new folks who are doing some great work in this industry. We had a great broadcast crew this year: @tmbwater (Music A2) @andyofsuburbia (ProTools/Truck A2) @jnjhacker (Audio EIC) @robsound88 (Production A1) @plochie (Comms Lead) @m.a.n.i.x (Music Mixer) Featured gear this year are the new @shure DCA901 array mics. Thanks to @dan_mclaughlin for letting us try them out. Sounding fantastic. Will share more about our deployment soon.

Trying out the new @shure DCA901 digital mic arrays on some shows for the next couple of weeks. We are extremely impressed with the results so far from our first show at State Farm Arena. We deployed 2 units, one stage left, one stage right and utilized 4 (of the 8 available) lobes per side. We were able to cover as much space that we typically use 8-12 mics for with just these 2 devices (1x POE+ switch, 1x Cat5e per device for Dante and Control). Since we had such a high channel count show, we decided to use the built-in summing mixer to mix everything down to 2 channels per mic array. Thanks to @dan_mclaughlin for allowing us to demo the mics and for @andyofsuburbia and @tmbwater for deploying the arrays and dialing in the lobes to get the best coverage possible. More reviews to come over the next couple of weeks. We are sold so far! 📸 by Torrence Broadwater

Very excited to have been a part of filming Nate Bargatze’s new game show on ABC/Hulu, The Greatest Average American. We’re incredibly grateful for the opportunity to work on a production of this caliber right here in our hometown of Nashville. Nate is big on giving back to the local community in so many ways, and providing work for our local TV community is something we definitely don’t take for granted. This was a really fun show to be a part of, and being able to hand-select such a stellar audio crew was the icing on the cake. In no particular order, our crew was: @m.a.n.i.x (Audio Supervisor) @joshua_m_hughes (FOH Mixer and wrangler of a million speakers) @andyofsuburbia (Pro Tools Recordist / Playback) @steven.pulse (Pro Tools Recordist / Playback) Robert Hill (A2) @jeremy__collins (A2) @_kimferrell_ (A2) Greg Mackey (Comms Lead and Audio Project Manager) January Santana (Comms Assistant) JP Howell (System Engineer) @iiaudio (RF Coordinator) @canaan_santele (Audio EIC / Truck Comms)

Had a great time mixing the 40th Midsouth Emmys in Nashville at the beautiful Fisher Center for the Performing Arts. More than a gig, this was a wonderful mentoring and training opportunity for a primarily student-led production. Students from MTSU’s Video and Film Production, Recording Production, and Belmont’s Audio Production programs joined forces to put on a great show this year for our Midsouth Emmys chapter. @mtsu provided a solid crew of students and faculty, as well as some professional alumni, to produce and engineer this beautiful show. So very happy for the opportunity to be a part of this show as both an alum and a member of the MTSU VFP faculty.

The West Texas Rehabilitation Telethon in Abilene is one of my favorite shows each year. From a technical standpoint, it’s quite challenging due to needing to keep the budget low to raise the maximum amount of money possible to benefit the charity, but the bands and artists that play this show make for a very fun evening. Since there is no budget for an audio truck, we mix the music portions of the 5 hour broadcast in a storage space backstage on a small flypack. The biggest change and improvement this year for us is the addition of our @thirdear.inc AT6 reference monitors. These speakers make this less-than-ideal mix space totally usable. We are able to mix at lower volumes to minimize reflections and other acoustic interference, but still maintain full range linearity in the mix with these boxes. When guest engineers and producers come back stage to listen to mixes for approval, we have an easier time presenting an accurate mix with the Third Ear monitors than in years past. Eliminating the narrow sweet spot needed for most speakers is one of the many ways in which these AT6’s shine. Thanks are in order for @begill80 @_kimferrell_ and @jeremy__collins for the hard work on a couple of long days of production. You guys rule! Our #wavesaudio LiveBox was clutch along with our #directout EXBOX.MD for Dante to Madi conversion.

Having a great time listening to some rad stuff with some cool people out here at NAMM. @thirdear.inc speaker demos are insane on the @remoteproductiongroup truck. Catching up with friends at @directout @yamaha_proaudio_official and @digico.official

Grateful to end the year with an incredible Nashville based crew doing a hometown show. New Year’s Eve Nashville Big Bash on CBS was the perfect way for us to end the year. Our crew, producers, and equipment providers made this a special finish to a year of hard work. Thanks to @_kimferrell_ for keeping track of the details in the truck, both technically and musically, @canaan_santele for the heavy lifting engineering a complicated show both in terms of transmission, intercom, and truck to truck needs, @brettsplaceproductions for a stellar production mix in the house and for keeping a handle on all of the cues and massive amounts of details, @joshua_m_hughes for vendor support, moral support, and intercom, @jamiepfeffer for programming all of the house and RF comm, and a special thank you to @jeremy__collins and @dgfwright for being such badass A2’s making everything outside of the truck work perfectly! And thanks to @tndv_television for keeping us sorted on their truck Exclamation! Side note… Dwight Yoakam was insanely good. He came out to the truck to listen down for a couple of hours between rehearsal and his performance and it was amazing. Such great ears, musical vision and his generosity in sharing the stories of making these records in legendary studios was a special moment. I took a photo of 2 plug-ins that really made a difference for us on this show. Using our @wavesaudio LiveBox, we ran a few instances of @cedaraudio StageVox to clean up bleed into vocal mics. With its near zero latency efficiency and stellar audio quality, the reduction it provided in background noise was incredibly useful on a loud stage with wedges and ripping amps. Lastly, the @uaudio Capitol Chambers plugin ended up being the perfect choice for Dwight’s vocal verb (as well as some instruments). Dwight cut a lot of his records at Capitol and knew exactly what chamber and mic combo used in the studio. We were able to give him the exact vibe from the records he cut there in the 80’s and 90’s and he was stoked as hell we had this option for him. Happy New Year, everyone! Looking forward to a healthy and happy 2026.