Tag Archives: Midas

Plaid Dragon – “SoND” Live @ Gillioz Theatre

26 Aug

Springfield, MO has an excellent music scene. The Bootheel, Someone Still Loves You Boris Yeltsin, The Spacetones, Lilly Bee & The Pollinators, Knife Death, Delta Sol Revival, Kids & Chemicals, Speakeasy, Ryan Spilken–I challenge you to find a Midwest college town, or even a larger, more mainstream market, with a music scene as delightfully diverse.

Before leaving Springfield and the Gillioz Theatre, where I hung my hat for many shows, I had the pleasure of working one last concert. Fittingly, the event featured SGF’s own Plaid Dragon playing by themselves, in my favorite “an evening with” fashion.

This show would be the final installation in a series conceived over a few porch beers by Gillioz media czar/talent buyer, Vance Hall, and I aimed at featuring local performing artist known as “First Firday Live.”

I handled the live audio production for the event, mixing FOH and multitrack recording straight to Logic from the Gilly’s Midas Verona 400. I used the direct outputs of each channel of the Verona to feed the line inputs of a Mackie Onyx 1640 for analog-to-digital conversion into Logic over Firewire. After the show I turned the tracks over to Plaid Dragon’s synth/guitar player, Sam Gibson, for a final mixdown.

The show was bittersweet, but 100% Springfield, Missouri live music. I could not have picked a better send-off from the town and venue that will always be “home.” Please enjoy a video featuring Sam’s mix of Plaid Dragon performing “SoND.”

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Phish STL 2012

29 Aug

Last night some good friends and I had the pleasure of seeing jam-gods, Phish, live in concert. I had seen them once before at Bonnaroo ’09, but this time we were indoors at the modest 10,000-ish seat Chaifetz Arena located on St. Louis University campus.

Production value was through the roof, with the best lighting design I’ve seen in recent memory, if not ever. A huge Clair Bros i-5 rig was a welcoming sight upon entering the venue. If I counted right, the main hangs each had fourteen i-5 cabs with accompanying i-5b subs. Two sets of outfield hangs covered the rest of the bowl and side stage seats, with the inner hangs consisting of ten i-5/i-5bs and the outer of twelve i-3s. Headroom aplenty. The floor was packed, but I could see some BT-218 subs hanging out offstage left and right.

FOH looked like a darn good time, with a Midas XL8 at the center of it all.  The mix was clean and articulate, allowing the audience to follow the musicians’ every move.  Each member of the band had their special, equally important role in the mix.  One big, happy musical family, together in sonic harmony.

On a calm, late-summer Tuesday night in St. Louis, Missouri, Phish pulled out all the stops and played two sets full of classic examples why they’re the most prolific act in the scene.

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Where have I been?

16 Jul

When you have so much fun at work, it’s easy to overlook the whole “documenting what I do” thing.  Enough apologizing for my lack of posts.  How about a quick recap?

Looks like I haven’t mentioned any shows I’ve worked since December 2011.  Last year?  Damn, it’s been a busy seven months.  Here goes nothing…

1.18: Bryan Adams (The tour was carrying what was allegedly the first Midas Pro2 in the states.)Image

2.27: Peter Frampton (Maybe the best show I’ve ever seen.  Definitely best FOH mix of any show at the Gillioz.  FOH engineer, Vinnie, was rocking a beautiful beast of a console, a Midas XL4)

2.28: Rusko (I mixed FOH, if you can call leaving two channels wide open “mixing.”  Perhaps system tech is a more accurate job title.)Image

3.04: Steven Curtis Chapman (The tour was carrying a 12 box JBL VerTec 4887 rig.  Cool little boxes.)

3.11: Chevelle (Great mix on a Yamaha M7 by tour manager Chris Morrison)

3.14: Kelly Clarkson (Biggest show at Drury’s O’Reilly center to date.  Killer Clair Bros i4 rig .  Also, Clay Paky Sharpys out the wazoo.  I served as promoter rep.  Fun time.  Big shout out to TM Alan Hornall for ensuring a smooth operation.)Image

3.20: BB King (I had the pleasure of mixing FOH for the king.  Truly an honor.)Image

3.23: Lisa Lampanelli (I was laughing, sometimes cringing, at my console the entire show.)

4.07: Leo Kottke (So much sound from one man with one guitar. Great musician.  A Shure SM58, Midas pres, Countryman DI and a Taylor guitar.  I mixed the entire show with a smile.)

4.15: Blue October (My first night on an Avid SC48 running FOH for local support.  Favorite digital desk I’ve used.)

4.18: JJ Grey & Mofro (Their second time at the Gillioz Theatre, always a party.  I mixed monitors for SGF locals, Speakeasy.)

4.19: Ralphie May (Funny guy. Laid-back show.)

4.21: Ozark Mountain Daredevlis (My last date serving as promoter rep on their 40th anniversary tour.)

5.01: Hellyeah & Clutch (Vinnie Paul had a Shure Beta 98 upside down between his toms to mic stick clicks.  Sweet!)

5.04: Switchfoot (The day MCA died.  In honor, Switchfoot played a fantastic cover of “Sabotage.”  I mixed the opening act.  FOH console was a Soundcraft Vienna, my first experience with a Soundcraft desk.  Auxes from bottom to top, anyone?)

5.05/06: Big Smith (A two day farewell run for the band’s retirement.  Both sold out shows.  I engineered a multitrack recording of the show with the Gillioz’s Midas Verona and my Logic rig.)

5.15: Styx, REO Speedwagon & Ted Nugent (Another promoter rep gig for me.  Definitely had my work cut out for me.  The O’Reilly center was the smallest venue on the tour, so I had to pull out my shoehorn to squeeze this one in there.  Pulled it off, learned a lot.)Image

5.19: Gabriel Iglesias (Really impressed by their production.  Big impact, small footprint, easy setup.  Also, hilarious comedian.)Image

5.22: Incubus (Promoter rep gig at O’Reilly Center.  I’m a big fan of the simplicity of “An Evening With…” shows.)

5.29: Theory of a Deadman (First nigh on an Avid Venue Profile.  At first impression, I feel I like the SC48 better–perhaps because of differences in metering and on-desk displays.) 

6.01: Primus (Never thought I’d see these guys grace the Gillioz stage. Tour carried a huge Meyer MILO rig.)Image

6.08: Grace Potter & The Nocturnals (Holy cow, what a voice on that girl, not to mention the legs.  Another fun night on the local Soundcraft Vienna for me mixing the support act, Rayland Baxter. Photo by Chet Smith.)Image

6.15: Josh Turner (Promoter rep gig.  All around nicest touring crew I’ve worked with in a long time.  Friendly southern boys.)

7.06: Tech N9ne (Last night of their record breaking tour, 90-some shows in 100-some days.)

7.09: Death Cab for Cutie (FOH was a Midas Pro6.  Didn’t get to mix on it, but hope to get the chance soon.)

There, now I feel my lack of posting has been justified.

Show Shots

21 Dec

Hope Community Church chose the Gillioz for their Christmas variety concert this year. With 20-some different acts performing all the classics, the show was action packed from start to finish. As you can see, it took about 24 channels to facilitate the show. Please ignore the minor clipping you see down there…a vocalist got excited.

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While clearing the stage post-show, I couldn’t resist getting a shot of all the mics we had out that night.

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Check out the stage for a little Gillioz employee Christmas party we had last week. Festive, eh?

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I’ll leave you with a shot from the Gilly’s last touring show of 2011, Hinder with support from 9 Left Dead. I mixed monitors for 9LD. This is the auditorium not long after doors opened.

AUDIO: Matisyahu Unplugged at Gillioz Theatre

21 Dec

Here’s a little treat for your ears.  I present to you, in its entirety (including the Q&A session), my recording of Matisyahu’s November 16, 2011, live and “unplugged” performance at the Gillioz Theatre.

I recorded this with a Tascam DR-40 in four channel mode, channels 1/2 being the internal mics for house ambience and channels 3/4 my stereo mix from the Midas Verona 400 at the Gillioz.  I later mixed the four channels together in Logic Pro with minimal processing.

Enjoy!

About that job…

15 Jul

Things at the Gillioz are going swimmingly.  Check out my “office:”

At the heart of the audio system is a Midas Verona 400.  Not a top end Midas by any means, but damn, it’s still a great sounding console with plenty of usable features.  We’re lacking in outboard gear, with only a T.C. Electronics effects unit and a handfull of Ashley equalizers in the racks. [Edit: Compression is coming soon!]  This rig only gets used for the smaller, local shows.  Obviously the touring acts require consoles of another pedigree.

Since the Warren Haynes show I mentioned last, we had an acoustic evening with Lyle Lovett and John Hiatt.  Lovett’s voice really blew me away.  A truly great show.  They brought in some sweet purple road cases housing Midas XL4 consoles on 16 channel frames.

For some local events, there have been some notable artists on stage, too.  Steve Ewing, formerly of The Urge, played an acoustic set at the premiere of 180, a local film in which Ewing had a great cameo as a soft-spoken drummer.  The Lonely Wild, an LA based band with a guitar player calling SGF home, rocked the theatre while on their summer tour, and shared the stage with local act Bella Donna.  Those cats were a real laid-back treat with smooth stand-up bass, female lead vocals and a mixture of both clean electric guitar and dirty acoustic, reminiscent of Cake.  Another night we hosted a class reunion that featured the James River Band with special guest Randle Chowning, founding member of the Ozark Mountain Daredevils.

Yesterday I drove up to St. Louis to rent some consoles from Logic Systems for this Sunday’s Gavin DeGraw show.  Those Logic guys have a cool thing going on.  I love the friendly dogs hanging out around the warehouse.  Anyhow, Gavin’s tour requires an Avid D-Show Profile at FOH and a Yamaha PM5D for monitors.  As far as I can tell, there isn’t a D-Show Profile for rent in the state of Missouri, so we picked up the full-size Venue.  Other than taking a huge amount of space at front of house, it should do quite nicely.

I love a good mysterious road-case picture.