Camarillo, CA (May 6, 2016)—Rat Sound is on the road with buzz band Edward Sharpe and the Magnetic Zeros, mixing each night on a new Allen & Heath dLive system at front of house.
Visiting venues ranging from smaller ‘underplay’ houses to larger auditoriums, the national tour makes use of a dLive S5000 control surface and DM64 MixRack for FOH and recording duties.
FOH engineer Steve Taylor looks after multiple inputs from all 10 multi-instrumentalists onstage by setting up a dLive “scene,” assigning sources to faders, and customizing EQ and effects for that song’s mix of instruments and voices. He tunes the dLive’s input channel gates to trigger on the frequency range of individual instruments and voices. Then, he pans sources to the left or right and uses small amounts of delay to create “space and width” in the mix.
Describing his mix as “conservative,” Taylor uses special effects to achieve specific goals; for example, he may set the dLive’s pitch multiplier to double a trumpet one octave down, making it into a horn section, or he makes good use of the dLive’s input channel parametric EQ. Taylor records ESMZ concerts to a laptop in multi-track via the dLive’s Dante card and in stereo to a thumb drive, and saves the entire dLive configuration to another thumb drive as a backup.
ESMZ’s monitor engineer, Jerry Lopez, switched to using a dLive S5000 surface with a DM64 MixRack as well while on tour. Lopez creates as many as 32 separate mixes, sending them to in-ear monitors, side-fills and wedge monitors on the stage. Lopez comments, “The beauty of the dLive is I can put the band’s input list wherever I want it on the surface and the dLive has all the features I need to create my own work flow.”
Allen & Heath