Download a PDF - FOH Online

System Tech Myles Kennedy Slamhammer System Engineer Brian Klingenberg and Styx FOH engineer Gary Loizzo Bill Ryan, Boston’s FOH engineer
to Pro-Tools, but I have Apogee converters.
When the PM5D came out, I heard from some
of my friends who I respect from very highly
that it sounded a lot better. So, I gave it another
shot and used a Big Ben clock, and it
has really come a long, long way. You can see
how small a footprint this takes up and I lack
nothing.
And the effects?
GL: Everything. They even got a program
in here that I made sound like a H3000 harmonizer
and it is very, very good. I have not
had any service problems.
Do you run pretty heavy effects?
GL: Outdoors, I am allowed a little more
leeway. When you’re indoors you get clouded
be the room reverb. I am a little disappointed
that I am so far away; it defeats the purpose
in that I do not get the true perspective that
the bulk of the audience gets. I don’t get the
real direct sound back here, so I am guessing
(on effects).
Do you get a chance to walk during the
show?
GL: No, it is a very active show. In a live
show, you must get rid of any live microphones
that are not being used. As you will
see, they are very active. So, as they leave a
mic that mic fader goes down. I mix it like I
would on an analog console.
You use a lot of compression on the mix?
GL: I do. Just use a pinch on the overall
mix. Because I have a digital console, I have
compression, gates, EQ, everything on every
channel. I might touch things a little, but I do
not abuse anything. I try not to go heavy unless
I am going for an effect.
How much compression on the vocals?
GL: I am 4:1 on vocals — my favorite
ratio. You’ve got to remember that with
these guys, I am trying to capture that Styx
block harmony. I order to capture that fullness
at all times I have to go that thick. On
my outputs, I go 2:1 for lightness. I like to
round things off a bit.
So how many channels do you have active?
GL: Looks like 42. I got 48 so I could get
into a few more inputs if I have to.
So is everybody a vocalist?
GL: No, Todd doesn’t sing. The solid, solid
guys are Tommy, JY and Lawrence. Ricky occasionally
steps up. Todd can actually sing
very well, but it becomes a nightmare back
there to get a mic clean. Plus, he is an active
drummer.
What do you use as overheads on Todd?
GL: I have a new mic;, it’s an Audix condenser,
SCX-25. They are very open, and boy
does that make a difference because Todd
plays a lot of top (cymbals). As aggressive as
he is, he is a delicate guy, too. The mics give
me a better overall kit sound.
What do you use for vocal mics?
GL: An Audix OM-5 for Tommy. Other Audix
OMs for the other guys.
Any other tips to share?
GL: When I am in the studio, I think of
the mix as a collage. But when I am a live
guy, I think more like a caricature. You must
force people to listen to what is important
in a song in different places. Having
a good lighting girl, like I have back here,
also directs attention to different proximities;
it helps my job. Highlight somebody
with a light — you automatically in your
mind hear them better. I accentuate that,
too. People get the whole deal.
Now a lot of rock bands are instruments
first, vocals second. Do you give equal billing
in the mix?
GL: I love the drums so much that I’ll
mix the drums as hot as the vocals. This is
a vocal band. People know Styx because of
their songs. But these guys are in their 50s
and are in tremendous shape. Their energy
level is really great. But if I can complement
that with a younger guy (Todd), who
has even more energy, it makes everything
even more energetic.
Brian Klingenberg SE, Myles Kennedy
System Tech — Slamhammer Sound
FOH
What kind of rig are you running for racks
and stacks?
BK: Martin W8LC, 12 boxes a side. Martin
WSX subs, single 18” per box and 16 subs.
I see you have a pair of BSS Minidrives at
FOH — any other processing?
www.fohonline.com
BK: No, just splits at the amp racks.
What kind of amps do you have running?
BK: Crests; we got a 9001, 8001 and two
7001s in each amp rack. Two amp racks per
side. The 9001s have the subs, and the flown
lows, mids and highs get the 8001s and
7001s.
And the W8LC boxes, what are they loaded
with?
BK: 12” on lows, two 6” on mids and three
1” on horns.
And this is your preferred rig?
BK: This is what we own (laughing). As
a touring guy, I like this; I’m so used to it
now. When Pete (the owner) started buying
boxes, he went with Martin; no one
else had that around and he wanted to be
different. Martin was really good helping
him out, so when he wanted to advance
with something a little better, like a line
array, Martin was the way to go.
Want kind of power consumption do you
have running?
BK: We have a three-phase 400-amp
distro, but I do not know the draw. We use
Motion Labs rack and have a 100-amp, three-
Guitarworld
phase hookup. Each amp rack gets a Hubbel
L14-30 feed.
How many crew do you have here today?
BK: There are three of us from Slamhammer
Audio and 24 stagehands from the promoter/production
company (Grand Casino).
How long does it take to the system up and
running?
BK: If you got five hours, it takes five
hours. If you got two hours, it takes two
hours. Myles and I can fly a side in a half
hour if everything is ready.
So Myles, do you agree it can be really a
two-man job?
MK: It’s definitely very easy with these
boxes; they fly very fast with just two men. It
goes up and together quite well. Once you
got the computer program, and know the
tuning, you just slap it together and go.
So you know the rigging points really well
here?
MK: We have not been here in 10 months
because of winter. But once you get the chain
motors rigged, you just let ‘er rip.
BK: It took him about 10 minutes per
side to rig, if that. Very quick.
2008 AUGUST
19