New York, NY (September 28, 2015)—Imagine Dragons has been on the move in recent times, rolling down the road in support of its recent sophomore release, Smoke + Mirrors. Documenting the jaunt, the band shot a concert film in Toronto earlier this year, and now mixing its accompanying audio is FOH engineer Scott Eisenberg. While he can’t leave the tour to mix the film, the engineer has still been working on the mix, using a pair of Genelec 8250A SAM studio monitors.
When he’s done with mixing one night’s live show, Eisenberg will set up his mix rig in a hotel room or dressing room and work on the film mix. The Genelec 8250A monitors have Genelec Loudspeaker Manager (GLM) software, and were purchased from GC Pro in Sherman Oaks, CA.
“There’s no other way this could work as well,” says Eisenberg. After mixing the night’s concert through an audio system supplied by Sound Image (Escondido, CA), centered around an Adamson Energia line array system and an Avid Venue Profile console, he finds a space he can get to work on the film-sound mix from the multitracks from the Avid Pro Tools system he uses to record the band’s shows.
“I’m literally setting up a mix studio in hotel rooms and dressing rooms on the road,” he says. Providing aural continuity despite the ever-changing surroundings that he’s mixing in, the GLM 2.0 Genelec Loudspeaker Manager’s monitor control networking system will electronically analyze whatever room he’s in, recall all parameters and settings he’s stored in system setup files, and then adapt them for the acoustical properties of that particular space at that particular time. The GLM software features adjustment of levels, distance delays and flexible room response compensation equalization using Genelec’s AutoCal calibration system, allowing reduced perceived differences between listening environments or positions, and providing automatic calibration of levels and distance-compensating delays for sound stage imaging.
“The acoustics change from day to day, location to location, but I start with a good foundation every time with the GLM,” says Eisenberg, who says he has used Rational Acoustics’ Smaart software he uses to tune the live-sound system in concert venues as a reference for the GLM, and has discovered that the GLM is giving him soundfields that recreate what he experienced during the live shows. “I hit a button and within thirty seconds the GLM software has analyzed the room, made the delay and EQ corrections and I’m ready to go,” he says. “That saves me tons of time, which is something I don’t have a lot of on the road.”