NQC 11: The Show must limp on
Regarding the evergreen gripes about the NQC sound from the main stage, a commenter makes this salient point in reply to my remark last night about deviating presets and wild swings in sound quality from one group to the next:
Presets on the console are of no use when the group sound man tweaks and toys with the faders. Groups justify the madness because they pay the guy whose experience includes a peavey board at the Miracle Ear Baptist Church.
Just so. We often want to reflexively blame The NQC Man for muffing the sound, but it’s worth noting that the groups can themselves often be responsible for their own mangled amplification.
Close second to griping about sound? Griping about emcees. Let’s look at the commenters tape:
Go back to having a real EMCEE who can keep the program moving and fill in the dead spots. Those girls [still Sisters] last night were horrible on stage holding a piece of people reciting facts about the next group which they obviously knew nothing about.
This seems a bit harsh, but the problem with this feedback is only a matter of emphasis, not kind. Jason Crabb is becoming badly overexposed in this emcee role, and he’s not that great at it in the first place. And anyway, it’s just unrealistic and unfair to ask him and Sisters to emcee all night, supply filler music when the show hits a transitional snag (Crabb had to yank Wayne Haun out of the artists pit to accompany him at one point), and then schedule those same overworked emcees for regular planned numbers in which they are expected to make an impression on a crowd as singers when they’ve been in the unenviable role of interrupting the musical as pleasantly as possible (which is what emcee work amounts to, after all) throughout the night. This does not endear you to audiences, no matter how much they like you as artists.
On other hand, do we really want to go back to the Jerry and Buck approach?Email this Post