Denver marks the beginning of the second leg of our tour, post-Coachella and pre-Europe, spanning most of the West Coast (the band posted a free mix of West Coast Rocks, featured in their live set and one of my favorite tracks!). The next couple weeks see us through Denver, Seattle, Boise, Vancouver, Portland and Eugene, Reno, LA and my home city – San Francisco!
Colorado is home to the legendary Red Rocks Amphitheatre and a myriad of famous musicians, notably Earth Wind & Fire, Pretty Lights, and Big Gigantic. It’s also the hometown of our Tour Manager Justin (who you may remember barely escaping the Jumbonaut of ‘Chella); he used to work at The Fillmore so I bet it’s somewhat of a homecoming.
Passing through a hub of talent is always inspiring; this show is particularly significant to me because our mixing console has been upgraded, allowing for additional channel inputs (meaning more control over the house mix, and a better mix for the audience) and this marks the first day of its integration!
Digico boards are known for having a very clean sound, stability and ease of navigation. We’re now traveling with the Digico SD9 for FOH, and the Digico SD11 for Monitors. From their setup onstage, edIT and the guys are sending me stems of their individual instruments, as well as different elements of the track (kick, snare, bass, etc.) to give more control over the sound coming through the speakers. This allows for a more balanced end-result, and a more impactful feeling for fans.
The FOH (or Front-of-House) console is used by the FOH engineer to control and balance the overall mix coming from the band, and distributing it through the speakers that are directed toward the audience. The monitor board, run by our engineer Mike aka “Goose Dyrrg” (say the word “Dog” but pitch shift the ending down like stopping a record player), controls the levels of what the band hears onstage, as well as the blend of vocal mics and music in their In-Ear-Monitors. You may have also seen Goose Dyrrg onstage during a show, changing out drums while The Glitch Mob rocks out.
Photo cred to Nick Cahill for the shot above, this guy takes some of the most amazing photos I’ve seen! He’s on Instagram, if your eyes are into candy.
If you’ve ever been to a show that sounds “bad”, it can’t always be attributed directly to the FOH engineer as there are dozens of variables that contribute to the sound of a show. Some include PA placement, tuning, source material coming from the stage, neighborhood noise restrictions, standing in a certain place of the room where the PA doesn’t cover, guitar and bass players with their amps turned up to 11, act of God, etc.
Lucky for me, the ultra well-produced stems of The Glitch Mob have no problem resonating this room from top to bottom, emanating good vibes and an even spread of frequencies. Both nights went off without a hitch and I couldn’t be more appreciative of working with a great crew! Admittedly, a flawless show doesn’t make for the most enthralling story, but in this case I’ll gladly make the trade.
Speaking of the crew, I did want to go a little more into detail of the individual components that make this clock glitch (er–tick). Given your recent enlightenment of the responsibilities of Mike (Goose Dyrrrrg), he is a fitting intro:
Ready to hear Mike’s story?
It begins buried beneath the depths of a snow-covered bunker, in the icy midst of Chicago’s Blizzard of the Century. A fully-bearded baby is born, microphone clenched firmly in fist…
Actually, better to take his bio’s word for it:
Gilt Trip is multi-genre underground bass music persona created by Mike Vonasten and Jessica Weichert. Together they pounded pavement and dance floors in the Chicagoland area, bringing dubstep, drumstep, juke and trap to the elated ears of dance enthusiasts. They quickly gained a reputation for being all killer no filler.
In 2011 they signed onto Bikini Sounds and Floorkiller Records with their first major release, “Feel So High by Danky Cigale and Mykel Mars (Gilt Trip RMX),” which charted on Beatport, Track It Down and Juno. Soon after, they relocated to the beautiful Bay Area to open NO SALAD Studios and NO SALAD Records.
Gilt Trip and NO SALAD Records released their first EP titled “Jaunty By Nature EP” on April 4th, 2013. “Jaunty By Nature EP” is a freestyle multi-genre trip with elements of dubstep, drumstep, trap and juke. With immense amounts of praise by musical critics and fans alike, “Jaunty By Nature EP” went to 17 on the Juno Electronic Charts and continued to be in the top 100 for two weeks.
Gilt Trip is currently finishing up a deep dubstep EP titled “Dubbed Vibrations” and will be releasing singles in support of the EP by mid summer.
Mike is also former FOH for Insane Clown Posse, Monitor engineer for Hank Williams III and Dennis DeYoung. Recently trimmed up to accommodate for the West Coast weather, now sporting only a semi-beard, Mike and his beard remain nonetheless valuable members of the team.
Though I wish I had more time, a quick shout-out will suffice for the other great shows we played this tour. Here are a few choice shots from the past few shows:
Next entry will follow our shows in LA and my favorite venue – The Warfield in San Francisco! Next stop Europe…à bientôt!