An Evening with Mark Knopfler

During his latest live outing, the singer-songwriter and guitar virtuoso offers fans a brand new audio experience with an immersive audio package that leaves audiophiles across Europe speechless. TPi checks-in with Mark Knopfler’s touring production to find out more.

Images show: Lighting Designer and Operator Tellson James; Production Manager, Kevin Hopgood.

When you look back at the career of the former Dire Straits frontman, the word consistency comes to mind, with the musician producing an album every two to three years over the last few decades. This year in the quest to keep improving the live experience for his loyal fans, Knopfler and his wider production team set out on a tour with an innovative sound system in the shape of an L-Acoustics L-ISA system. Before we got down to audio specifics, TPi met up with long time Production Manager, Kevin Hopgood at Manchester Arena to discuss the innerworkings of the touring adventure.

“I think in many ways I’m still thought of as the new guy,” joked Hopgood as he spoke of his 13-year history with Knopfler. “My first run with Mark was in 2006 during a co-headliner with Emmylou Harris. Bar one tour, I’ve held the position ever since. I’m a huge fan of Dire Straits as well as Mark’s solo stuff. It was one of those phone calls you just can’t say no.” Over a decade with the touring party clearly has not taken the sheen away from this dream job for Hopgood. “We have a lot of familiar faces on this one as it’s a tour that crew really like to come back to,” enthused the PM. “Also due to Knopfler’s clockwork nature of providing new albums every few years, means crew can often block-book six months of their schedule way ahead to the announcement.”

Supporting the 27-strong crew production as SSE Audio, Hawthorn, Eat Your Heart Out, Coach Service, Fly By Nite and Captured Live.

AUDIO ORIGINS

TPi caught up with long standing FOH Engineer, Dave ‘DD’ Dixon, who recounted a story from Knopfler’s previous tour in 2015. “It was during the early stage of the tour, during a sound check when Mark suddenly said through the mic, ‘Dave, is there any way we could have this guitar come out of just one side of the PA’,” reminisced DD. “I replied saying that it wouldn’t be possible, as half the audience wouldn’t hear that part of the mix.” After a “very long” pause, Knopfler agreed and carried on with the usual sound check. Unbeknownst to the production at the time, it was that this request that planted the seed which led to the audio juggernaut which hung in Manchester Arena.

“My mix for Mark has always been relatively mono,” stated the engineer. “I’m only ever able to pan elements a few degrees. We usually tour with 13 musicians and I want as many of the audience to experience the full mix.” With Knopfler’s request of a more open mix ringing in his ears, DD, during a break from the road, found himself at L-Acoustics’ headquarters to listen to what the team had been cooking up. “David Brooks twisted my arm for sometime to check out the L-ISA system but the timings never worked out. I explained that I was really looking to open my mix up. After hearing what the system could do and hearing a demo, I was sold.”

With the L-ISA system in place, the engineer headed to Sarm Music Bank for band rehearsals with a scaled down version that would eventually become full scale arena set up comprising of a collection of X8s. “The first thing I told the L-Acoustics team that was had on site was that my main focus had to always be on the man on stage with a guitar, not the software,” he stated, asserting that he still wanted to maintain his mixes integrity and style that he’d been developing over the years with Knopfler. “Since being on the road that has been the biggest question I have been getting, ‘has your mix changed?’ What I keep telling people is that the sound has just opened up!” However, after getting to ball rolling on the tour, the engineer did state how he was throwing himself into the L-ISA side of his control package. “The L-Acoustics team explained that moving an instrument in the system also trimmed the high and low end to give a different image placement. I didn’t really appreciate what this meant at the start but in the last few weeks I find myself using the touch screen interface on the L-ISA to adjust the mix more subtly.”

For control, DD kept to his favoured console, a DiGiCo SD7, which he’s used since 2013. Along with running snapshots for each song, the SD7 via MADI triggered various scenes in the L-ISA. “I think the hardest thing to get you’re head around when first using the system is that you can’t simply plug a microphone into the desk,” laughed DD, reflecting in some of the head scratching that went on during the initial stage of the tour.

Aiding DD’s mix was a selection of outboard gear including a Summit Audio TLA-100A compressor, TC Electronic Reverb 6000 and an Eventide H3000 Series. “On the whole I try to limit the number of compressors I use,” mused DD. “For me, it’s all about getting the source right rather than fixing it in the mix.”

PA

The PA and control package came courtesy of SSE Audio. “Our collaboration with SSE is really thanks to our ongoing relationship with Holger Schader,” explained Hopgood. “He had just moved over to Solotech which at the time was purchasing SSE Audio. It’s works well for us when we go to the States thanks to the new relationship of the two companies.”

When DD went in to prep the show at SSE he was “blown away,” by the facility who prior to this tour was only really worked with Audio company on festival sites. “They have been excellent and the service has been superb. We’ve got three of their guys out with us at the moment who are fantastic.”

The rig itself was always going to be a challenge. In total, nine hangs in the roof, seven of which were the primary L-ISA system. The PA boasted three hangs of 14 K2s, three hangs of three L-Acoustics KARA and two hangs of 23 L-Acoustics KARAs. Side hangs consisted of two hangs of 10 L-Acoustics K2s with near fills consisting of six L-Acoustics ARCS wide and six L-Acoustics SB18s. Finally subs consisted of two hangs of eight L-Acoustics KS28s.

SSE Audio Hire Manager Miles Hillyard worked with Audio System Technicians, Ulf Oeckel and Max Menelec closely from the beginning to develop the system. “Due to 95% of the PA being hung in the air, we decided fairly early on that we would fly the amp racks,” began Hillyard. “We’ve also used wireless motor controllers which are also in the amp racks. This means we’re only running fibre and power up to the roof.”

The Hire Manager commented how the build process was very much a learning experience with a system of this kind never being created. “With the amp rack, we realised later in the process that they were not going to hold everything we needed them to. Instead, we opted to build our own, load testing the up to 10 tonnes.”

The development of the touring rig made use of SSE Audio’s internal manufacturing department to develop all the various components inhouse. The company’s custom engineering has become very much part of SSE’s USP over the years. This included the Azimuth rigging elements that were created for the five hangs across the front of the truss, essential for the L-ISA array.

The tour also saw SSE opting to use an AVB networking. “It’s a trend I think we are going to see on more and more tours,” stated Hillyard in the regard to the new networking system, which was also deployed on Rammstein’s latest tour.

Hillyard went on to explain the key elements that SSE kept in mind throughout the project was that this system had to be ‘tourable’ keeping pace with successive dates. Overseeing the load-in of the audio system each day was Pete Hughes who was enthused about the package. “The only real issue we have had during the UK run was in the Royal Albert Hall which had more to do with the fact we had configured the system for arenas and had to condense the system – other than that its been amazing,” stated the Audio Crew Chief.

Looking at the system that hung in Manchester Arena, with close to 150 speakers in the air, you may think that Hughes would require a larger crew than three. “It’s all down to the incredible design of the system,” beamed Hughes. “We’ve got a rigging structure that makes our day much easier. We tend to split the truss in half so we have to hangs of three which we can work on separately.” The Audio Crew Chief also chuckled that there was a time where the audio department actually had more point in the roof than lighting. “Although that has changed as we have taken away some of the subs and going from 31 to 25 points. It’s still more than average tours though!” he enthused. “There has certainly been a lot of interest with this tour,” concluded Hopgood. “Lots of audiophiles have been turning up to the event and I think Mark’s work is a great showcase for the system’s musicality.”

MONITORS

Underneath the large PA, TPi met Knopfler’s Monitor Engineer, Gavin Tempany with Monitor and Stage Technician, Ben Byford. One of the newest members of the permanent Knopfler camp, Tempany took over the reigns from long-time engineer, Kerry Lewis. “I spoke to Kerry for a long time before taking on this tour,” said Tempany. “One of the key things he told me was that Mark likes to hear his mix as it was recorded on the record – a better place to start than any.”

For control the engineer opted for an SSL L550. “Its ability to create stems has been incredibly useful with these guys,” he continued. “Not just for the drummer and percussionist but also for the various instruments that require two microphones. Instead of having two faders I can put them onto one.” Including reverbs and stereo tracks, Tempany oversaw 170 inputs, a task he comment the SSL was more than up to. To aid his mix the engineer also used a Bricasti Design M7 on hand to add to the internal reverbs.

With no stage wedges present, the musicians and crew utilised Shure PSM1000s, which marked a first for Tempany. “I’ve been impressed, especially with their charging system which you can monitor very easily,” commented the engineer. For the moulds, the band opted of Ultimate Ears UE11s.

RF management was a shared task between Tempany and Byford. “We’ve had Mission Control provide us with all our frequencies which mean both Ben and I can come in first thing in the morning and do a scan of the area – after 40 minutes or so we are ready to go.”

Corinne Sutterby from Mission Control discussed how they were brought into the fold. “We were asked to take care of the licenses for the tour’s stage RF and walkie talkies. Alongside the licensing we liaised with SSE and provided an outline of the expected whitespace at each venue, to ensure they had equipment in suitable ranges.They had a large number of shows and we arranged licenses for 45 different dates, including the first license we have arranged in Slovenia.” The company dealt with 14 different licensing bodies and kept each one informed throughout, including all the promoters. “We are delighted to have been a part of this successful tour and have particularly enjoyed working closely with Kevin Hopgood, Gavin Tempany and Ben Byford,” concluded Sutterby.

Images show: Monitor Engineer, Ben Byford and Monitor Engineer, Gavin Tempany; Audio Crew Chief, Pete Hughes and System Technician, Max Menelec.

Along with the IEMs there were also a selection of wireless instruments including a saxophone, a trumpet and a traditional Irish bodhrán drum. While discussing his collaboration with the Monitor Technician, Tempany was more than complementary to his stage counterpart. “Ben really is amazing. Without him, coming into this tour would have been very difficult.”

This tour marked the change over to Kemper, a move that many guitar enthusiasts may have found surprising. “I don’t think anyone was as surprised as me though,” laughed DD, recalling the time last term when it was suggested Knopfler would move over to the digitals amplifier. “I’ll admit, I wasn’t completely convinced it would happen leading up to the tour but I’ve been gobsmacked by what he and his Guitar Tech, Glenn Saggers have been able to get out of the system.” Although stating that the Kempers did mean it was one last mic on stage to deal with, the FOH Engineer did explain how they still required careful treatment. “Kempers really do replicate what is being played on the guitar which means nothing is ever consistent – in the same way it never is with an amp.”

With what looked like most of the stock from the local music shop out on the road with the band, most of the 50-stong stringed arsenal were used through the Kemper system. “The exceptions are the electric bass that still uses the amp,” stated DD. The “folky” sting section and guitars Richard Bennett’s acoustics utilising Audio Sprockets ToneDexter preamps.

LIGHTING

Lighting Designer and Operator Tellson James, spoke to TPi about the visual treatment of the tour. Similar to the last run in 2015, famed theatre designer, Mark Henderson, created the design for the tour with James then taking those designs and programming the show in WYSIWIG. “One of my biggest obstacles at the start of the design process was the front truss that had to cater for the large about of black boxes in the air.” The solution was a front truss that was placed 3ft upstage which gave James some cross light options.

The front section contained Martin by Harman MAC Viper Profiles and Chauvet Professional Nexus Aw 7×7s. “The advantage of the Nexus is that you can put effects across them and the pixel mapping on them is really effective,” commented the LD. Also on the rig we a selection of GLP impression X4 Bar 20s, “a gorgeous fixture,” according the LD. “The ability they give with the zoom to give a nice curtain of light. I’ve been able to create some amazing looks with them.”

The entire rear wall was and a whole rear wall of Martin by Harman MAC Auras. The rear was split in two sections which gave James several configurations where he would either use the top half or the bottom half of the rig.

An extra addition that was added later in the process was the PRG GroundControl Followspot System. “This is the first time I’ve used it on a tour but it’s been very good. We brought it in as Mark was struggling with the followspots in his eyes. Now that we have got this system they are coming in much deeper.” For all other follow spot duties – specifically solos form the other musicians, the crew utilise Robert Juliat Cyrano 2500ws.

A High End Systems Hog 4 was the LDs choice control. “I’ve been with the Hogs for a very long time and they do everything I need,” stated the LD, content with his currently live setup. “There is no timecode on this one and I’m firing all the content manually.”

All the lighting equipment for this latest run was provide by Hawthorn thanks to a previous relationship with Hawthorn Head of Concert Touring, Mick Freer. “He used to work with a previous company that had been with us for years,” explained Hopgood. “The company were in the middle of developing their rock ‘n’ roll side of their business and we’ve stayed with them ever since.”

“It’s been fantastic to continue our relationship with Mark Knopfler,” commented Freer. “It’s a privilege to be involved with an artist of his stature and as a live music experience. He sets the bar pretty high. It’s also been a pleasure to supply equipment to the specification of Mark Henderson. He’s really passionate about what he does and takes a collaborative approach to ensuring he gets the right equipment to deliver his design. The end result is stunning.”

RIGGING Head Rigger, John Ashton detailed the various demands of the rigging system. Having been a regular of Knopfler’s camps since 2005 he explained his approach to this latest campaign. “Due to the scale of the PA, we developed three version on this one to give production a few options,” stated Ashton.

The Rigger talked through his day-to-day routine, which involved a 7am mark out with all rigging being completed by midday. “We have both

Hawthorn and SSE providing their own sections,” continued Ashton. “Then to keep it in the metric system we have Hawthorn providing all the steel. For the lights we are using Prolyte Prolyft quarter, half and one tonnes. “The main issue we have been seeing looking ahead on this tour is venue height,” continued Ashton. “The minimum we need is 18m from the floor. Any less the we have too look at reducing the PA – but the audio guys have been really accommodating with any of these changes,” he enthused.”

LOGISTICS Fly By Nite provided six trucks while Coach Service provided three buses. “They’ve both been with us for the last few tours,” commented Hopgood. “Virtually everything I do is with Fly By Nite, having their rehearsal studios really pushes them firmly in my number one spot.”

Also key to the logistic element of the tour was Captured Live that provided all the provide cars for the band.

Keeping each one of the crew and band fed throughout the tour were Eat Your Heart Out. FOH Caterer Steve Bond commented: “These guys are nice and easy to cook for,” but explained that the mission each day is still to offer a large variety of options for the men and women on the road. Head Chef, Chris Desmond also spoke of his experience on the tour as he was busily prepping that evenings delights. “It’s been a bit hectic here in Manchester as we also have Spice Girls in town, using many of the same haunts for their supplies. It’s happened a few times on this tour, playing cat and mouse.”

With the UK contingent of the Knopfler fan club satisfied with the latest audio offering, the crew made their way over to Europe. “Mark has been very happy with this latest setup,” concluding DD, giving his final thoughts on the tour. “There are only a few people in the world that he will listen to about sound and he’s getting glowing reports all round.” TPi Photos: Sarah Askaroff, Kitty Riddell, GPC Media and TPi. www.markknopfler.com www.sseaudiogroup.com www.hawthorn.biz www.flybynite.co.uk www.fbnstudios.co.uk www.coachservice.com www.musicbank.org www.captured-live.com www.missioncontrolltd.com