Sam Smith: The Thrill of it All

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SAM SMITH

SAM SMITH: THE THRILL OF IT ALL

TPi checked back in with the Sam Smith crew, this time focusing on the innovative audio set up tasked with providing the soundtrack to the singer’s theatrical tour. Stew Hume reports…

This was not the first time TPi had crossed paths with Sam Smith’s touring entourage. Early this year, we had the pleasure of witnessing The Thrill of it All at Manchester Area while speaking to the trio of creatives - Lee Lodge, Jason Sherwood and Tim Routledge - that brought the artist’s theatrical vision for the tour to life. With over 50 performances under their belts, the crew are very much in the swing of things as they prep for the second North American leg. This time TPi bent the ear of the audio department to discover how they approached this unconventional stage set up.

For the uninitiated, The Thrill of It All is certainly an ambitious production. Throwing the traditional stage set up out of the window, the creative team dreamt up a set where Smith, his band and backing vocalists

played the entire show on a catwalk thrust that extended into the crowd, all of which was overshadowed by a giant upstage shard structure.

Capital Sound was tasked with providing an elaborate d&b audiotechnik J-Series system for the tour. System Tech Liam Halpin was responsible for creating the design. Having collaborated with Capital Sound on several other projects, he has become the ‘go-to engineer’ for d&b gigs. “The initial renders for this tour started to come in at the end of 2017,” began Halpin. “I was working on another gig with Capital Sound at the time, so they asked for my thoughts on the design.” Regrettably Halpin’s time on that tour was cut short due to an ankle injury - a blessing in disguise as it gave him time to focus on Smith’s PA design.

From the beginning of the project Halpin admitted how the design

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SAM SMITH

was always going to be complex. “As I’ve been telling people throughout the run; this is not an in-the-round show and it’s not a stage with a large thrust,” he stated, joking, “It’s a bastard child of both!” To find the ideal system, Halpin spent months using d&b ArrayCalc simulation software modelling various options of array hangs to ensure constant coverage for each audience member. “An issue we had to contend with was the production’s decision to not have subs on the floor,” stated Halpin. This resulted in some very innovative hangs to ensure equal coverage throughout each venue. In total Halpin deployed 80 d&b J8’s (flown in 4 arrays of 20 cabinets), 32 d&b V8’s (flown in 2 arrays of 16 cabinets) and 24 d&b J-Subs (flown in 6 arrays of 4 cabinets). Also on the rig were 4 d&b J-Infra Subwoofers, positioned downstage and 4 d&b V-Sub, in 2 stacks of 2 cabinets, either side of stage by the tech bunker. “During each performance there were audience members sitting all the way along the catwalk,” said Halpin. “To ensure they had the best sound image possible we installed 22 d&b T10 cabinets, mounted to stage structure with bespoke fittings.”

Halpin also used the tour to replicate a networking system he had previously trialled on Craig David’s last run. Using the d&b DS10’s, Halpin set up the system so the amps could monitor the signal flow via the Dante network. “Essentially, if there was a problem with the signal getting

through the Dante network to the main d&b DS10’s, the amps would pick up on this issue within a second, and automatically switch over to the backup unit,” explained Halpin. The issues that could be detected include a failure of the Lake LM44 processors, its network connections or any issues with the main d&b DS10. This includes any power failures of those devices. This infrastructure reflects an ongoing trend within the events industry whereby system techs need to see a fuller picture of any potential design. “This went for our power distros built by SES Entertainment Services,” continued Halpin. “Each one has a networked power metre so we can monitor them constantly alongside our amplifier network. The days of shrugging your shoulders, blaming a power issue are long gone I’m afraid and system techs need to know what’s going on during a show. It’s more leg work on the networking side but finding the answer to any issue that crops up in a matter of seconds is priceless!”

FOH Engineer, Jim Ebdon was at the helm of the d&b audiotechnik system for the tour. He explained how this was his first full outing with a d&b system having only previously come across the PA at one-off shows and festivals. “I was curious to see what it could do, especially with all the good things I’d heard from colleagues in the industry - needless to say it has not disappointed!” Ebdon admitted the show did test his abilities, as he was mixing in a foreign environment. “Instead of mixing in stereo, I was

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Above: FOH Engineer, Jim Ebdon; System Tech Liam Halpin; The hard working audio team, cosisiting of Dan Leaver, Bhekii Phakethi, Liam Halpin, Jim Ebdon, Saul Skoutarides and Lee Fox-Furnell; RF guru, George Hogan; Monitor and Stage Technician, Lee Fox-Furnell; Monitor Engineer Saul Skoutarides.

situated in front of one of the arrays,” he explained. “I also was missing the usual ‘thud’ of a ground sub with the majority of our low end coming from the air.” But despite mixing in these uncharted waters, the FOH Engineer has been impressed with the results. “We spent a long period in band rehearsals in Lake Como. The band mixes I created then have transferred really well to the J-Series system.”

Throughout Smith’s live performance, the singer took the audience through his varied back catalogue which ranged from sombre ballads to upbeat club tracks. “The dynamic range is really quite incredible on this tour,” mused Ebdon. “Volume is often one of my key concerns. Sam really sings from the heart and in those more intimate moments, the last thing I would want to do as a FOH Engineer is to over amplify his voice and make it sound unnatural.”

To capture Smith’s voice, the production opted for the Sennheiser MD 5235’s capsule. “From there, Sam’s vocals goes through a 1073 Neve Preamp then into the stage racks. This helps achieve a more analogue quality to his voice,” said Ebdon.

Striving for an analogue tone was one of the Engineer’s main goals for the tour - especially when trying to replicate the latest album. “The Thrill of it All’s production was really interesting,” he explained. “Most of the album was recorded as a 16 track analogue. There were very few clever production tricks, just great mixing. It sounds very warm with a big sound, and was something I wanted to replicate in the live mix.”

The Solid State Logic SSL 200 was Ebdon’s console of choice. “Ergonomically, it’s the best desk for me,” he enthused. “From the way the faders are laid out to the characteristics of the mix bus, it’s such a great console.” The FOH Engineer was particularly complementary of the desk’s modern features; specifically the touch screens, which had become “essential in [his] workflow while programming this tour.”

Other essential elements of Ebdon’s rig were a pair of Tube-Techs CL 1B’s which are both used for Smith’s vocals. The Engineer also used Waves’ SG Extreme Server V3 with a selection of plugins for the main bus mix along with several Universal Audio plugins via a Soundcraft Realtime rack. Ebdon dubbed everything within Universal Audio’s range “fantastic” but gave special mention to the compressors which he described as being “phenomenal”.

Saul Skoutarides handled Monitor Engineering for the tour, working alongside Lee Fox-Furnell, Capital Sound’s Monitor and Stage Technician and RF guru, George Hogan. Skoutarides joined the team in November 2017 and worked alongside Ebdon during the band rehearsals at Lake Como. For control the Engineer opted for a DiGiCo SD7. “The SD7 is ideal for this style of show,” began Skoutarides. “The versatility in the automation

is second to none.” The Engineer also used 2 TC Electronic M6000’s for his “important reverbs”. He continued: “I also have a Cranesong STC-8 inserted over Sam’s mix for a bit of analogue warmth.” Another rig highlight was the Cedar DNS 8 Live. “As we are almost in-the-round, it helps me filter out some of the room artifacts from the vocal microphones,” he stated.

Sennheiser 2000 was the choice for IEMs. Skoutarides explained what Smith requested for his personal mix. “Honestly he’s pretty easygoing simply requesting a good band mix with himself on top. As long as he can pitch we are golden - and that man can sing!” With such a clean stage design wedges were always going to be an issue but to aid the band, Skoutarides included a Porter & Davies drum thumper for the drummer and a footplate for the bassist.

“This has been a great project to work on,” concluded Skoutarides. “All the band and crew are great. Capital has been very helpful both in the planning stages and with support as the tour goes on. I’ve been working with them on and off over the past 10 years and they’re a great company with good people!” It was a sentiment shared by Ebdon. “I’ve actually known Martin [Connolly] and Keith [Davis] for almost 30 years but this is the first time we have ever got to collaborate officially. I’m glad to report I have been very happy with the result.”

Capital Sound’s Account Manager, Martin Connolly, gave his thoughts on the tour: “It’s been an absolute pleasure putting this tour together with Sam’s production team. I love the way this tour has developed from the amazing design work that Liam has put in, Saul’s intense monitor setup, all the way down to Jim making the hairs on the back on my next stand up with his wonderful mix. The entire touring team are doing a fantastic job!”

Also giving his thoughts on the work of the audio team was Production Manager, Wob Roberts. “When we first started discussing this tour back in July last year, we made a conscious decision to put quality of the the audio at the top of the list of important things to consider. Now, when you listen to the show the guys have created, I think I can say without fear of contradiction it’s a job well done!”

With the crew’s well-earned break coming to an end, September sees the beginning of the second leg of the US tour before making their way to south east Asia. “The rest of our year is fairly busy,” concluded Halpin expressing how he and the rest of the crew were itching to get back on the road with “fresh ears” to continuing bringing The Thrill of it All to the singer’s loyal following! TPi Photo: James Barber www.samsmithworld.com www.capital-sound.co.uk

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