During an extensive tour that will see him play headline shows and festivals across
Europe and the US, Bryan Ferry is relying on Audio-Technica AE6100 hypercardioid
dynamic microphones to deliver his distinctive vocals. Other Audio-Technica models
are in service for his ten-piece backing band, while monitoring duties for the tour are
handled by Allen & Heath’s dLive S Class mixing system, distributed in the UK by
Audio-Technica.
Monitor engineer Tom Howat explained that “The AE6100 made a great impression on
Bryan as soon as we started using it in rehearsals. He loved the sound of it – which is
almost condenser-like in its openness. However, because of the hypercardioid pickup
pattern, it minimises on-stage spill. We are using two AE6100s, one for his main vocal
and one at his keyboard position.
“We’re also using the new Audio-Technica ATM350a cardioid condenser mics for toms
and saxophones – we have soprano, alto, tenor and baritone saxes – and they sound
very full but natural on everything. We love those mics, and the drum mounts, in
particular, are fantastic.’
Supplied by Britannia Row Productions in Europe and Clair Bros in the USA, Howat’s
dLive system comprises an S5000 Surface with DM64 MixRack, DX32 Expander Rack,
and two IP8 controllers for remote access. Howat has used dLive on previous tours,
including Paolo Nutini and Morrissey.
“Once again, the dLive delivers clarity and precision,’ he says. “Mixing in-ear monitors
for a ten-piece band comprising some very well-known and experienced musicians
requires a monitor desk that will deliver a detailed, full sound. dLive’s built-in
compression and FX make a huge contribution towards achieving this, along with
plenty of scenes.
dLive’s recent firmware updates, v1.4 and now v1.5, have provided new features that
have freed up Howat’s time, enabling him to focus on Bryan’s mix during the shows.
He is using the new Dyn8 units, new FX units, tube pre-amp modelling features on all
four saxophones and the extended choice of compression – 16T on most instruments
and Peak Limiter 76 on all vocals.
“I love the new features, particularly the Dimension Chorus on acoustic guitars. The
enhanced level of recall filtering in v1.5 is a major step forward in the flexibility of the
scene automation,’ continues Howat. “Bryan’s monitor mix requires constant, active
mixing throughout each song at a very detailed level. Bryan has an outstanding ear
for the songs’ musical arrangements and dLive is helping me deliver this.’
“I have once again deployed the IP8 controllers; one hooked up to the monitor desk
which enables me to make known and calibrated changes to other musicians’ mixes
while staying on Bryan’s mix on the main surface. The second IP8 is deployed as a
back-up for the FOH system, featuring most of the input channels mapped over the
six fader banks contributing to a pre-fade stereo mix,’ concludes Howat.
