A combination of a d&b audiotechnik’s GSL Series PA system and Avid VENUE S6L 24C digital mixers is powering a tour by English rockers Elbow, who are taking their new album ‘Audio Vertigo’ on the road throughout the summer in the UK and Europe.
The system was designed by Scott Essen, Skan PA Hire’s systems engineer. Operated by the band’s long-standing engineers, Danny Evans (FOH) and Julien Helme (Mons) the ‘Audio Vertigo’ live campaign features main hangs of GSL with KSL side hangs, V Line rear hangs, J Subs on the ground and Y Series cabinet for front fills, powered by d&b D40 and D80 amplifiers.
In terms of his FOH mix, Evans plays with dynamics that differ to the band’s recorded music, an opportunity, he says, to give certain musical passages more dramatic impact.
He said: “I probably exaggerate certain effects in a live mix, which on a recording, would not bear repeated scrutiny. Specifically with Elbow, the lyrics are so important; I aim to mix in a way that Guy’s [Garvey, frontman] vocal is always 100 percent intelligible without it sitting right on top and making the rest of the music sound quiet in comparison.”
Evans’ desk has custom layouts and recallable layouts per snapshot/scene, meaning that with planning, it’s straightforward for him to mix 50+ channels on a 24-fader surface.
He explained: “I always spec the S6L with a Waves server, which provides an additional range of high-quality effects. I love the flexibility of the routing, the ‘events’ functionality is amazing and allows me to shortcut or automate certain things that simply aren’t possible on other desks. The integration with Pro Tools is almost perfect, and the fact that there’s access to a wide range of plug-ins including 3rd party plug-ins from McDSP, Plug-in Alliance, and Waves, is a big advantage.”
For Guy Garvey’s vocal a DPA D: Facto II has been selected for what Evans describes as “a smoother response through the high frequencies, which is more forgiving of sibilance, even when I want to brighten his vocal channel”.
Fellow Elbow crew veteran, monitor engineer, Julien Helme, also chose the S6L console. He commented: “It was a natural progression to begin using the S6L after mixing on the previous generation of Avid Profile. The small footprint 24C works well for us.”
With five band members, six orchestral musicians, and a FOH channel, he is generating a handful of differing mixes. He continued: “We’re using in-ear monitors, with no wedges on the stage at all anymore. We have Shure PSM 900 transmitters, with Shure P10 packs. These have twin diversity antennae giving better RF reception, and ultimately less dropouts.”
Evans concluded: “There’s generally a lot more time pressure when working live. I don’t mix particularly loud, but I think that coming to a live show should be a visceral experience. The d&b GSL used on our most recent tour has taken this to a new level, the way it reduces the output coming from the rear of the PA is a game-changer.”
