Miking Guitars on Lana Del Rey’s LA to the Moon Tour
FOH engineer Kevin Madigan (David Gilmour, CSN&Y) talks capturing live guitars
FOH engineer Kevin Madigan (David Gilmour, CSN&Y) talks capturing live guitars
By Clive Young. Janet Jackson is still selling out arenas and making them dance, three decades into her career. Helping make that happen every night is FOH engineer Kyle Hamilton and his razor-sharp attention to detail.
By Clive Young. Live show recordings are a necessity for every artist. While most national touring artists playing theaters and arenas have recorded shows every night for years, the ability to do so has finally filtered down to more budget-aware house mix systems over time, putting the ability to record multitracks of an evening’s set within the reasonable economic reach of small venues and everyday performers.
By Steve Harvey. In December, Amos wrapped up the North American leg of her tour with three sold-out nights at The Theatre at Ace Hotel in downtown Los Angeles, the latest dates on a world tour that began in Europe in September 2017, coincident with the release of her 15th studio album, "Native Invader." But as front-of-house engineer Mark Hawley observes, to call this the “latest” tour is something of a misnomer. “We really started 23 years ago,” he says. “She enjoys touring.”
By Paroo Streich. Brian Wilson, the visionary behind The Beach Boys, is rolling his "Pet Sounds" 50th Anniversary Tour forward into 2018 with its final performances, and along for every stop of the journey is longtime production manager/FOH engineer Clint Boire.
Mark Woodcock uses a Yamaha RIVAGE PM10 console to handle the house mix for a acappella act Pentatonix.
By Clive Young. Go inside Paul McCartney’s recent mini-tour of New York City, where the rock legend and crew tackled eight sold-out shows, playing two nights a piece at Madison Square Garden; Brooklyn’s Barclays Center; across the Hudson River in Newark, NJ; and out on Long Island.
Marking the 500th anniversary of the Reformation, “Luther,” a massive pop oratorio about the event toured Germany, with the last of 12 performances taking place on October 31 at Berlin’s Mercedes-Benz-Arena with more than 11,000 spectators and a newly formed 4,000-singer choir. Berlin manufacturer Stage Tec was a sponsor of the entire tour, and providing three mixing consoles for the show.
By Lowell Greenblatt. While most tours are booked so that a production has time to find its groove before playing a high-profile New York gig, Arcade Fire’s Infinite Content tour hit Madison Square Garden only four shows into its North American run. Nonetheless, the shakedown period had gone well—a crucial fact, given that the band is carrying with it reportedly the largest AVB-based touring system yet assembled, fielded by audio provider Solotech (Montreal/Las Vegas).
UK analysts Futuresource Consulting predict the global pro loudspeaker market will hit $3.6 billion by 2021, fueled largely by increased demand for quality installed sound and investments from the commercial retail world in creating more enticing shopping environments.
Firehouse Productions has been the audio provider for countless tours by Coldplay, Radiohead, Peter Gabriel, Sting and many others; shows for the likes of the NFL, Rock and Roll Hall of Fame and other organizations; and corporate events for Macy’s, Apple, Amazon and others. They’re all high-profile clients, but with that visibility comes increased pressure for its systems to work flawlessly. With that in mind, Firehouse has increasingly turned to Audinate’s Dante audio-over-IP networking for many of its clients when it creates audio systems with many moving parts.
Prague’s Evzena Rosického Stadium recently sold out two shows by one of the country’s most popular acts, Krystof, as it celebrated its 25th anniversary. For the occasion, SR provider ZL Production fielded a sizable PA based around Adamson E-Series and S-Series loudspeakers.
Halsey has been making the rounds for the last month on her Hopeless Fountain Kingdom Tour with audio provided by Eighth Day Sound. One of the show’s key moments finds the singer and her dancers taking over a B-stage for two songs, and while that’s not unusual, the stage itself is. Filled with 20 gallons of water, the stage sprays liquid everywhere—including the FOH position.
FOH engineer Bill Sheppell used DPA d:facto vocal mics on the recent Bon Jovi tour as an experiment and ultimately opted to make them a permanent fixture. As a result, official live show recordings from the tour have captured that iconic voice closer to Sheppell’s intention: “Since using the d:facto, I have noticed that we are able to use less EQ than normal.”
By Clive Young. The last few years have seen the concert industry ride a growing wave of success, and so far, 2017 looks to be following that trend to the letter. Tours have generally done well this year, and despite some high-profile blowouts, festivals, too, have had a strong showing. Good grosses are likewise good for live sound companies, keeping audio providers busy at all levels, from the national tour providers, to regional and local sound reinforcement businesses.
By Steve Harvey. The successful completion of the FCC's Incentive Auction earlier this year set the countdown clock ticking for wireless mic operators, who must vacate the 600 MHz band by July, 2020. But as a panel of RF experts on opening day of the convention stressed, some wireless equipment users will be losing access in their regions much earlier.
It may be fall, but that hasn’t stopped Nineties hitmakers Third Eye Blind from hitting the road on their 31-city “Summer of the Gods” tour. On-hand ever step of the way is Pittsburgh-based sound company RT Pro Audio, fielding a sizable PA from Vue Audiotechnik.
Based in Las Vegas, Craig Thomesen has worked with everyone from Bette Midler, Tina Turner, Johnny Cash, The Doobie Brothers and more. These days, he’s on the road, mixing a Beatles’ tribute show, Classical Mystery Tour, which includes a full symphony orchestra, miking up rockers and stringslingers alike with DPA Microphones.
The key to any successful tour is preparation, and if the tour’s engineers are using new consoles for the first time, then it’s even more crucial. Such was the case recently when front of house engineer Joe Keiser and monitor man James Bump had to each learn their way around a Yamaha RIVAGE PM10 console for Nickelback’s current Feed The Machine tour.
When Derrick Wright needed to isolate his drums for quiet songs on Adele’s recent world tour, he went to an off-stage isolated drum room carried by the tour, created with an Auralex (auralex.com) HoverDeck under the kit and ProMAX V2 panels surrounding it to ensure a consistent acoustical environment from show to show.
When the new Royal Arena opened in Copenhagen a few months ago, the first act to play it was Metallica, but the ‘hometown’ opening came a few days later when the country’s own metal heroes, DizzyMizzLizzy and D-A-D, headlined the facility.
German hip-hop, reggae, and dancehall artist Frank Dellé (aka Eased) has been touring in support of his latest solo album, Neo. While he’s best-known for leading the band Seeed, Dellé has also worked as a film and audio engineer, so he got hands on when it came time to put together his solo tour’s monitorworld, and as a result, it’s centered around a Mackie AXIS digital mixing system.
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.
The annual AES Convention is the high point of the pro audio year, and no one ever wants to miss it. That goes for attendees, but it also goes for exhibitors, and with that in mind, d&b audiotechnik has already announced what it will be up to when the Convention is held October 18-20 at the Jacob Javits Convention Center in New York City.
By Clive Young. Panic! at the Disco started out big in the mid-2000s and then only got bigger. Sporting a wildly varied pop rock sound that recalls everything from Daft Punk to Queen to Frank Sinatra, leader Brendon Urie has staked out the group’s own unique turf, and that in turn led to its spring arena tour behind the recent platinum-selling Death of a Bachelor album. The tour played 36 shows across the country, with FOH engineer/production manager Spencer Jones manning a largely analog audio system provided by Eighth Day Sound (Highland Heights, OH).
3G Productions of Las Vegas and Los Angeles hit the road this summer, providing audio for legendary Mexican singer-songwriters Gloria Trevi and Alejandra Guzman for a U.S. arena tour behind their collaborative album, Versus. Put together, they’ve sold more than 60 million records, paving the way for 100 international hit songs, 5,000 concerts and numerous awards. Ensuring that the hits could all be heard, 3G fielded a Martin Audio MLA speaker system.