Art Garfunkel's monitor engineer Brian Bavido (left) and FOH engineer Stuart Breed (right) with three Crown CM-200A mics on the set of NBC TV's Today.
USA - Currently on tour with fellow songwriters Buddy Mondlock and Maia Sharp in support of the trio's new collaborative album, Everything Waits to be Noticed, Art Garfunkel and his band are now exclusively using Crown microphones out on the road. 10 Crown CM-200A cardioid condenser micrs are being used for all vocals onstage in addition to sax, electric and acoustic guitar, kick drum and snare top. Half a dozen CM-700 cardioid condensers are employed on high hat, toms, snare bottom and chimes, while four miniature hypercardioid GLM-200s mic the congas and bongos as well as serve as overheads for the drum kit. The list also includes a pair of PZM-6Ds for piano and a single CM-150 omnidirectional condenser mic for RTA use.

Stuart Breed, Garfunkel's FOH and studio engineer for 18 years, is pleased with the Crown selection, particularly the Pressure Zone Microphones. "I love the PZM-6Ds in the piano," he notes. "I used to use Crown PZMs quite a bit for guitars and other instruments when I worked with Geoff Emerick at Air Studios back in the '80s and have always liked them. For Art's tour, Warren Bernhardt typically plays a nine-foot Steinway with the piano lid down. By positioning the PZMs on the underside of the lid, we're able to get the microphones another inch and a quarter away from the strings than our previous mics, which really allows the notes to breathe. It makes a world of difference. Art tends to be a real stickler for natural piano sounds, so if he's happy to sing 'Bridge Over Troubled Water' with a Steinway that's miked with Crown PZMs - which he is - there's simply no better endorsement."

After wrapping up the domestic leg of the tour, Garfunkel heads to Europe and the UK in late February for a month before coming back to the States for another sweep. At this point, he's anticipated to tour with Mondlock, Sharp and the band in support of the new album throughout much of 2003.

(Lee Baldock)


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