ProSound News - December 2008 - (Page 52)

Stone Temple Pilots (continued from page 50) “Sometimes it seems like Scott’s out in front of the PA more than he’s actually on stage—and that’s what keeps it fun.” Eddie Mapp, FOH, Stone Temple Pilots ple know about this, but we like it: the Shure Beta98. Everyone knows it for toms; The Chili Peppers were using it, it sounded incredible and I started doing it for acts like Maroon 5; it works great for SVT amps or cabinets.” Mapp may have mixed to ensure fans were left smiling when the reunion they thought they’d never see was over, but it helped that he was something of a fan, too: “They’re such a great rock band; everything comes off stage and it’s in your face. I love all these songs. It was funny coming into rehearsals—they got to ‘Plush’ and said, ‘Do you need us to go over that song?’ I said ‘I think I’m vaguely familiar with that one.’” oddball effects; the Chandler EMI limiter which is sort of their Abbey Road re-creation limiter; a Crane Song Phoenix on left and right; and a McDSP MC2000 multi-band compressor on Scott’s vocal.” The fact that every musician had his own home recording setup made for easy communication. Mapp explained, “It’s cool because they know what they want, so they can say, ‘Hey, can you do this or that,’ whether it’s some of the same plug-ins or emulations of outboard gear that they use. They already have a good idea where they want to be set, instead of being like some acts that say, ‘Make it brown.’” At the side of the stage, manning a Digidesign Venue D-Show, was Andy Ebert, veteran monitor man of tours with Neil Young, Guns N’ Roses, Mariah Carey, Maroon 5, Red Hot Chili Peppers, Velvet Revolver, Dream Theater and others. While Ebert pumped mixes into Showco SRM wedges and Prism sidefills, most of the band wore Sennheiser G2 personal monitor wireless systems, Ultimate Ears UE-11s and UE-7s. “Scott’s mix is very effects-heavy,” said Ebert, “so I have a lot of plug-ins going. There are Eventide delays, reverb and a ‘telephone voice’ on a few songs. I’m using the Digidesign ReVibe, the TC Electronic reverb Keeping Stone Temple Pilots’ sound flying high were (clockwise, from top): Paul Tobey, monitor assistant; Jim Ragus, system engineer; Dan Lennon, PA tech; Andy Ebert, monitor engineer; and Eddie Mapp, FOH engineer. Clair www.clairglobal.com vitalstats Stone Temple Pilots Clair FOH Engineer: Eddie Mapp and I just bought the Rane/Serato Dynamic EQ, which gets rid of cymbal noises in the vocal mic—that helps a lot. On kick drum and snare, and bass, I’m using the Crane Song Phoenix plug-in, which brings all the analog crispiness back in, especially on the snare.” When it comes to hard rock, guitar miking is key, and STP’s Marshalls were captured through Heil Sound PR 40s, which Ebert fond- ly referred to as, “these beauties. They’re incredible—the low end is tight and they have brilliant high ends. We used them on Velvet Revolver the whole last tour on all guitars, bass, even the kick drum.” Meanwhile, a Sennheiser 409 was placed on a Vox amp next to the Marshalls. “It’s all the same signal but the Vox is clean; that’s how he gets that ‘chimey sound’ through the middle of it all,” Ebert confided. Drum miking for the journey found some of the usual players—Sennheiser E901 and 902 mics on the kick, Shure SM57 on snare bottom, AKG 414, and Neumann U87 and KM184s—but there was also an unusual approach to gating. Mapp enthused, “Big Mick from Metallica turned me on to using triggers to open up the side chains of our gates. There’s a little Pintech RS-5 trigger that sticks on the shell; you send the output of that to a channel and assign that to the side chain in your gate. I have all my channels delayed a millisecond, 2 or 4, because we end up delaying the PA back to the audio, but I don’t delay the triggers—so it actually opens up right before the actual hit. You get the full transient, the high end’s better and you don’t have adjacent drums opening up. Dynamic for the threshold is way back where it normally is.” Ebert had his own secret weapon for miking the bass, explaining, “Not too many peo- Monitor Engineer: Andy Ebert Monitor Tech: Paul Tobey System Engineer: Jim Ragus PA Tech: Dan Lennon FOH Console: Digidesign Venue D-Show Profile Monitor Console: Digidesign Venue D-Show; Behringer House Speakers: Clair Showco Prism Monitor Speakers: Clair Showco SRM, Prism Personal Monitors: Sennheiser G2; Ultimate Ears UE-11, UE-7 FOH Equipment: Clair (Dolby Lake) I/O; SPL Transient Designer; Sabine Feedback Eliminator; Digidesign Pro Tools FOH Plug-Ins: Chandler Ltd EMI TG 12413 Abbey Road limiter; Crane Song Phoenix; McDSP MC2000; Eventide; URS; Digidesign Smack Monitors Plug-Ins: Digidesign ReVibe; TC Electronic; Rane/Serato Dynamic EQ; Crane Song Phoenix; Eventide Microphones: Sennheiser 409, E901, E902; Neumann U87, KM184; AKG 414; Heil Sound PR 40; Shure SM57, Beta98 52 prosoundnews.com December 2008 http://www.clairglobal.com http://www.westone.com/music http://www.prosoundnews.com

Table of Contents Feed for the Digital Edition of ProSound News - December 2008

ProSound News - December 2008 Sound Business Contents Hank’s Best Yet Sound Recording Studio Showcase: Great City Productions Software Tech Tracks Sessions Anticipating Post’s Future Post Showcase: Eargasm HD Audio Post The Business of Being Creative Sound Innovations: VRsonics VibeStudio Spatial Design Suites Field Reports: Product Profiles Yes We Can Hear Obama Live Sound Showcase: Stone Temple Pilots Centerstage Soundcheck Sound People View From the Top Product Spotlight Classifieds Advertiser Index Company Index Music, etc

ProSound News - December 2008

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