FOH TECH TERENCE HULKES & ENGINEER ANTONY KING AT AN SSL L500 PLUS
L-ACOUSTICS K1 & K2 MAIN PA
36 • PROFESSIONAL SOUND
the bass. Also on the bass is Warm Audio’s
EPQ-WA, a Pultec-style EQ. For drums, King
has SPL Transient Designer dynamics pro-
cessors on the toms and a Chandler TG1
limiter/compressor on the drum overheads.
And while he obviously loves the fun
of outboard gear, King does use a couple of
UAD plug-ins when there isn’t a suitable an-
alog option. These include the RMX 16, Am-
pex ATR102, and Galaxy Tape Echo. “I’m us-
ing the RMX16 emulation because I’ve tried
to tour with those things and it’s just too
much hassle. They just do not travel well,” he
explains. “But with all the modern replicas of
vintage outboard gear, they work every day.
So why restrict myself when we’ve got two
months of rehearsals and we’ve got time to
really zone in on everything? I mean, Waves
has got the Torque [drum tone shifter] plug-
in, which is kind of fun. There isn’t really an
analog version of those kinds of things. So I
like using plug-ins when there isn’t a robust
hardware version available.”
Up on stage was a full complement of
Beyerdynamic microphones – another new
development for this tour. There was no
mixing and matching; every mic was from
the German manufacturer. For vocals, Gah-
an and Gore both used the TG 1000 digital
handheld wireless transmitters with hyper-
cardioid TG V70w capsules. Gordeno used
the wired version with the dynamic TG V70
capsule. “Dave likes the low end,” says King. “I
mean, a [Shure] SM58 is a classic and I’d use
it again, but there is something in the low
end that really complements Dave’s voice.
He’s a deep, grunty singer, so there’s some-
thing in the Beyer V70 capsule that works
really well for him.”
For drums, there was a Beyerdynamic
D70 and D71 on the kick drums, a D50 on
the top and bottom of the snare, a D58 and
D57 on the rack toms, a D70 on top of the
floor toms and an M88 on the bottom, and
an M160 ribbon mic on the hi-hat. For drum
overheads, there were pairs of MC 840s and
M160s.
King says he’s always been a fan of Bey-
erdynamic mics, particularly the classics, like
the M 88 TG vocal mic and the M160.
“When I was initially considering which
mics to bring out with this tour, I thought,
‘Let’s call Beyerdynamic and see if they’re
interested in doing the whole thing with
us.’ I called Bernd [Neubauer, application
engineer and artist relations manager at