(Chicago, IL – January 25, 2018) With a career arc from soap opera actor to sound engineer and musician, Peter Love has experienced virtually every audio situation imaginable. He left his successful acting career to follow his first love, music, learning studio recording from legendary producer Keith Olsen. Now based in Las Vegas, he splits his time between live performance and mixing. No matter the situation, Love uses his 3D AARO in-ear monitor system.
The Sensaphonics 3D AARO uses a binaural microphone system embedded within custom soft silicone IEMs to add controlled natural room ambience to the in-ear monitor mix. This allows Love to hear what he needs to hear with both high-isolation earpieces in place.
“It’s an amazing system no matter what you’re doing, large venue or small,” he says. “With a cover band, you’ve got people coming up to ask for a request in the middle of a song. All I do is flip the switch to turn on the mics and I can hear them without missing a beat. Same thing with dueling pianos: You’re doing your bit, people all around, and the 3D lets you hear everything around you with both earpieces in. It’s awesome.”
Love plays in a variety of situations, fronting a full rock band as well as doing solo performance based on the live looping of instruments. He sings, and plays both piano and guitar. As a Vegas performer, audience interaction is a key. Peter engages the audience with a lot of call-and-response, making it critical to him to hear both his monitor mix and his crowd.
“The 3D works so well in so many musical situations, I don’t know why everybody doesn’t use them,” he says. “When I’m mixing myself on stage, I do a post-Aux send to my ears. If I want to listen to the mains, I can just turn on Full Ambient mode and turn off my monitor feed. Whether I’m mixing or performing, the 3D helps me hear what I need to. And I’ve found other great uses for it as well.”
Asked about other uses, Love enthusiastically mentioned one of his favorite hobbies: high stakes poker. “At the poker table, the 3D lets me listen to music or watch TV on my iPad and never miss a thing,” he explains. “It’s important not to get bored, because then you start playing bad hands. Other players use in-ears, but they’re taking them in and out all night. With the 3D, the isolation lets me tune out the room, but if I’m in the middle of a hand, I just flip the switch to turn the mics on and hear the dealer and the players around me. It’s a really cool application.”
An accomplished engineer, Love also uses the 3D AARO when mixing live sound. When setting up mics, he listens via the 3D with the ambience mics off. This allows for optimal positioning without the distraction of room sound.
“I know if it sounds good in my ears, it’s going to sound good in the PA,” he notes. “The next thing I do is get a good mix of the band, listening to what’s coming off the microphones without the PA. After that, I take my ears off and bring in the PA, to hear what the audience will experience. I do that for about 15 minutes, until I have a nice, balanced mix. And that’s it until the audience comes in.”
During the show, Love mixes with his 3D in place. Once the audience is there, he mixes naturally for the first 5-10 minutes, adjusting his mix on the fly to get a nice blend of the band, riding the faders on solos to make sure it sounds good, typically by the end of the opening number. At that point, Love goes back to the 3D AARO.
“Once I’m happy with the house mix, I put in my Sensaphonics and turn only the ambient mics on – no direct input. I’m really only using them as a volume control at that point. So I bring my in-ear volume down to a comfortable level and listen to the reference of what it sounded like with my raw ears, and then again with the ambience mics and compare. I can bring the volume way down so I’m not punching my ears with high volume, but I can still ride the solos and bring the vocals up and down accurately. It saves my ears while letting the audience rock out, and the results are outstanding.”
In addition to the flexible functionality of 3D AARO, Peter Love is a big fan of Sensaphonics’ design approach, emphasizing comfort and isolation in addition to studio reference sound quality.
“The idea behind it, with no crossovers and just one or two drivers, is a great philosophy,” he says. “My 3D delivers great, flat sound with just one full-range driver. No phasing issues, so you know the sound is pure. I also love the silicone earpieces, which always fit perfectly so I can wear them all night. You get great clarity, even running the volume low. I’m not deaf, and I don’t plan to be. Sensaphonics is the only company that seems to really get that.”