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Tag Archives: Tours

Mix Live Blog: Help Wanted…But Not Found

I just lately had the necessity to rent a sub on my crew when my common suspects have been unavailable for just a few upcoming exhibits. Having exhausted word-of-mouth (and word-of-text) prospects, I resorted to the unthinkable: I ran a “assist needed” advert.

I knew full properly that putting such an advert in, say, the New York Times, can be a futile effort, so I opted for working it on an internet site that’s turn into a preferred useful resource for folk working within the touring group. In the advert, I said the dates we have been trying to cowl, the talent set required, and the necessity for the candidate to be within the NYC space, the place we’re primarily based.

The responses have been pretty miserable. Almost all of them fully ignored the half about “have to be NYC-based”—although, in reality, if we had discovered a superb candidate in one other metropolis, we in all probability would have taken an opportunity on them. Some of the respondents fessed up about not having all the necessities, a attribute that I respect way over somebody attempting to put a pile of baloney on me. According to their resumes, one or two have been grossly overqualified, which to me is a pink flag… “with that form of expertise, why is that this particular person not booked on a serious tour?”

Of the 13 responses, just one was price investigating, and after vetting the references, it turned out that our solely hope wouldn’t be accessible for these dates because of the truth that journey to a previous dedication would overlap.

Mix Live Blog: My New Favorite Venue

What sticks in my thoughts, sadly, is one response that was native, the respondent emailing: “I’ve labored with quite a lot of large title acts, your is not any unfamiliar territory to me. I’m severe as an A1, A2, LD, and PM, with my resume hooked up be at liberty to take a gander”(sic). So, I did.

What this particular person thought was a resume wasn’t worthy of a cartoon drawing on a paper dinner serviette. The doc posing as a resume was obscure, itemizing artists (some nationwide) however not describing any of the work expertise. Nevertheless, I assumed I’d give the advantage of the doubt. Maybe nobody ever confirmed him the best way to correctly write a resume. I responded, asking for some particulars relating to work expertise, and for 3 references. Radio silence. I can’t say that I used to be stunned.

What did shock me was the dearth of viable responses. I figured I’d get a minimum of two or three that might be price investigating. Maybe it’s as a result of it was just a few exhibits and a lot of the certified techs have already booked out for the summer time. Maybe it’s because of the truth that we have been on the lookout for somebody to work on Memorial Day Weekend. Or perhaps it’s post-Covid hangover, with individuals nonetheless not in a mindset of returning to work—although I don’t actually purchase into that idea making use of to our trade.

One factor stays positive: If you may have expertise, there’s work accessible within the leisure trade.

Mixing Devin Townsend’s Live Sound

 

FOH engineer Christophe Edrich handled mixing Devin Townsend's European tour on an Allen & Heath dLive C1500 control surface.
FOH engineer Christophe Edrich dealt with mixing the current Devin Townsend European tour on an Allen & Heath dLive C1500 management floor.

London, UK (May 26, 2023)—Canadian rocker Devin Townsend newest album, Lightwork, is heavy stuff, and crowds got here out to listen to it each evening on his current European tour, which noticed him going in all places from Oslo to London. Along for the experience was his in a position band and the audio staff of Christophe Edrich at FOH and Sam Chadwick at stageside in monitorworld.

In the post-COVID touring panorama, retaining issues light-weight and compact is an important side of bringing gear on the highway, and with that in thoughts, the engineers opted for compact Allen & Heath dLive C1500 management surfaces and a shared CDM32 Mix Rack, all provided by STS Touring Productions and Pulse PA.

Monitor man Chadwick famous, “The C1500/CDM package deal is unimaginable for touring. Although the venues we’re enjoying are related capacities, the variations in stage dimension might be vital. The CDM is simple to slot in wherever and I’ve by no means had a set-up this dimension that’s so useful and so ‘musical’, for the need of a greater phrase.

Bring Me The Horizon Hits the Road with Eighth Day Sound

“We’ve received the gigaACE networking card within the CDM32 in order that we will run each C1500 surfaces on the only MixRack and we’re breaking out into two DX168s on the drum riser, that are daisy-chained. It’s all very streamlined and it’s been completely flawless for the entire tour.”

The small-footprint desk was equally relevant out at FOH, stated Edrich: “I’ve an IP8 Remote Controller working at the side of my C1500 – I really like having these few further faders for my FX returns and tracks that I want entry to often. Even although it’s a small-format floor I discover the C1500 very tactile and nice to combine on this approach with.”

Neither Edrich nor Chadwick depend on exterior results, preferring to make use of the dLive’s built-in processing, with each singling out the Dyn8 EQ/multiband compressor. “I really like the Dyn8,” stated Edrich. “I’ve them on inputs, sub-groups – it’s actually helpful for Devin’s vocals as a result of he makes use of quite a lot of head-voice, which provides quite a lot of resonance, so the Dyn8 retains it actually managed and clear. I’ve a subgroup with Dev’s voice that I can use to compress all the things between 350 Hz and 4 okHz – that band is compressed by Dev’s voice, so that they’re ducked when he sings. Super-useful.”

Tina Turner Turns It Up On Her 1997 ‘Wildest Dreams’ Tour

Dave Natale, seen here August 1, 1997 at Jones Beach Amphitheater in Wantagh, NY, first mixed Tina Turner in 1985 and subsequently became her FOH engineer for decades.
Dave Natale, seen right here August 1, 1997 at Jones Beach Amphitheater in Wantagh, NY, first combined Tina Turner in 1985 and subsequently turned her FOH engineer for many years.

This article appeared within the October 1997 situation of Pro Sound News, overlaying the top of the 18-month-long Tina Turner “Wildest Dreams” tour.

New York (October, 1997)—By August, everybody on the Tina Turner tour was wanting ahead to a while off. Having began 18 months earlier in March, 1996, the manufacturing arrived in New York some 300-plus exhibits later with a mere eight performances left; going residence was a well-liked subject of dialog.

“Everyone’s able to cease–even Tina’s prepared. She toured final 12 months for 10 months and had one week off in that point,” remarked Chad Shreiner, system engineer for the Clair Bros. rig with which Turner was touring. He, system tech Kirk Shreiner and FOH engineer Dave Natale had been the one members of the six-man sound crew to do your entire tour. Natale, who’s been Turner’s FOH engineer since 1985, repeatedly characterised Turner as “a traditionalist” and the identical may very well be stated for his personal strategy to mixing; for example, there was little in the best way of results on the FOH place. “See, I really combine,” he stated, wryly. “I push the faders up and down, like, loads throughout the present. I do it myself, it makes it extra attention-grabbing. Plus I believe I’m a greater limiter than any field anyway.”

Following equally in that traditionalist vein, Natale famous that he had used the identical makes of microphones for the final 15 years (“no level in altering except there’s one thing price altering to.”). Not that he’s towards change nevertheless—for example, he added a “new” field to his arrange a couple of years in the past: “I run Tina’s voice by way of the Manley, which is a superb limiter. You can’t hear it—identical to a limiter ought to work. Tina’s vocal will get no Harmonizer, and reverb provided that it’s exceptionally dry. She’s received a extremely good voice, so I don’t need to do something to it.”

 

When the reverb is used, it’s additionally utilized in a straight-ahead style. “I’m not a lot for utilizing totally different reverbs on totally different devices,” stated Natale, “as a result of that is purported to sound prefer it’s reside. Everything has the identical reverb on it, so it sounds just like the band’s all enjoying in the identical place on the similar time.”

One of the issues Natale needed to take care of was a strong stage sound created by a slew of sidefills and 40 monitor wedges–18 throughout the entrance of the stage only for Turner alone. Despite all these containers, monitor engineer Ed Dracoules didn’t assume the stage sound was that uncommon, describing it as “Loud—similar as most bands I work with.” Natale merely noticed the stage stage as one thing that simply needed to be handled, noting, “Tina wants to listen to herself earlier than she will sing something into the PA–which is what I care about. I simply EQ round it. Instead of going by way of a giant music and dance in regards to the wedges, it’s simpler to only pull the vocal fader up and down a bit of bit now and again.”

With all of the containers on stage and the truth that the present was all singing and dancing, it was nearly shocking that non-public monitor programs weren’t used, if solely to get wedges out the viewers’s view of Turner’s shuffling ft. Shreiner defined, “Only the percussion/sax participant is utilizing private displays and he has a Clair Brothers system. It doesn’t get fairly as loud as the opposite ones, however it’s very clear. We tried to provide them to Tina, however she’s from the old-fashioned. She needed to see containers pointed at her, plus she has lots of costume modifications the place she has to get again on stage quick, in order that they’d get in the best way.”

Regardless of the stage sound, the PA typically received turned up fairly excessive, too. “Tina likes the present to be highly effective, so it will get as loud as it will probably,” Natale defined. Pushing the sound to the wall can be proper in step with the remainder of the present, nevertheless, which was a powerful mixture of over-the-top spectacle and efficiency, even with solely eight exhibits left. As Shreiner identified, “She provides 120 p.c each night time, whether or not it’s an excellent viewers or not. She nonetheless treats it prefer it’s the primary present of the tour.”

 

VITAL STATS: TINA TURNER 1997 ‘WILDEST DREAMS’ TOUR
FOH Engineer: Dave Natale
Monitor Engineer:
Ed Dracoules
Monitor Assistant:
Doug “Sluggo” Deems
System Engineer:
Chad Shreiner
System Tech:
Kirk “Eek” Shreiner
System Tech:
Viggy
FOH Console: Yamaha PM4000, PM3000
Monitor Console: Yamaha PM4000M, Ramsa WR-S840
House Speakers: (72) S-4 Series II
Monitor Speakers: Clair 12AM, CBA Custom
House Amplifiers: Carver / Clair
Monitor Amplifiers: Carver / Clair, QSC
FOH Equipment: TC Electronic M5000, 6032 EQ w/ 1128 distant; Yamaha SPX990; Aphex 612; dbx limiters
Monitor Equipment: Yamaha REV5, SPX1000; Aphex gates; dbx limiters
Microphones: beyerdynamic M88; Sennheiser 421, 431, 409, 406, 416; Shure 56, 57, 58, Beta58, 91, 98; AKG 451, 460, 414; CAD E-300; Countryman DI; Samson UR-5

Bring Me The Horizon Hits the Road with Eighth Day Sound

Prepping for another Bring Me The Horizon show in Hamburg, Germany
Prepping for an additional Bring Me The Horizon present in Hamburg, Germany

United Kingdom (May 23, 2023)—UK metalcore act Bring Me The Horizon has had a busy post-pandemic touring schedule. After a string of UK summer time competition dates final yr, the band tore by means of the U.S. and Australia earlier than hitting 18 European cities this spring, and there are nonetheless a bunch of 2023 competition appearances forward for the group. Supporting the band by means of all that has been the UK arm of Eighth Day Sound beneath Clair Global Group.

The band’s longtime FOH Engineer, Jared Daly, oversaw an Allen & Heath dLive S5000 with a compact dLive MixRack and a DX32 Expander nightlyon the spring tour leg.
The band’s longtime FOH Engineer, Jared Daly, has been utilizing an Allen & Heath dLive S5000 with a compact dLive MixRack and a DX32 Expander nightly.

The band’s longtime FOH Engineer, Jared Daly, has been utilizing an Allen & Heath dLive S5000 with a compact dLive MixRack and a DX32 Expander nightly. “The band spends an incredible period of time curating their dwell exhibits,” he mentioned. “The stage of element that goes into each side of their manufacturing is extra detailed than every other artists I’ve ever labored with…. From the second we began to work with [Eighth Day Sound, it has been fantastic. The system on stage is fairly complex and given the amount of MIDI distribution and Optocore pathways we need, [Eighth Day’s] Stuart Wright labored with us from the very starting to grasp our actual necessities and streamline our bundle as a lot as potential. Everything got here out of the store ‘present prepared’. There had been no tweaks required throughout manufacturing rehearsal, and the crew on tour with us has been unbelievable. The assist and information from Eighth Day’s tech division have been invaluable.”

Staring down the crowd in Barcelona. The group uses DPA D:Facto 4018s across the board for vocals.
Staring down the gang in Barcelona. The group makes use of DPA D:Facto 4018s throughout the board for vocals.

This tour is the band’s first with out an analog break up; as an alternative, Daly pulls inputs from the stage Optocore community to attenuate the SL rack footprint and to simplify the road system: “I’ve been a dLive person for years, spanning from my time mixing screens for the band. I’ve liked my time on the Allen & Heath platform; with the ability to transfer up and down the console vary has been key, as I by no means have to vary or rebuild the present file throughout any fly present configurations. For outboard, I’ve one analog piece for the ultimate stage of the combo earlier than broadcast—a Neve Portico MPB, which supplies one final stage of saturation and mid-side processing. The present has been constructed to prioritize the published combine. Working backward from that close to area combine and configuring the PA to translate has been an incredible workflow.”

FOH Engineer Jared Daly at his Eighth Day Sound-supplied Allen & Heath dLive S5000.
FOH Engineer Jared Daly at his Eighth Day Sound-supplied Allen & Heath dLive S5000.

The FOH present file depends closely on Timecode and is being consistently adjusted beneath the fader. Daly famous, “Throughout, there are components of theatrical efficiency that require particular mutes to assist moments mirrored within the video and lighting designs. There’s quantity automation into reverb returns, EQ adjustments to mix older and newer songs, and a vocal that goes from a full belt scream to a whisper.”

Capturing these vocals are DPA D:Facto 4018s throughout the board: “Oli [Sykes, lead vocalist] is working a Shure Axient wi-fi handheld and Jordan [Fish, keyboards] has a wired DPA. I requested that we transfer to them in 2019 as I had the prospect to attempt them with one other artist and liked them. The off-axis rejection is great for these moments the place Oli stands near the drum equipment.”

In monitorworld, engineer Jon Simcox is running 18 wireless IEM mixes on a DiGiCo Quantum 338 desk.
In monitorworld, engineer Jon Simcox is working 18 wi-fi IEM mixes on a DiGiCo Quantum 338 desk.

Hanging above the stage is a d&b audiotechnik’s KSL system offered by fellow Clair Group audio supplier Skan PA. As designed by his right-hand man, Jack Murphy, Daly shared, “We had some weight issues and with flying the sub hangs, with recommendation from Jack Murphy and Eighth Day, it was determined to maneuver onto KSL to permit extra containers to be flown. The KSL sounded distinctive, as d&b at all times does. It’s a really tight-sounding field. Having flown subs affords me the luxurious of not having to push the low finish as onerous for the viewers within the entrance rows. Quite a lot of the brand new materials has loads of low finish that should attain everybody, and we’ve had nice success doing that by incorporating flown subs,” he concludes.

The crew pauses before doors.
The Bring Me The Horizon sound crew pauses earlier than doorways.

The system includes KSL loudspeakers with SL subs each flown and on the ground in an array, with a handful of Y10P deployed alongside the entrance for fills. All of that’s pushed by d&b D80 amplifiers, making full use of d&b Array Processing.

In monitorworld, engineer Jon Simcox is working 18 wi-fi IEM mixes and a {hardware} pack for drummer Matt Nicholls, plus facet fills, further sub strains on stage, drum thumper, and round 11 FX sends. The band all go for Jerry Harvey Audio JH Audio Roxannes. Mixes are generated on a DiGiCo Quantum 338 joined by a Waves server. Plug-ins employed embrace PSE, 1176 for parallel drum compression, SSL channel, BSS402 and H-Verb.

Caroline Polachek Wraps Up Spiraling Tour

Caroline Polachek’s live audio engineers have moved up from DiGiCo SD11 mixers to a pair of SD12-96 consoles for her latest tours of Europe, the UK, and North America
Caroline Polachek’s dwell audio engineers used a pair of SD12-96 consoles for her newest excursions of Europe, the U.Ok., and North America.

New York, NY (May 22, 2023)—It’s been an enormous yr to this point for singer/songwriter Caroline Polachek. On the street since February, she’s crossed Europe, the U.Ok. and now North America as she wrapped up her Spiraling tour in type at Radio City Music Hall this previous Saturday, May 20.

Crossing the globe in assist of her not too long ago launched Desire, I Want to Turn Into You album, Polachek’s tour carried gear from London-based Stylus Productions for the EU/U.Ok. run, and the identical gear for the North American theatre/auditorium leg. Keeping an eye fixed on that gear have been FOH engineer Mikey Weiland and monitor engineer Kaan Kurt, who every taken care of DiGiCo SD12-96 consoles sharing a single SD-Rack loaded with 32-bit I/O and linked by way of Optocore.

Based in L.A., Mikey Weiland has labored with Polachek since 2021, in addition to an extended listing of different artists in recent times, together with Warpaint, The Church and Carly Rae Jepson. “We initially took a pair of SD11s, sharing a MADI-Rack, out on Caroline’s fall 2021 run, and I in a short time fell in love with the workflow and haven’t appeared again since,” he mentioned. “The soar to SD12 desks with an SD-Rack for this run was born out of necessity. Her present has expanded fairly a bit on this new touring cycle, and the additional actual property and processing energy has been an enormous step up for us.”

Working with 36 channels coming from the stage, Weiland famous that he used some Waves plug-ins (“largely just a few C6 multiband compressors and S1 stereo enhancers, plus some song-specific FX chains that get punched out and in by way of snapshots”) however finally lets the SD12 “do the majority of the processing and heavy lifting.”

“For Caroline’s vocal chain, I attempt to preserve issues easy and really intentional [as] her vocal vary and management is actually superb, so the objective for me is to do as a lot as attainable to protect and showcase that,” he mentioned. “She will get some multiband compression on the prime of the channel to even out jumps between her decrease and better vocal registers, adopted by the onboard HPF, into two levels of very gentle compression with various assault and launch occasions. Her enter channel is topped off with a side-chained outboard Neve 545 PSE on insert B to scrub up stage bleed. That channel then runs into a bunch, the place it’s joined by most of her vocal FX returns, sweetened up with some dynamic EQ, and despatched off to a closing stage of very gentle compression to connect all the things collectively.”

Mixing Muse for the Masses on the ‘Will of the People’ World Tour

U.Ok.-based Kaan Kurt first joined up with Polachek for her 2022 summer season competition tour, and additional retains busy with different artists like Jordan Rakei and The Hunna. Kurt famous, “Caroline has quite a lot of choreography in her efficiency and is consistently floating and dancing across the stage. Her vocal vary can also be insane! Having the dynamic EQ built-in permits me to maintain her vocal at a constant tonality regardless of the place she is.”

Including Polachek, there have been 4 musicians on stage—together with a drummer, bassist, and guitarist—all on Shure IEMs for minimal stage noise. “I’ve actually harnessed the facility of the macro on this run,” says Kurt. “I’ve managed to set one up that fires whichever band member’s combine I want into the spare transmitter actually on the click on of a finger. Same with firing the enter from the spare vocal into the primary channel if wanted. Thankfully, we haven’t had to make use of it, nevertheless it brings quite a lot of peace of thoughts understanding that in case something occurs, we’re rapidly lined.”

Creating Charlie Puth’s Live Immersive IEM Mix

Singer-songwriter-social media star Charlie Puth gets his immersive IEM mixes nightly thanks to monitor engineer Josh Cruz.
Singer-songwriter-social media star Charlie Puth will get his immersive IEM mixes nightly thanks to observe engineer Josh Cruz.

Los Angeles, CA (May 18, 2023)—Five-time Grammy-nominee Charlie Puth has made a reputation for himself as a songwriter and social media mainstay, however performing dwell in entrance of paying audiences continues to be an important a part of his profession. He’s been on the highway in latest months supporting his newest album, Charlie, and monitor engineer Josh Cruz has been at stageside all through the journey, offering a real-time immersive combine for the artist’s in-ear screens.

Puth listens to himself by way of a monitor combine that components in his actual place onstage, how his head is turned, and the ensuing adjustments in what he hears. Mixing on a DiGiCo SD5, Cruz offers that blend utilizing the Lectrosonics DCHT dual-channel digital transmitter and companion DCR822 receiver together with in-ear transducers that incorporate embedded miniature ambient mics—the Ambient Pro system from JH Audio. The Ambient Pro IEM system is designed to be paired with the Lectrosonics DCHT transmitter and both the DSQD or DCR822 digital receivers.

“It’s a novel system that actually permits Charlie to attach with the viewers,” mentioned Cruz. “In-ear techniques have the benefit of a quieter stage and a cleaner combine for everybody, however they’ll make the artist really feel remoted. Charlie needs it to be like he’s proper there with the viewers, but additionally protect that cleanliness.”

Cruz uses a combination of Lectrosonics, JH Audio and DiGiCo gear to make the immersive mixes happen.
Cruz makes use of a mix of Lectrosonics, JH Audio and DiGiCo gear to make the immersive mixes occur.

The needed sign path is thus extra concerned than merely mixing room mics into the screens so as to add generic atmosphere, as Cruz defined: “The DCHT and DCR822 work at the side of the JH Pro Ambient Pro system. These are high-end in-ear transducers with omni mic capsules made by DPA embedded within the outer shell of every earpiece. The cable fantails into two connectors—one is an eighth-inch stereo plug that connects to any in-ear receiver pack that delivers a monitor combine to the earpieces from my console; the opposite is a TA6F connector that feeds the omni capsules’ output into the DCHT. The mics choose up a binaural soundstage from the viewpoint of Charlie’s head; I then fold them into the monitor combine as I might with any room mics. The greatest technique to describe it’s that I’m vicariously experiencing Charlie’s listening to. I don’t assume another system does this.”

Mixing Muse for the Masses on the ‘Will of the People’ World Tour

The result’s that Puth experiences an enhanced model of his personal listening to, which Cruz describes as having particular advantages for the artist. “Traditional room mics present a hard and fast and normally broad stereo image, which doesn’t realistically mirror what a lead singer hears when shifting across the stage,” he notes. “With this method, if Charlie appears in direction of the drums, he hears extra of them. It’s not one thing he must be continually acutely aware of, nevertheless it helps him give the perfect efficiency. He has actually advised me and the manufacturing supervisor, ‘I don’t need to do a present with out it.’”

Mixing Muse for the Masses on the ‘Will of the People’ World Tour

Still delivering a satisfying mixture of rock, electronica and sci-fi practically 30 years after forming, Muse has been packing arenas and festivals all over the world on its present tour behind the brand new Will of the People album. The epic reveals mirror the album’s large themes and even greater hooks, however the journey itself began small, inside Exeter’s Cavern Club within the south of England, over a yr in the past.

“It was the unique membership the place the band performed their first present—a 200-capacity venue,” stated Marc Carolan, the band’s FOH engineer since 2001. That was adopted by the 2022 Summer pageant season, a Fall filled with theater underplays across the globe, and now a five-month North American enviornment leg that ended this month in Atlanta. “What I like with Muse is that they’ve nonetheless acquired the flexibility to utterly blow a membership present aside,” Carolan stated with a smile. “It’s the identical with the theaters, too, so though they’re famend for his or her massive productions, they’ll strip that each one away they usually’ve nonetheless acquired it.”

Marc Carolan, Muse’s longtime FOH engineer, puts an Avid S6L control surface, numerous plug-ins on LiveProfessor and a range of outboard gear to use nightly.
Marc Carolan, Muse’s longtime FOH engineer, places an Avid S6L management floor, quite a few plug-ins on LiveProfessor and a spread of outboard gear to make use of nightly.

Muse has lengthy been recognized for reveals which are a visible feast—a typical night on the band’s present enviornment run options jaw-dropping quantities of lasers, pyro, large inflatables, confetti (a lot confetti!) and extra—but when Muse is ready on certainly listening to the need of the individuals and overdelivering on live performance theatrics, the identical goes for its method to audio.

Muse’s longtime audio supplier is UK-based Skan, which was acquired by Britannia Row and Clair Global final fall; the group making certain every thing audio surpasses viewers expectations consists of monitor engineer Matt Napier, on his first tour with the group; crew chief, RF guru and monitor assistant Liam Tucker; FOH minder/secondary techniques engineer Eddie O’Brien; system engineer Matt Besford-Foster; system tech Rob Wilkins; and comms tech Boden Birkett.

FOH FOUNDATIONS

Carolan’s FOH place is a fortress of the previous and the brand new, centered round an Avid S6L digital console flanked on both aspect by racks of outboard gear, all tackling the music generated on stage by vocalist/guitarist Matt Bellamy, bassist/vocalist Chris Wolstenholme and drummer Dominic Howard, with touring musician Dan Lancaster.

Some of the front-of-house outboard gear has completed a number of circuits all over the world with Muse, however it all has to earn its preserve, stated Carolan: “There are items that work, that sound good and produce one thing to the get together, however I’ll usually ‘blind A/B’ issues, as a result of I need to know if I’m fooling myself pondering this analog alternative is best than a plug-in alternative. With the outboard results that I nonetheless carry, just like the Bricasti M7s and the Eventide H3000, there are plug-in equivalents, however there aren’t any pretty much as good as the actual factor—so we stock the actual factor.”

Other outboard gear filling the FOH racks features a Rupert Neve Designs 5059 Satellite summing mixer; a UBK Fatso; a Maag Audio EQ4M; a GML 8200 parametric EQ; Empirical Labs EL8-X Distressors and Fatso EL7Xs; a Klark-Teknik BBD-320 sign processor; Midas XL42 channel strip preamps; Yamaha SPX2000s; dbx 160A and Tube-Tech LCA 2B compressor/ limiters, in addition to an SMC 2B multiband opto compressor; and a SPL Transient Designer.

Inside Muse’s 2010 ‘Uprising’ Tour

Still, there’s lots occurring with plug-ins, too, not least that Carolan has shifted to utilizing audiostrom LiveProfessor to host all of them. “The full suite of what I might use in studio mixing is all out there to me now, so I’ve fairly a number of Softube plug-ins, FabFilter, iZotope and a few McDSP, particularly the AE600 Active EQ,” he stated, including that he’s been beta-testing the newly launched okesound Soothe Live dynamic resonance suppressor plug-in. “That’s going to be an actual game-changer on the S6L platform,” he averred. Sometimes the plug-ins win these aforementioned A/B checks, too: An Avalon VT-737sp {hardware} unit used prior to now for vocal distortion on Bellamy gave method to a UAD-based plug-in model this time round.

One of the most important modifications within the band’s stay sound on the present tour comes not from Front of House however from the stage itself, as Bellamy and Wolstenholme have switched to utilizing Fractal AXE-FXIII preamp/fx processors. Band studio engineer Aleks Von Korff and guitar tech Chris Whitemyer spent months modeling the group’s gear to make it occur. “It’s not a simple, off-the-shelf determination that they’ve made, however they sound nice,” stated Carolan. “The sounds are barely completely different—and higher—even within the legacy songs, in order that brings a brand new power to them.”

MIKING MUSE

A/B testing wasn’t solely the province of FOH; that’s how the change to Fractals occurred and it additionally affected some miking, as monitor engineer Matt Napier famous, resulting in an AKG D12 VR taking the kick drum spot and a transfer to Austrian Audio OD7s on Toms.

When it got here to Bellamy’s vocal microphone, nonetheless, an A/B take a look at made clear it was finest to go together with not one mic or the opposite, however each. The singer has lengthy belted right into a Neumann KMS 105 onstage, and because the survivor of numerous checks over time, it’s the most effective match for his voice. However, he spends a lot of the present out on the thrust and B-stage, far in entrance of the P.A. “We had good outcomes with the Austrian Audio OD505 on the market,” stated Napier. “The rejection on that has labored out very well—so we change mics as wanted. It’s selecting what’s finest for which tune and the place he’s, moderately than compromising and saying we’ll use one mic for every thing.”

Beneath the stage, Matt Napier oversees a DiGiCo Quantum7 console for the band’s monitor mixes.
Beneath the stage, Matt Napier oversees a DiGiCo Quantum7 console for the band’s monitor mixes.

MUSE’S MONITORWORLD

In monitorworld beneath the stage, Napier mixes on a DiGiCo Quantum7 console, using a collection of Waves plug-ins, together with the Abbey Road TG Mastering Chain (“It has a pleasant unfold perform to widen issues for the ears”), SSL E-Channel Strip on drums, and SSL G-Master Buss Compressor.

Mixes are despatched to the band through Wisycom RF bodypacks. “They’ve significantly helped—even the band seen—as a result of they’re a lot cleaner, particularly within the low finish,” stated Napier.

The band hears its mixes through Westone UM Pro30 earphones, quickly to be up to date to Pro X30s. “They’ve all acquired their very own particular person causes for not wanting customized molds completed they usually’re fairly comfortable on the generics,” stated Napier. “They sound actually good, and talking as a monitor engineer, it’s good, as a result of I’ve acquired a drawer filled with them and if one breaks, I don’t must ship it again to get fastened; simply pull out one other set and provides it to the band.”

Hanging above the stage is a substantial d&b audiotechnik GSL/KSL line array system, centered round GSL hangs of 18 on the mains and 16 on the perimeters. Subs are distributed underneath the stage, and fills are used on the finish of the thrust. System engineer Matt Besford-Foster defined, “It offers a focus in order that whenever you see Matt on the B stage, there’s truly some sound coming from the place he’s; in any other case, you’ve acquired this large P.A. blasting away that’s disconnected from what’s occurring.”

Next on the Muse agenda are extra dates in Europe and Malaysia by way of the top of July, taking advantage of the pervasive power operating all through the manufacturing. “The band are happy with the sound they’re developing with,” stated Carolan, “so that they assist us in doing what we expect is finest for the sound. The overriding concern is the outcomes—the sound of what we’re doing. It’s good to be working in a camp the place audio is as intrinsic as anything, and that comes from the artists.”

The Baboon Show Takes On Europe

Chris Mock, FOH engineer for The Baboon Show, with his Allen & Heath dLive CTi1500 digital mixing system.
Chris Mock, FOH engineer for The Baboon Show, along with his Allen & Heath dLive CTi1500 digital mixing system.

Sweden (May 8, 2023)—Stockholm punk act The Baboon Show has been fortunately as much as no good for twenty years, and is at the moment making the rounds all through northern Europe behind its newest album, God Bless You All. Along for the trip is the band’s longtime FOH professional, Chris Mock, who put collectively a management system for the tour to maintain issues mild and transportable.

Key to the system is an Allen & Heath dLive CTi1500 digital mixing system, related to a dLive CDM32 MixRack, and Audio-Technica 3000 Series IEM wi-fi to ship the band’s potent model of punk-rock vitality.

“The CTi was my first alternative, since I usually tour with a dLive C2500 floor,” mentioned Mock. “We selected the attractive CTi1500, on which I can run the identical setup already used on my C2500. I really like the virtually analog really feel of engaged on dLive. It’s actually quick and intuitive in use – I work with quite a lot of results and trip quite a lot of faders in the course of the present, and the CTi1500 permits me to combine in a really dynamic, hands-on method. It’s a extremely nice artistic instrument in that method.”

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A complete of 32 inputs come from stage into the CTi1500, together with a pair of electrical guitar mics, a “dust mic” on Niclas Svensson’s drum package, ambient microphones and extra. Mock describes, “All indicators are break up internally, so every enter has a channel for the FOH and one other one for the in-ear combine which is distributed to 6 stereo mixes. Our backline tech/monitor engineer makes use of an iPad related to the CDM32 to make adjustments in the course of the present and it really works completely.”

Mock eschews outdoors plug-ins and usually makes use of the on-board instruments within the dLive for results and such. “I exploit quite a lot of compression with The Baboon Show and love the parallel compression function each compressor options,” he famous. “The VCA spills are additionally tremendous helpful, which opens up an entire new dimension of layers in case you’re engaged on a small floor just like the CTi1500. This method I can entry all 64-plus channels, teams, impact sends and returns on the 12 faders I’ve. I exploit a number of the MushyKeys for DCA spills which is wonderful. I really like the brand new Bus Compressor which I mix with the multiband compression of the Dyn8 to connect my most important combine collectively.”

For its in-ear monitoring system, the band has Audio-Technica 3000 Series IEMs used along side the CTi1500. “The band loves the sound of the Audio-Technica system and it’s very easy and fast to set-up. The crew actually admire the straightforward design and performance of the IEMs and the Wireless Manager software program actually unlocks the facility of the system.

Bringing The Grateful Dead’s Wall of Sound Back to Life

 

It’s a brilliant April afternoon in Georgetown, Connecticut as I pull up outdoors the outdated stone church. The car parking zone is empty apart from a white van, out of which hops Anthony Coscia, an amiable man in a grey fleece vest and matching Grateful Dead “Stealie” ballcap. “Got a jacket with you?” he says. I nod. “You’ll need to put it on; it will get fairly chilly in there.” The former church has no warmth—or operating water, as evidenced by the transportable rest room outdoors—however it does have what some Dead followers contemplate to be The Holy Grail.

He leads me into the gloomy, dank edifice; we flip the nook into the principle room, and there it stands on the again: Coscia’s hovering, 30-foot-tall, half-scale reproduction of the Grateful Dead’s legendary Wall of Sound.

AUDIO EXCESS

The unique Wall of Sound P.A. was a profitable failure that grew to become the stuff of legend amongst Deadheads. A colossal system that was one thing of a precursor to the fashionable line array, it was envisioned in 1972 by audio engineer/prolific LSD chemist Owsley “Bear” Stanley and created with Dan Healy, Mark Rizene, Ron Wickersham, Rick Turner and John Curl. As the identify suggests, it was an precise bodily wall of audio system—a group of six separate P.A.s, ground-stacked inside scaffolding and positioned onstage behind the band to behave as a simultaneous home and monitor system. The devices had their very own devoted speaker columns throughout the wall, which resulted in low intermodulation distortion and inadvertently offered on-stage localization, as a result of every performer naturally stood in entrance of his personal column to listen to himself.

A complete of 11 channels fed the system: vocals, guitar, lead guitar, piano, three drum channels, and 4 bass channels—one for every string, separated by a quadraphonic encoder. Vocals had been summed to a mono channel, and the problems of vocal mic suggestions and stage bleed had been solved by putting two out-of-phase condenser mics at every mic place; one was sung into whereas the opposite captured stage ambiance, so summing them collectively canceled out every part however the vocal.

The Grateful Dead’s ultimate model of the system, standing roughly 98 toes throughout and 36 toes excessive, traveled in 4 semis and required 21 individuals and a whole day to load-in. A complete of 586 JBL 15-, 12- and 5-inch audio system and 54 Electro-Voice tweeters had been housed in Hard Trucker-style birch plywood cupboards, all powered by 48 McIntosh MC-2300 amplifiers for a complete of 28,800 watts.

The system’s sheer bulk was in the end why the Wall got here down for good. The band first tried to carry out by a preliminary model in February, 1973, and blew out each tweeter in the course of the first music. Undeterred, the Dead started touring with the prodigious P.A. in March, 1974, solely to retire it seven months later when manufacturing prices spiraled uncontrolled attributable to a nationwide fuel disaster. Nonetheless, the Wall of Sound was preserved for eternity when the band filmed 5 reveals with it at San Francisco’s Winterland in October, 1974; that live performance footage grew to become the guts of 1977’s The Grateful Dead Movie.

LIVING THE DREAM

Anthony Coscia by no means heard the unique Wall of Sound (he was six years outdated on the time), however that hasn’t stopped the lifelong Dead fan from constructing his personal. The ensuing behemoth towers above us as we sit on folding chairs subsequent to a propane cannon heater blasting away within the dim, freezing church. We’ll wind up speaking for greater than an hour earlier than he fires up the Wall.

For most Dead followers, rebuilding the legendary P.A. can be a enjoyable, idle daydream at finest, so what would make somebody resolve to begin “residing the dream” and truly construct it, sinking a whole bunch of hours and hundreds of {dollars} into the mission?

Well, the very first thing to know is that Coscia has constructed a couple of Walls now, and whereas that may sound like a interest that’s spiraled uncontrolled, it’s something however. Much like a Dead present, the enjoyable is within the journey, however at its coronary heart, it’s nonetheless a money-making enterprise. Coscia’s background makes him uniquely certified to rebuild the Wall, too—having beforehand labored in development, he had a stable understanding of tips on how to construct it, and as a luthier catering to the Grateful Dead musician group, he’s tapped right into a community of typically well-heeled, well-connected Deadheads that is perhaps prepared to present the system a brand new residence.

“The final 5 years, I’ve been completely making guitars, shifting from a interest perspective to an expert, full-time factor,” says Coscia. “They’re particular to the Grateful Dead universe; I don’t make clones, however I do know my musicians and what they want, and I make Hard Trucker-style speaker cupboards for them as effectively. It obtained to the purpose the place I’d have 20 or 30 full-size cupboards within the store, so it grew to become, ‘Why don’t I simply maintain going and make the Wall of Sound?’ When I did the primary Wall, it was tiny—5 toes tall, eight toes broad. The costliest speaker was $2 and the most cost effective was 28 cents. My whole finances was in all probability $1,000.”

That first Wall, a 1/6-scale working reproduction with audio system starting from 2.5-inches right down to 7/8-inch fashions utilized in cell telephones, made the entrance web page of The Wall Street Journal in 2020. The notoriety led to constructing three 1⁄4-scale variations, every standing 14-by-10-feet—one for Coscia to indicate at occasions; one for a consumer; and one which was donated to HeadCount, a voter-registration nonprofit that bought it for $100,000.

Buoyed by their success, Coscia started to assume huge—or at the least greater—and commenced constructing his half-scale Wall of Sound, partially as a result of the 1/4-scale programs may solely present a touch of what the unique appeared like.

“At the top of this half-scale, I’ll know whether or not the entire thing actually has benefit,” he says. “One million individuals inform me ‘The finest live performance I ever noticed was a Wall of Sound present,’ however I don’t imagine they had been able to essentially know. Either A, they had been dosed at a Dead present, or B, they had been impressed by what it appears like, and it’s onerous to have an opinion based mostly on something actual in the event you’re busy going ‘Wow.’”

THE WALL OF SOUND’S SOUND

Coscia begins the system, and shortly the church is stuffed with the melodic strains of Grateful Dead tribute act Half Step as a multi-track of the band performs by the Wall. The localization works like a attraction, giving one thing of an immersive impact close to every instrument’s column. Meanwhile, throughout the room on the altar, the varied programs congeal cleanly to change into a delightful full band combine. Half Step on a half-scale Wall doesn’t sound half dangerous, it seems. So are the rumors true and the Wall of Sound was truly the best live performance system ever made? No—however you possibly can see why it in all probability was in 1974.

Surprisingly, Coscia agrees with that sentiment, and it might be why he needs his multi-ton nostalgia machine to be visually similar to the unique, however not beholden to the expertise that comprised it. Rather than use two out-of-phase mics to forestall mic bleed, he employs Optogate infrared microphone gates plugged on to the ends of the vocal mics. Rather than slavishly comply with the unique console-less sign paths of instrument-preamp-amplifier-speakers, all indicators go to a Midas M32 digital digital mixer alongside the best way in order that he can reassign speaker columns with out having to rewire every part. Rather than fear about amplifier speaker hundreds, he makes use of passive Zero-Ohm Multispeaker System items to energy a given column in parallel off a single amplifier with out utilizing transformers. If he had the time, information and a vast finances, he’d leap on the likelihood to include DSP and beam-steering to additional enhance the sound. In quick, Coscia has no downside using modern-day pro-audio advances to make his Wall extra versatile, simpler to make use of, probably higher sounding and undoubtedly extra marketable to a possible purchaser.

However, whereas recreating a Nineteen Seventies sound system, Coscia confronted a really 2020s downside: provide chain points. Finding components, expertise and audio system was a problem within the wake of the pandemic, and plenty of producers had been unable to ship product. Ultimately, he went with CVR Audio amplifiers, whereas his eight-inch audio system had been produced by Spanish producer Beyma, and the three- and six-inch audio system had been Italian-made FaitalPro fashions.

When all these audio system had been put in cupboards, they needed to be modified—to not have an effect on sound high quality, however to make sure they resembled those within the Dead’s Wall. Some baffles had been sponge-painted to appear to be the cork used on the unique’s JBL audio system, whereas a couple of mud caps had been painted silver to duplicate aluminum. The unique audio system had front-facing clips in order that they may very well be yanked out and changed mid-show if wanted; Coscia ordered 1,200 custom-made clips to placed on his cupboards purely for the aesthetics, however with solely 200 delivered to this point, he hasn’t put in them but.

That’s tremendous, as he faces a far higher problem for the time being. To borrow a Grateful Dead phrase that appears notably acceptable given our environment, Anthony Coscia is searching for a miracle.

UP AGAINST THE WALL

The half-scale Wall quickly moved into the church final fall due to a Dead fan who had simply purchased the constructing. It was a fortunate break for Coscia, who wanted the room to correctly assemble and fine-tune the system. However, that point of largess is coming to an finish: The Wall of Sound has to maneuver out by mid-May in order that the constructing will be renovated to deal with a number of music charities.

“It will kill me if I’ve to place the Wall into storage,” says Coscia, not due to the trouble or value, however as a result of the Wall will likely be more durable to promote if it could possibly’t be seen and heard.

If he can’t promote it in time, Coscia’s hoping to discover a native venue to associate with—one large enough to maintain the Wall on its stage and provides visiting bands the choice to make use of it or the home system. “I’m prepared to separate revenues or no matter; we’ll make it work for everyone,” he says, including that he will get emails each day from bands asking to play by it and Deadheads who need to hear it.

Coscia is assured he can beat the clock and get the half-scale Wall out of his hair a technique or one other. He must, so as to vacate the church, keep away from renting storage lockers, recoup hundreds invested within the mission, and rather more, however there may be one cause above all why he must do it—a cause that looms as massive as the large sound system itself: The funds will assist him construct a ultimate, full-scale Wall of Sound in time for 2024—the system’s fiftieth anniversary.

Post Malone Live: Multifaceted Monitors on a Twelve Carat Tour

Post Malone, seen here at State Farm Arena in Atlanta, has been belting into a Sennheiser 9235 capsule on an SKM 6000 transmitter at every tour stop. Photo by Prince Williams/Wireimage/Getty Images.
Post Malone, seen right here at State Farm Arena in Atlanta, has been belting right into a Sennheiser 9235 capsule on an SKM 6000 transmitter at each tour cease. Photo by Prince Williams/Wireimage/Getty Images.

Like most artists sidelined by the pandemic, rapper/singer Post Malone was greater than able to hit the street final yr when his long-awaited fourth album, Twelve Carat Toothache, got here out in June. The globetrotting Twelve Carat Tour kicked off in September and now at every cease, engineer Travon Snipes may be present in Monitorworld, conserving mixes clear within the ears.

Snipes first tackled Malone’s monitor mixes in 2019, becoming a member of the manufacturing partway by means of the Runaway Tour’s Australian leg. Despite the manufacturing ending 5 reveals early in March, 2020 resulting from COVID tour suspensions, every little thing else went easily, and one worldwide pandemic later, Snipes headed again out with Malone’s 2022-23 tour, utilizing audio gear supplied by PRG. In addition to the thrill of returning to the street after a lot time, the brand new manufacturing meant Snipes lastly had a chance to construct a brand new monitor setup: “It was a brand new tour and for me, it was like a inexperienced mild to place my spin on learn how to do it, as a result of we have been all ranging from scratch—new music, new stage design, new P.A. I had a gap to place collectively my interpretation of what I assumed would work greatest for his sound.”

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While it was an opportunity to include a few of his favourite gear and workflows into the monitor methodology, Snipes stayed targeted on making certain it was all there to help the artist onstage.

“I used to be tailoring this for an extremely gifted artist/singer who has a dynamic vary the place he may yell or sing or scream at completely different occasions—and thru all of it, it wanted to be a rounded sound that would transfer with him,” Snipes recalled. “Honestly, we hit the nail on the top fairly early; there wasn’t quite a lot of swapping gear out and in. We had one present the place I made the swap on his channel strip and microphone, and from that time on, he instantly was, ‘Man, one thing’s completely different. Whatever’s happening, I adore it.’ Ever since then, it has been golden.”

Determining the best vocal mic took some consideration, and in the end the manufacturing went with an uncommon mixture—a Sennheiser SKM 9000 transmitter and SKM 6000 receiver. “We journey a lot, and the 9000 receiver is sort of a tank, so we use the 6000 receivers,” mentioned Snipes. “I observed that the 9000 transmitter gave us extra physique and readability, so we opted to make use of the 9000 stick to the 9235 capsule, as a result of we would have liked that top rejection. We’re at all times both in entrance of a P.A. or the stage design has a runway for Post to stroll out on—if he sees that, he’s going to be on the market just about the entire efficiency! The capsule can deal with his dynamic vary; it received’t crumble or give out. Also, he’ll be singing and the mic can be laying on the bottom, or typically he’ll have it standing up on the antenna—he does some issues I’ve by no means seen achieved earlier than—so we would have liked a mic that would stand up to that and be dependable. He’s complemented it, like ‘Man, this mic sounds so unimaginable.’”

Also serving to hold the mic bleed minimized is a artful P.A. design for the tour’s 192 L-Acoustics loudspeakers—eight equivalent hangs of 16 K2 enclosures; 4 cardioid-configured hangs of eight KS28 subs plus eight extra KS28 on the sector flooring; and 4 hangs of six Karas, horizontally flown as viewers pit-fills. FOH engineer Burton Ishmael, Dave Brooks at L-Acoustics, Posty Touring’s Production Manager Dennis Danneels and PRG’s Burton Tenenbein devised a design supposed to maintain power on the runways down a minimal of 15 dB, serving to put much less extraneous audio into Malone’s mic.

That vocal microphone is likely one of the few dwell inputs that Snipes has to work with on his DiGiCo Quantum 5 console; the one different main components are Malone’s acoustic guitar, captured by way of a Hazelrigg Industries VDI tube DI chosen for its heat, and 15 channels of playback tracks. Snipes takes care of these channels in addition to viewers mics and appreciable talkback exercise largely targeted on making certain the artist is nicely away from the copious quantities of pyro and flames used all through the present.

During a tour stop at New York City’s new UBS Arena, monitor engineer Travon Snipes could be found behind his DiGiCo Quantum 5 console in monitorworld, with a packed 500 Series rack beside him. Photo courtesy of Travon Snipes.
During a Post Malone tour cease at New York City’s new UBS Arena, monitor engineer Travon Snipes might be discovered behind his DiGiCo Quantum 5 console in monitorworld, with a packed 500 Series rack beside him. Photo courtesy of Travon Snipes.

While some may anticipate a combination principally primarily based round playback tracks to be a comparatively easy job, Snipes defined that simply the alternative is true: “Lots of people can be like, ‘Oh man, you will have the simplest gig.’ No, when you will have much less to work with, you need to discover artistic methods to make it really feel large in his ears. It’s not a band up there the place there’s drums, guitars, keys and extra issues you may play with and use to fill it out. When you will have simply tracks, you may’t let it really feel weak on stage, so that you undoubtedly should get artistic to make it really feel full.”

Malone hears these mixes by means of in-ear screens, having moved to FIR Audio Xenon 6 earpieces and a Wisycom wi-fi pack for the present tour. Snipes first got here throughout the monitor model whereas researching IEM cleansing vacuums—FIR makes one—and earlier than lengthy, he requested for a demo of the corporate’s in-ears.

Shaping the mixes, Snipes has various Waves choices at his disposal, making use of the corporate’s Primary Source Expander plug-in to cut back stage bleed. Other plugs put to work embrace Waves NLS Buss, NLS Channel, an SSL EQ and the F6 floating-band dynamic EQ, which he singles out as a specific favourite: “That’s a workhorse for me, as a result of it permits me to essentially fine-tune the shaping of the vocal, which is essential. Each artist sounds completely different—they’ll use the identical mic, however tonally you need to form their voice to suit what’s happening, and F6 actually helps me do this.”

While many engineers deep-dive into plug-ins, Snipes tends to choose outboard gear, leaning closely into racked-up 500 Series items like a Burl Audio B1 mic pre; Empirical Labs EL-DS; Electrodyne 511 EQ; WesAudio Hyperion parametric EQ and Mimas FET compressor; Retro Instruments Doublewide II tube compressor; Serpent Send N’ Blend combine/ mix module; and a Rupert Neve Designs 542 tape emulator. While most of that’s utilized to the vocal chain, Burl Audio has one other presence in Monitorworld: “I’m utilizing a Burl Mothership for all my AD/DA conversion of the gear, due to the heat and the transformers on that factor. I can speak about Burl without end—that firm makes some unimaginable gear.

Ready at stageside, it's Travon Snipes.
Ready at stageside, it’s Post Malone monitor engineer, Travon Snipes.

“Also, Maag Audio is one other firm the place I exploit quite a lot of their merchandise, just like the EQ4M. I used to be utilizing it initially on Post’s general combine, however I moved it over to the guitar for normal EQ and coloring, including extra heat and sonic readability to the sound. That piece is sort of a coloring field; you are able to do so many various issues with it, shaping and taking a sound to the following degree.”

Many of these items aren’t usually discovered on the street, as Snipes readily admitted, noting, “I’ve at all times gravitated to these smaller firms and that boutique sound; once I implement one thing, I don’t need to use every little thing that everybody else has. I discovered Hazelrigg Industries by means of a good friend of mine at Sweetwater, Mike Picotte [senior sales engineer and artist relations], who has been an incredible assist. In this business, you need to have an organization and an individual that you would be able to name and say, ‘Hey, I want this tomorrow,’ so shout out to Sweetwater and Mike for his or her help all through the years.”

In the meantime, Snipes himself continues to help Malone, because the Twelve Carat Tour simply began making its means by means of Europe—although it’s not as if the artist and audio staff took it simple because the U.S. leg resulted in November.

“We’ve been busy!” laughed Snipes. “We did the Middle East, had a month off, went to Australia, acquired again, had a day or two residence after which went to do NBA All-Star Weekend. It’s been wonderful—at all times glad to be working!”

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