PRODUCTION PROFILE
have the right sounds in the right place, you are doing the right job.” GG harnessed multitrack recordings during the rehearsals to find what he refers to as ‘the code’ of a song. “The artist has spent months making and recording a song, so every detail matters when it comes to mixing live,” he explained. “Music is an intelligent process – I must find out how it works. Gradually, as the tour goes on, I spend a lot of time tweaking and refining the process. “Normally, you have the chance to build up the show during the club shows and then hit the arenas, however, we didn’t have the option this time around,” he added. “Thankfully, this is one of the best live bands on the circuit, so they know their craft and can surpass themselves under pressure.” Shure Beta 91 and AKG DV12 mics were chosen for the kick, Earthworks DM20s for the snare and toms, DPA 2011 on cymbals, DPA 2028 on the backing vocals, with Shure beta 58a for lead vocal and guitars on kempers. “I have a strong relationship with Brit Row. They’ve been supporting us since 2012 and deliver a great service,” he said, praising the tour’s audio vendor. “I’m loyal and believe in people above brands.” Monitor Engineer, Michael Gibbard, who began his career with
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Britannia Row Productions, concurred: “I’ve worked with Brit Row for nearly two decades; I started my career there and will always try to have them support me with every artist I mix,” he added. “Their bespoke packaging and attention to the smallest detail make my life on the road easy.” An SSL L550 was Gibbard’s desk of choice, run on around 100 channels. For monitoring, he chose a 10-way Sennheiser SR 2050 system, which covered most of the band and technicians. Guitarist Charlie Burchill performed with a pair of d&b audiotechnik M2s in front of him as well as a few spot wedges dotted around the stage. Bassist Ged Grimes played with a single M2 in front of him. Gibbard utilised a MGB for multi tracking, TC 4000 and Bricasti M7 for specific drum reverbs, as well as a Rupert Neve Designs 5045 to cut some of the spill of the BV mics nearest the kit. “I’m about to implement a UAD live rack system I’ve just bought. The stuff on the desk is great, and I use at least seven other reverbs, two delays, transient shapers and a load of dynamic EQ. The G series bus compressor is outrageous and that’s used across several stems I send to mixes on stage,” he reported. “The standout piece of kit, however, has got to
be the SSL; there’s some voodoo magic that happens in the mix bus of that console. It’s so good it feels like I’m cheating!” Gibbard recalled some of his favourite moments of the project. “There is nothing like seeing an arena package come together for the first time during rehearsals – especially having not really touched a desk for a few years. Another highlight was the band’s hometown gig at Glasgow’s OVO Hydro – the atmosphere was incredible, and we all know the Scots aren’t famous for being quiet,” he laughed. “It’s such an incredible feeling to be back touring again. People say you shouldn’t let your job define you. For me, this isn’t a job – it’s a way of life and my way of being creative. I live for it and couldn’t be happier to be back on the road.” GG concluded: “Touring is not only a job; it is a lifestyle. The COVID-19 pandemic not only deprived us of our work, but the way we live our lives. Being able to tour and create art for audiences again has been a blessing.” www.simpleminds.com www.britanniarow.com www.lcr-rental.com www.unipix.tv www.phoenix-bussing.co.uk www.brianyeardley.com/ www.stokholm.tech
