Indianapolis, IN (September 27, 2017)–On the road since Spring 2016, Brian Wilson is winding down his Pet Sounds 50th Anniversary World Tour, where he has been the classic album in its entirety nightly. The original record was famously the result of uncompromising studio perfectionism, so to help replicate that onstage, the tour’s audio team has taken a number of approaches, including the use of various Auralex acoustical treatments.
“It’s all about keeping the instruments and the vocal microphones as isolated and separate as possible from the resonances from the stage, the risers and everything else,” said front-of-house mixer and tour production manager Clint Boire.
Drummer Michael D’Amico’s kit rests atop an Auralex HoverDeck v2, specifically engineered to reduce coloration from floor resonance by decoupling the drum kit from the structure. Also on hand are a set of Auralex PlatFeet II under the high-hat, and another set of PlatFeet-II for his floor tom.
Guitars and bass on the tour (played by guitarists Probyn Gregory and Nicky Wonder and bassist Bob Lizik and managed by guitar tech Thom Lowry) are also tackled, with GRAMMA v2 isolation platforms for the guitar amps and the larger GreatGRAMMA v2 isolation platform under the bass amp.
Auralex’s PlatFeet-II pads are placed underneath the mic stands on stage, decoupling them from the stage resonance that can find its way into the PA system, and finally, Boire stands on an Auralex HoverMat at Front of House to keep his own mix position as isolated as possible. Boire says mixing the d&b audiotechnik PA system through an Avid Venue Profile FOH console while standing on a HoverMat extends that benefit to the mix itself. “There’s often a lot of low-end build-up near the mix position, and the HoverMat keeps that away from me,” he said.
Auralex Acoustics, Inc.