Evermore

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Evermore use the following Shure products:

Shure ULX2B58 ULX Wireless Handheld Transmitter with Beta 58A Cardioid Mic
Shure ULX2B87 ULX Wireless Handheld Transmitter with Beta 87A Supercardioid Mic
Shure Beta 91 A low-profile mic that requires no external mounting hardware. Lies flat on a pillow or other surface inside a kick drum for superb attack and low-end punch.
Shure Beta 52A Optimized for low-frequency bass punch and high-power SPL handling, the Beta 52A's supercardioid design provides maximum isolation from other onstage sounds. Designed specifically for kick drum and other bass instruments. Supercardioid, Dynamic.
Shure Beta 98D/S Designed for rack/floor toms and conga applications, the Beta 98 is perfect for sound reinforcement and recording. Flexible gooseneck lets you position mic in practically any configuration.
Shure KSM 32 A side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. It offers an extended frequency response for an open, natural sounding reproduction of the original sound source.
Shure KSM 27 Side-address condenser microphone with a cardioid polar pattern. Designed for studio use, but rugged enough for live applications, the KSM27 has an externally biased, 1-inch diaphragm, extremely low self-noise, and an extended frequency response specially tailored for vocal tracking and instrument recording.
Shure KSM 141 An end-addressed large diaphragm condenser microphone with mechanically switching dual polar patterns (cardioid and omnidirectional). Designed for studio use, yet rugged enough for live applications.
Shure PSM600 The PSM®600 Personal Monitoring System continues to be recognized as the industry standard for full-featured wired and wireless in-ear systems. Rugged and reliable, they deliver superb sound for all professional broadcast, recording, touring and installed sound applications.

Evemore Official Website

 

Biography

What happens when dreams become real life?

The three Hume brothers of Evermore have come a long way since the release of the debut album Dreams.

With over 300 live shows, an MTV Award, a NZ Music Award, the APRA Silver Scroll, five ARIA nominations, and hung a platinum record plague on the wall of their home studio. It’s a far cry from their humble and rain-drenched beginnings in rural New Zealand, and it all culminates in their new album, Real Life.

The writing and initial recording took place in the isolation of their Central Coast abode, an isolation the boys were not only used to, but actively encouraged. Separating into different rooms, they each had their own private recording studio in miniature, working on tracks solo before bringing them together for the Evermore polish.

After two months in the warm environs of the Australian summer they leapt into the freezing winter of inland Massachusetts, USA. Actually, the term freezing is an understatement, we’re talking temperatures of minus 25 degrees and below. Keeping true to their rural roots, they recorded in the oldest studio still operating in the US, Longview Farm. Artists such as Jimi Hendrix, The Rolling Stones and Aerosmith have all frozen their butts off there in the past. Respected engineer John Alagia (who mixed Dreams, and has worked with acts like John Mayer, Dave Matthews Band and Ben Folds) was chosen for the job for this twiddling tenacity and his striking good looks.

“I ended up doing a lot of the recording myself,” explains Jon, speaking of their time at the farm. “We liked working with John Alagia because he believes in letting the artist have freedom rather than forcing ideas on to you. Plus he’s a really funny guy. And when you’re in the studio for months on end your sense of humor goes a little haywire!”

Allowing themselves freedom was also high on the agenda, with the two younger Humes contributing to the songwriting a lot more heavily on Dreams. “Instead of me writing almost everything, we suddenly had three writers coming up with a lot,” Jon says. “We could have made two albums simultaneously.”

“Dann wrote nearly a song a day,” echoes Peter. “He had over one hundred songs – which is insane! We definitely didn’t have a lack of songs.”

But perhaps the main difference between the two albums is in the songs themselves. From the epic energy of Running, the band’s first single off the album, to the melodic harmonies of Never Let You Go; from the dynamic rock of Unbreakable to the uplifting lyrics of Light Surrounding You, this second album has seen the band’s songwriting grow and diversify.

“Dreams was very atmospheric and mood-based,” explains Jon. “This one jumps out of the speakers at you. The songs are more positive and sonically, it’s more direct.”

“Its louder and more to the point,” agrees Dann. “We’re going to grab people’s attention, and leave them with something to think about.”

With the likes of the Beatles, David Bowie and Bob Dylan on high rotation throughout the recording process, their shift to a focus on song writing seems only natural. “We’ve taken so much inspiration from classic songs,” explains Pete. “We wanted to be sure all the tunes sounded great just played simply on a guitar, that way you know you have a great song.”

“We’re the kind of band that is going to change with every record,” adds Jon. “We will always sound like us, but we’ll utilise our strengths as three writers.”

A new journey has just begun for this talented trio, whose sounds and lyrics have taught us how to dream… Welcome to Real Life.

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