The Glitch Blog #10 – Prague, Brussels, Berlin, Paris, Europe pt. 2!

An untouched blanket of snow shields the ground below, a layer of armor protecting the purity of what lies beneath...

An untouched blanket of snow shields the ground below, a layer of armor when purity sings…

...until the sky bursts loose, covalent barriers melt away, and scatter like ice from our unclipped wings

…until the sky bursts loose, covalent barriers break truce, and scatter like ice from unclipped wings

One thing they don’t teach you at Sound School (and yes there is such a thing, I graduated from Ex’pression College), is just how much flying and driving you will be doing on tour…and best practices to keep yourself entertained and out of trouble!  Here are a few things I keep busy with to make best use of the free time…

  • Write music on my laptop, using Ableton, my QuNeo and a plethora of plugins.  This is a great way to hammer out ideas without being too critical of your mix right off the bat, it’s always best to work in stages!
  • Reading a book, Non-Fiction during the day (Think and Grow Rich, The 4-hour Work Week, and Blink have changed me for the better)
  • Reading a book, Fiction before bed (Fiction helps to sleep, fuels creativity, and is generally better than a video game for releasing tension, as video games are inherently designed to push-pull tension) – (Game of Thrones, Sandman/anything by Neil Gaiman, Otherland and The Dark Tower are some favorites)
  • Writing this blog!  Keeping a blog is a good way of keeping your sanity, and having some way to remember the times that are flying by faster than the speed of sound…
  • Playing video games on my laptop (I’m a huge fan of the Elder Scrolls games, Mass Effect, Final Fantasy series, A Virus Named Tom which is a fun game I composed the music for)
  • Playing video games on my phone (Android phones, and crafty iPhone users, can download emulators for Genesis, Super NES, and Playstation, so you can replay your entire childhood library!  There are also tons of games on the market…)
  • Jam with other crew members, and exchange tracks to collaborate on
  • Discuss production techniques with crew/band members
  • Eat delicious food

If you have any to add, feel free to comment in the section below! We last left off somewhere near Vienna, Europe:

Loving the graffiti artwork of this city

Canals of Vienna – loving the graffiti murals in this city, politicians probably disagree

Our show in Hamburg was in a venue (Uebel & Gefärhlich), a converted military bunker:

the real deal

The leaning tower of concrete

lower half

Upon arriving and finding the main doors locked, we proceeded to find the nearest open door and climb a few flights of stairs (that became roughly 16 flights of stairs) to the back door:



Naturally, the doors at the top were locked also…once we’re finally in though, the view from up top is quite stunning:

Hamburg, Germany

Hamburg, Germany

Soon after, we played at Centralstation in Darmstadt:

The Glitch Mob in Darmstadt, Germany

The Glitch Mob in Darmstadt, Germany


The Central Station of Centralstation

I would especially like to thank one of my new favorite clubs, Roxy, for taking care of us and providing an amazing club atmosphere.  Although we did have to carry the love of our life Kim up and down multiple flights of stairs (see previous entry), it was all worth it to be part of the architecture that has been around longer than any of us have been hogging oxygen.

Roxy is in Prague, capital of Czech Republic and home to some of the best Drum & Bass I’ve experienced. One of my favorite record labels, Hospital Records, who represent favorites Netsky and High Contrast, have thrown many shows there in the past…and it’s in an absolutely gorgeous area of the city:

tiny wings

tiny wings

Can you see what this sculpture is from this angle?

Can you see what this sculpture is from this angle?



Roxy – backstage

This building has existed nearly 300 years

This building has existed nearly 300 years

They found my kryptonite - green tea!

They found my kryptonite – green tea!

This was the backstage artist area, AKA the Greenroom

This was the backstage artist area, AKA the Greenroom

How many genres can you pick out?

How many genres can you pick out?

The calm

FOH mixing board is the big glowy one

Our hotel rooms were:

You fancy, huh?

O you fancy huh?


Moment of reflection

It was with some sadness I had to leave, as it was great to see a place still thriving with Drum & Bass.  I will be back soon, and vow to play Roxy personally! For any venues I forgot to mention – thank you!  Everyone took good care of us, and made us feel welcome in their home, I managed to forge a lasting connection with nearly every sound engineer who helped us out…

<Tech Talk>

One rather large thing to remember, for all touring engineers…remember that when you are working with an engineer at their home venue, you are working in their house…which is to say, be respectful and always remember they know the venue 100x better than you do. This is not an approximate number…they have probably mixed the venue at least 100 times, to your 1 time.  They know how the room resonates, where the system bites, and where it doesn’t…all things you will need to learn within the next 8 hours, if you want your mix to sound good!

Treat the house engineer with respect, and as your trusted ears, and they will generally be all the help you need.  Treat them otherwise, and, well…good luck.  I’m sure most of us touring engineers have been house engineers at some point or another.  We all remember what is was like.  Be cool, and the favor will be returned!

</Tech Talk>

On a lighter note, here’s some candy – specifically chocolate:



Cute local pug:

Definitely not a tourist

Definitely not a tourist

Of course, no trip would be complete without restocking the essentials:

Finally, a candy store everyone is on-board for!

The Glitch Snack

This is our collective luggage; far, far more than should ever need to be kept track of:

and that's not even all of it...

and that’s not even all of it…

Ever heard the term "living out of your suitcase"?

Ever heard the term “living out of your suitcase”?

THE trip

Another day, another destination

Another day, another destination

This is how you sleep on your side with no choice but to use floppy, 2-dimensional pillows

This is how you sleep on your side with no choice but to use floppy, 2-dimensional pillows

Featured at a local pub, the new Bose line array

Featured at a local pub, the new Bose line array

We played some fantastic festivals in France:

A shipyard - crazy location for a festival, but totally works!

A shipyard – crazy location for a festival, but totally works!







And the crowd goes

And the crowd goes

This is how everyone looks...

This is how everyone looks…

Until you tell them you're snapping a photo

Until you tell them you’re snapping a photo

More graffiti featuring some of my favorite video game characters

Graffiti featuring some of my favorite video game characters

Thanks France - you know how we get down!

Thanks France – you know how we get down!

La Machine, where we played in Paris

La Machine, where we played in Paris

Paris -> London

Paris -> London

London at HMV Forum

London at HMV Forum

Rooftop view in London

Rooftop view in London

One of my favorite shows, played in London at HMV Forum

One of my favorite shows, played in London at HMV Forum

Our final show of the run, in France

Our final show of the run, in France

I believe this is French framework

I believe this to be French framework

We’ve reached our final destination, the train station we left from on our last day in Europe.  The trip has left us battered and bruised, yet happy and hopeful for future stops, sustained by the opportunity to share the music and positivity that drive The Glitch Mob’s Love Death Immortality tour, world-wide and to your doorstep!

For the closing sentence archiving our first trip as a team to Europe (and employing futuristic technology to stay frozen in time indefinitely), I leave you in a panorama of Somewhere Beautiful, France.

Somewhere, France

Somewhere Beautiful, France

Au revior! Sig5 Ian Hicks – FOH

The Glitch Blog #9 – Euro!

Ok, so this entry is way overdue!  We completed the first Euro tour last week and I’m lucky to have a bit of downtime today to finally log it while still fresh!  This entry could easily become a photo dump; there was an infinite amount of stuff to see and these days I always have my trusty Phomera at my side.

Enjoying some legit Currywurst with the boys!  As seen on the official Glitch Mob Food Blog - The Glitch Nom

Enjoying some late-night Currywurst with the boys edIT, Ooah and Chris! As seen on the official Glitch Mob Food Blog – The Glitch Nom

Where to begin?  After a quick layover in France, we touched down in Vienna for our first show the following day.  It was a Sunday, and although I brought a handy US -> Euro power converter, I needed one with 3 prongs for my Macbook charger.  Easy, right?  Nope, it’s Sunday!

Euro travel tip – it’s Sunday, EVERYTHING is closed.  Ok, not quite everything…if you’re looking for a bite to eat, or a hotel to sleep, you’re probably all right.  If you’re looking to buy, hypothetically, a power converter, or toothpaste, or a sweater, you’re probably out of luck.  It must be nice though – a day every week to unwind and truly spend with the fam, friends, and leave the wallet on your dresser at home.

Or hotel room - if that's your thing?

Or hotel room – if that’s your thing?

The responsibilities of a FOH engineer touring locally versus in another country are a bit different.  For starters, I wasn’t traveling with any sound equipment…no speakers, no subs, no console.  The only weapon in my arsenal was my laptop, which does aid in tuning the PA, though for that I rely on my ears and some well-loved tracks more than anything (I don’t recommend tuning a sound system to music you don’t like.  It can only end badly.  Love the music and the system will shine through!).

We did have a road case with In-Ear-Monitors for the band, which keeps things consistent for our boys The Glitch Mob.  Monitors are, arguably, the most crucial element of a live show; if the band can’t hear themselves and coordinate, there is no structure and there is no show.

For about half this run, I was controlling Monitors from Front of House, as well as the house mix.  For those of you new to the game, Front of House (FOH, aka my job) controls what the audience hears – monitors are the means for the performing artists to hear what they, and their bandmates, are playing.  Each band member often has a different “mix” of the show tailored to their specific needs and parts.

Typical FOH Point of View

Typical FOH Point of View – this was at one of our festivals in France

In our case, Ableton automates each mix individually based on at what point we are in the set.  Really amazing stuff, big props to Nerdmatics and [namethemachine] for a killer rig!  She is also known as Kim…

This is Kim.

"Lil" Kim

“Lil” Kim

She’s about 600 pounds.



She’s also the “brain” of our entire show, processing and distributing every bit of information The Blade throws at her.

Kim...I am your father

Kim…I am your father


She absolutely, positively, most definitely can not be flipped on her side or head, even for a second, ever.  Wheels down is a must at all times.  This made for a very interesting couple Euro shows where there was no elevator, and only stairs, to reach the stage, where she lives nightly.  Over the course of this leg, she was carried down, and then later up, multiple flights of stairs – probably over a hundred in total.  This is quite a task for our crew (5 total for Europe, about half the size of our US crew), but we have a lot to thank the local stagehands for!  Namely, carrying and/or helping to carry our gear.

Here’s a cheers to local stagehands everywhere, especially the ones breaking sweat and busting ace; the under-appreciated and unsung heroes, without whom the world would never see a large-scale concert in full production.  We do appreciate you!  More specifically, our backs appreciate you.  Trust me – before touring, while learning the ropes in San Francisco, I was the house engineer for many venues, and worked with touring acts all the time, hauling their heavy-ass gear from point A to B and then back again. Always remember to show some love, because it’s hard work!

All this talk of Europe and I haven’t even gotten to the first show: a well-known venue in Vienna called Flex.  One interesting characteristic is it’s built right next to a canal that runs through the heart of the city.  You don’t want to take your eyes off any rolling road cases, or you might be fishing your show out of the river.  If you ever see our monitor engineer Goose Dyrrg, ask him about fishing an amp rack out of a river (on a previous tour).

The show at Flex was amazing.  Our first of the run and it was ultra sold-out; I’m pretty sure all of the shows on the run sold out, actually.  From what I saw throughout the run, crowds in Europe are very vocal about singing along to the songs – even when there are no words!  To them, a melody is a melody, whether it’s a vocal or synth.  For the most part, their claps were locked into time as well – when the PA was loud enough to overpower them, which it sometimes wasn’t, as they have a 100dB limit on most countries in Europe – it’s the law, fun!  More on that later…

This was taken in Switzerland, not Vienna - but this was a common sign posted nearly everywhere, and who do you think it was directed toward?

This was taken in Switzerland, not Vienna – but this was a common sign posted nearly everywhere, and who do you think it was directed toward?

We even got to patch into their Video Wall, allowing fans to enjoy custom video content not possible on many of the other nights!

Not traveling with sound does carry the advantage of a light pack.  We also weren’t traveling with any lights or video walls – our truck pack was basically just merch and backline (the stage setup/instruments), and of course the lovely Kim.

Thus, our “tour bus” for the Euro run consisted of two Sprinter vans driven by our new friends Matthias and Ollie, representing Captured Live in Germany.  One van drove the gear.  The other van drove everyone, including the band – 9 seats, fully occupied by 18 cheeks.  Everyone got along well, and there was power outlets, which is to me the ultimate game-changer for travel, allowing us to work on music ’round the clock!  I have some great stuff in store, keep an eye on my Soundcloud for upcoming releases!


Captured Live!  Great guys!

Captured Live! Great guys!

The View

The View

It was a nice way to see the countryside, though many of the shows were fly-dates and most of the time in the Sprinter was spent sleeping (except our Tour Manager Justin, who even while he slept was still on his laptop advancing shows).



Looks like I will complete the remaining Euro entries in installments – episodes?  If I’d had the time, energy, presence of mind, and WiFi (working, not merely “connected” without actually loading anything – #europroblems) this could have been the entry I made just a few days into the Europe tour.  Expect an update within the next few days with many more pictures, good times, and tales of travel!

Make a wish - see you soon!

See you soon, til then – make a wish!

Ian Hicks – FOH

The Glitch Blog #5 – Coachella

Coachella lived up to every expectation I hoped it would – great performance, huge energy, massive sound, fanatic crowd!  Coachella is one of the world’s biggest music festivals, located near Palm Springs in LA, hosting 200,000 fans and over 180 bands/DJ’s over two weekends.  This year we’re enjoying the sounds of Skrillex, Outkast, Pharrell, Arcade Fire, Netsky (one of my favorite producers), and of course your friends The Glitch Mob!  Those of you who caught their set at the Sahara tent witnessed a piece of history in the making – their full stage setup, The Blade, just after sunset, unsheathed and cutting straight to the heart of why we are all there – to dance with friends and be moved by the energy emanating in waves from the stage.

FOH Perspective

Feel the energy yet?  No?  You will soon!  This pic is from setup, 10 hours before our show

The Sahara Tent holds, aside from about 30,000 people (12,000 if the Fire Marshal asks), special meaning; last year’s Coachella showed my girlfriend and me an amazing time as we camped with good friends and spent the next 3 days dancing in Sahara, where Leannah taught me to shuffle to the beats of Wolfgang Gartner, Benny Benassi, Hardwell and countless others.  I was blown away by the sound and hoped I’d be able to one day drive the system, and perform onstage as Anoctave.  This weekend makes 1 for 2, next year’s goal is to invert my perspective from FOH!

Pictured left:  A farmer's tan, further contrasted by Leannah's non-farmer's tan

Pictured left: The elusive Farmer’s Tan, contrasting brilliantly with Leannah’s non-Farmer’s Tan

I’m finding the best thing that can be done for your career and life is to focus on a goal, allowing it to shape and guide every action of your day, and seek a path in every opportunity that presents itself – techniques I learned from one of my favorite books, Think and Grow Rich, as recommended to me by Steve Nalepa who has helped to shape this tour in many indirect (?) ways.  I owe much to him, The Glitch Mob, and especially PK Sound (thanks Ari!) in helping me to where I am today. In reality, I would be lost in life without the light of so many great inspirations, shedding a path before me.

<Tech Talk>

This first weekend of Coachella was especially momentous for The Glitch Mob and Crew, as it was proof-of-concept that The Blade could be used effectively for large festivals, meaning they are able to put on a full-scale production and performance, as opposed to being limited to a DJ set (which is generally a necessity due to time constraints of moving a large set).

Artists typically have 15-20 minutes after the performer before them finishes their set, to move the entire setup onto the stage simultaneously with the previous set being removed.  During this period of time the sound engineer plays house music (though not always House music) providing an opportunity for artists to setup, while keeping the energy up for the crowd as dance-music shows tend to be lost in silence.

They look like earmuffs, but - alas - they are headphones

Is that an earmuff?  Nope – just the only working side of some recently-busted headphones

While 20 minutes may seem a long time to transition – and in the case of DJ’s who are sharing a similar setup it generally doesn’t take that long – moving an entire set as complex as The Blade, followed by re-checking all the lines, lights, and gizmos that make it tick so that the audience and band have a seamless experience, is a complicated undertaking that can take on many forms.  It isn’t the process of a single person or even a small team, but a series of teams working together in harmony.  Rat Sound provided the sound system for our tent (and indeed, all of Coachella), and did a great job contributing their speed and professionalism to our combined efforts.  I had the opportunity of chatting with Dave Rat, owner of Rat Sound and FOH for one of my favorite bands Red Hot Chili Peppers, and expressed my appreciation for providing a solid system and team (as well as inspiring me to start this Log of Rhythm after reading his blog Roadies in the Midst, legendary to roadies of all shapes and sizes).

</Tech Talk>

This is great news for all you Glitch Mob fans, as it means we will be able to bring the full TGM Experience to festivals around the world!  We are playing many of the major festivals coming up this year, including Lollapalooza, Governor’s Ball, Bonnaroo, Osheaga, and Electric Forest –  and though it has yet to be determined how many will accommodate our full setup, the speed and accuracy this weekend was executed with adds even more of a driving force behind our tour.  And of course, you can catch The Blade at any of our headlining shows this year, we will be playing all across the US and you can see the full tour schedule on The Glitch Mob’s website…if we’re not playing in your town, don’t despair!  We have more shows in the works, details of which will be soon revealed.

I think that’s it for this entry, I will leave you with a Family Photo of the Mob taken with their fans at the end of their set in the Sahara Tent – see me at FOH, way back there in the distance?  No?  Take a closer look, you may have to zoom in about 400%, I am the tiny pixel in the middle of the tech tent with a huge grin on my face, wearing a black Cabbie cap and half a set of headphones.

The Glitch Mob at Coachella Week 1

The Glitch Mob at Coachella Week 1

Next up, Coachella weekend 2.0!

Ian Hicks – FOH

The Glitch Blog #4 – Completing the First Chapter

Capping off our first leg of the tour, last night in Austin was possibly the most electrified show yet!  Penthouse Penthouse, Ana Sia, and Glitch Mob all played dynamic and seemingly effortless sets, while technical execution behind the scenes went exactly as planned (see: Transparent).  A telling sign of a good performer is for the crowd to be moved without being able to explain why (see:  Sunset).  A telling sign of a good production team, be it sound, lighting, video or otherwise – is for the audience to never even know they are there (see: Ninja).

From the first note of the night, the crowd was hit with a flurry of 8-bit and bit-crushed melodies, cascading through a waterfall of arpeggios, initially ushered through the speakers by Penthouse Penthouse (of Team Supreme) who have supported us as openers throughout the tour.  Team Supreme are proteges of Producer-turned-teacher Steve Nalepa of Dubspot; one of The Glitch Mob’s first ever songs was a remix of Nalepa’s “Monday”, adding steam to the theory of band manager Kev Wolff that “It All Lends Itself.”

Penthouse Penthouse perfectly sets the scene for Ana Sia, crate-digging legend of the LA Beat scene, to ignite the dancefloor with her own electric spin.  As a DJ who knows her music A side to B, one song leads smoothly into another, the steady pulse of beats and bass breaking just long enough for the audience to catch their second, third, and fifth wind.

Ana Sia on decks

Ana Sia on decks


The combined force of two consistently solid openers creates the perfect storm for The Glitch Mob to blow open the floodgates, letting loose a maelstrom of melody.  This last show in particular – with a hyped crowd and spotless performance – was a great way to close out the first run of the tour to a sold-out room, with well over 2,000 fans lighting up the night.  Our first stretch as a team – and the first time TGM has played live in nearly 4 years – has served as a testing ground for The Blade, (pictured below), and the many elements that power it.


Our next run navigates us through a winding landscape of music festivals, each with their own quirks, some tossing slow-balls and others aiming to throw a rock in the machine.  However, by sorting through the spontaneous technical challenges in these first few weeks – refining, rethinking and even overhauling our methods, we are all growing more honed in sharpening our skills and – collectively – The Blade.

While we’re only a month or so into the tour, the scope of the new things I’ve learned is hard to put into words.  The music I produce as Anoctave (if you’re interested, my Soundcloud) has already adapted, from seeing up-close how masters of the craft apply song structure, balancing different instruments and their roles in the song, while maintaining a moving and cohesive experience throughout a performance that many will retain for a lifetime.

Next up – Ultra Music Festival in Miami, followed by Coachella, Electric Forest, and many dates in between.  Aside from festivals, we will be playing venues the West Coast and Midwest, so if you’re near LA or San Francisco be sure to see it for yourself!  I’m especially looking forward to The Warfield where I’ve enjoyed life-changing performances from Amon Tobin and Skrillex, one of my absolute favorite venues in my hometown of SF!

If you have any comments/pictures to post please feel free to send – I will continue to update this blog with our next leg (starting with Coachella) and my time on the road.  Hope to see you soon!

Ian Hicks – FOH

The Glitch Blog #3 – Buku Festival

Ah, Buku – our first music festival as a team, and we are headlining our stage.  Buku takes place in beautiful New Orleans, home to a profusion of culture and Cajun food (coincidentally, two of my favorite things) – and of course the hometown of Ooah, where he first picked up the drum sticks that would roll him into the world of music and producing.


Producer’s Corner:  Today I learned that, when producing music (and bass-driven music in particular) you need to be mindful of the sort of sound systems you plan on performing through.  For example, in the early years of your career, it’s a little tricky to successfully perform songs that focus on “deep bass”, such as 30-40hz.

When translated to the key of a song, this would be somewhere between a (very) low C and E.  Part of the reason is because smaller clubs with a capacity of, say, less than 800 people, typically don’t invest in Subwoofers that go much below 40 or 50hz, so they will be missing a large element of your song.  Until recently, it didn’t make much sense to do so, for a simple reason – typical instruments used by bands don’t go below 40 hz, which is an open low E string on a bass guitar.

It was long thought – and taught to me in school – that there isn’t musical information below 50hz, which is considered by some as merely “Sub-bass”.  This is indicative of the old-school mindset that dominated the industry before electronic dance music came to overshadow traditional bands, clearly illustrated by the many EDM (Electronic Dance Music) festivals that pull hundreds of thousands of fans in a single weekend, something the live industry (though I love it dearly) doesn’t succeed in outperforming.

What I’m getting at is there is musical information all the way down to the lowest note in the human hearing range – although it may be harder for our ears to discern slight frequency deviations at those low notes, and that it’s important to keep mind that every frequency in the entire sound spectrum relates to a musical key, and that if you’re writing a song in C – while you should try to have some presence at 30hz, the fundamental frequency C corresponds with – you will be best off focusing on its next octave, 60hz, when playing on sound systems in smaller rooms.  Just something to keep in mind (and I try to take my own advice) when writing your next banger!

PK CX800's we tour with - ultra-low frequency response!

PK CX800’s we tour with – ultra-low frequency response!

</Producer’s Corner>

Back to Buku, where we start our morning with the shuttle arriving nearly 30 minutes late to pick up the crew from the hotel.  By the time we arrive to the scene our Semi truck waits idly, still fat and loaded to the brim with an entire production’s worth of video, lighting, and sound, beckoning us to lighten its load.

It’s easy to imagine that headlining would permit an extended period of time for setup and soundcheck; to the contrary, this has to be our fastest setup yet with a total of 4 hours between load-in and cutoff.  With the entire set to bring in and ensure everything is checked and ready to roll, it’s worth noting there really is no “holding doors” for a music festival with thousands of fans foaming at the mouth to hit the multiple stages these grounds have to offer.

Fortunately the crew – seasoned professionals who are all too familiar with the importance of keeping a cool head under pressure – works together in getting the stage set with our entire production, cutting our setup time nearly in half.  It is, for me personally, an easier setup than usual – with no option of bringing my PK CX800 subs to the stage, I am mixing on a D&B rig today.  I perform a quick phase test to make sure the system is properly aligned, and to my relief I find the production company has done a good job of setting the table.

Though a “flat” sound system – one that produces an even and full frequency response across the entire human hearing range, flat with respect to the output signal matching the input signal – will sound good with virtually any type of well-produced music, tuning a system for The Glitch Mob calls for minor system adjustments that lend to their signature sound.

<Tech Talk>

Theoretically, a perfect sound system will accurately reproduce the material that is sent to it; every dB of every frequency being transmitted and evenly spread throughout the room.  However in “the real world”, where artists and techs are typically forced to operate, much like a penguin wanting to fly, we are striving to achieve a goal that is in a sense impossible to fully realize due to the laws of physics/acoustics…though that is actually part of the fun, like assembling a puzzle as close to completion as possible, while understanding that you are – and always will be – a few pieces short.  As time passes and techniques improve those pieces become less noticeable, like a blue tile missing from a puzzle of the Pacific Ocean.

Puzzle - Fingering Zen

Puzzle – Fingering Zen

Throughout the conversion process, from the sound the instrument produces acoustically, to the microphone that transmits its vibrations into electrical energy into the mixing console to be converted into a Digital signal, then out of the console and converted back into the Analog world, then sent to the sound system processors, which do yet another digital-to-analog conversion before sending the sound to the speakers, which finally convert the electrical energy back into acoustic energy into the real world (head spinning yet?) – there are bound to be minor variances that will “transform” the original signal, intentionally or otherwise, into sounding different than it did at the beginning of its journey.

Furthermore – and here’s the real caveat – any room or outdoor space that the sound system transmits acoustic energy into will “color” the overall sound, as walls and other surfaces (even trees) will reflect certain frequencies back at each other, causing dips and peaks depending on where in the room you are standing.

Try it yourself – next time you are at a concert, walk across the room and pay attention as the tonality of the music changes – even the same Lead instrument can sound completely different 5 feet to the right or left – with bass notes being especially notorious for having a mind of their own!  However in moving around, you can find your own “sweet spot” in the room, and enjoy the show like no other.  Try moving next time you are unhappy with the sound – while a good sound engineer will strive to achieve a mix that is balanced for the overall crowd, there will inevitably be better sounding areas than others.  Happy hunting!

</Tech Talk>

Buku was a massive success, and though the changeover was tight with technical issues rearing their ugly heads – we solved them before the downbeat and were able to kick the show off at the exact moment we were scheduled.  It was our biggest show yet, with multiple rows of video panels lining the hall as the sound of TGM filled the world around us.  For 90 minutes – 15 minutes longer than we were originally scheduled to play, before the festival decided they wanted the full Glitch Mob Experience – an entire hall of thousands were united as one.

Today’s Challenge:  The sound of an empty room, or hall – or whatever listening environment – versus that of a full one, is literally a world of difference.  Fledgling engineers, when put in a position of having to tune a system and make an empty room sound good, often overcompensate and feel the need to cut every offending frequency and boost the weak ones.  Usually, this has done more harm than good as when the room is full and the downbeat hits, the show takes flight in front of thousands, and an overzealous engineer is left with an unnatural and hollow sound.

I have found you are better off doing only minor adjustments to the system, taking mental (or written) note of frequencies that are seriously offensive, and save any major EQing for the show.  In other words, trust the engineers who built the system have done their job – once the room fills up with people (“water-bags”, as my Live Sound instructor fondly refers to them), the sound of the room will even out as the liquid of human insides absorbs most of the major reflections.  Yes, you too are contributing to the sound of the show, and sound engineers and artists alike thank you mightily for being there and contributing to the cause!

To summarize, a few well-placed minor tweaks – along with proper alignments techniques – are way more efficient than drastic EQ cuts and boosts!

Today’s Highlight:  I must say that mixing TGM in the heart of New Orleans, while experiencing the amazing food and culture the city has to offer, takes the award for Today’s Highlight.  I could not be happier or more appreciative to work with such an amazing crew and band, who have the most energetic and supportive fanbase I believe this world has ever seen.

Ian Hicks – FOH

The Glitch Blog #2: Day off in Philadelphia!

Our first day off is in Philadelphia, a few short miles from Independence Hall where the Constitution was signed.  Among other things, I am proud to have learned the proper spelling is Philadelphia, not the Urban Dictionary-esque Philidelphia (I almost found this out the hard way, as WordPress seemingly does not spellcheck blog titles, I would’ve looked a total ass to my East Coast friends – but at least I didn’t try Phillydelphia).

The crew went in their own directions, some in groups and some solo, soaking up the drinks and food and vibe and experiences of the city, others spending their day at rest.  It certainly does serve an admirable view, especially from 19 floors in the air:

Philadelphia, PA

Philadelphia, PA – home of the Cheese Steak

Today’s challenge:  Waking up.  It has been a while since I was so beat!  Sleep is like a good relationship you damn-near forget to appreciate until it’s gone.

Today’s highlight:
  edIT and I went out to lunch, so we could talk about tuning the different sound systems on our tour, and touch base on how things have been going.  I brought my laptop with Ableton into the restaurant so we could go over frequency analyzers, how to best use them in conjunction with our ears and achieve a sound that will translate well through any system.  We crossed a spectrum of production topics, from shaping leads to layers of drums and fuzzy bass distortion, highly informative and relevant stuff I’m already applying to my own music as Anoctave.  If you’re interested in edIT’s production techniques, I recommend checking out his Youtube page where you will find a wealth of information, presented in his own cohesive and comprehensive terms.

Tomorrow we’re back on the bus for a 15 minute drive to the Electric Factory, an actual converted electric factory in Philadelphia, that supports up to 3000 people.  I am especially looking forward to mixing on a VDosc line array with PK Subs, driven by an incredibly dynamic band, one of the best combinations in the world.


Hope to see you there!

Ian Hicks – FOH

The Glitch Blog #1 – First two shows

Wow, so much to summarize in one post!  The days are already flying by, and I would like to keep this blog current, so for the sake of efficiency I will try to .zip these two days into one condensed archive.

Our first show was in Portland, Maine, with the band and crew flights touching down a little over 12 hours before load-in.  A brief round of drinks to reunite the team after our 4-day “vacation” between rehearsals and the actual tour, then the majority of us were lights-out before Midnight.

Our bodies are still reeling from the change in time zones, paired with Daylight Savings stealing an hour of our lives just days prior, but everyone manages to make it in time for our Bus call the next morning.  Our first time seeing the bus, and she is beautifully laid out with condo bunks (!) for the crew, a nice area to chill in front and back, and fully stocked with food and drink requests made days earlier.

Me in my natural element - tightly packed living quarters

Me in my natural element – tightly packed living quarters

After a short ride we arrive at the State Theater, reminiscent of The Warfield in San Francisco, and greeted by a pleasant house crew eager to help unload the semi truck with all our gear, packed from end to end with millions of dollars worth of crucial equipment.  The show went surprisingly well for the first day, with over 1600 fans filling the house with energy.  The stage setup, coined The Blade, has finally been unveiled!  I can’t post pictures yet but would imagine that you, the crafty GM fanbase, can find the show on Youtube – while it may not do full justice to the set, you will definitely feel the energy and warm reception the crowd shared through the night.

The following day at House of Blues in Boston proved to be even more successful, as the entire show went off flawlessly to a packed house.  The venue is beautiful with a seasoned and hard-working crew, a giant standing floor of General Admission tickets, and two levels of mezzanine above.  Once the doors open and the floodgates are released, its vibrancy and acoustics transform from cavernous to tight – all in a matter of minutes.

Boston House of Blues

Boston House of Blues

<Tech Talk>
Part of my job is tuning the sound system, and timing the delay between the subwoofers, sidefills, and mains.  Regardless of how you tune the system, the show will be irreparably imbalanced if it isn’t aligned down to the millisecond, due to the physics of different parts of the sound system combining.  I ensure we are perfectly aligned using phase tools found in SMAART, analyzers in Ableton, pink noise generators and oscillators, and most importantly my ears.

SMAART - not for dummies

SMAART – not for dummies

A quick and effective method is to measure the distance between the subs and mains and use that as a starting point for your delay between speakers.  Then play a sine wave with a frequency of the crossover point through the subs and one side of the PA.  Make sure it is the same relative level coming through both sets of speakers.  The sine wave should last about 100ms and loop every second, with a little “snap” on the front and back end (achieved with a -3 sustain envelope and zero release).

Then flip the subs out of phase and adjust the sub delay time until they are at their quietest.  After that point, when you flip the subs back into phase they will be at their most constructive and powerful; this is a good time to tweak the delay by samples (fractions of milliseconds) until they  match up seamlessly, if you used my recommended envelope they will “snap” simultaneously without sounding like the tone is “stretching”.  It’s vital this value is accurate to the millisecond, as one millisecond can make the difference between a terrible sounding show and a great one, the latter being what you are going for!

</Tech Talk>

Today/Yesterday’s Challenge:  The difference between mixing a band through a compact sound system vs. a line array is considerable, and takes some getting used to.  Fortunately by knowing their songs in and out, the band’s energetic performance, paired with analyzation tools such as RTA mics and SMAART, and my ears, the system was hitting in all the right places, pumping between 105dB and 110dB of A-weighted sound pressure levels (in other words, full-bodied and impactful sound without being uncomfortably loud).

Today/Yesterday’s Highlight:  Mixing the band on an Adamson and then Vertec line array with PK Subs were two of the most fun experiences I’ve had behind a console.  The energetic feedback of the audience as they sang along to songs from an album released just weeks ago, and witnessing the full-scale production The Glitch Mob conveyed a sight and sound brimming with good omens.

Looking forward to a relaxing day off tomorrow!

Ian Hicks – FOH