The Glitch Blog #8 – The Warfield and Nokia Live (aka West Coast Rocks)!

These last two shows mark the finale of our second US run, in the two cities The Glitch Mob attributes as their starting points:  LA and my hometown of San Francisco.  Needless to say, the anticipation around these two shows has been brewing for quite some time…and in retrospect, far exceeded everything we’d hoped!

Welcome to The Warfield - please pardon my tweaked neck

Welcome to The Warfield – please pardon my tweaked neck but I think this guy understands

The Warfield, a beautiful and eclectic venue with eccentric history dating back to the Roarin’ 20’s.  It opened as the Loews Warfield in 1922, mainly for Vaudeville shows (they saw legends such as Charlie Chaplin and Louis Armstrong).  Later renamed Fox Warfield, during prohibition an underground tunnel ran across Market St. to an underground Speakeasy (later discovered while building passageways for the BART train).  Supposedly most of the alcohol distributed through the city during the dry spell passed through these walls and under these floors around that time.

Back in the day

Circa 1930 — just kidding (Sabbath fans can breathe again)

Despite heavy restrictions on the sale of alcohol (if you weren’t a San Franciscan apparently), SF remained one of the wettest cities in the country.  A network of tunnels are still accessible from the backstage area, though most of it has been walled-off, sealing off all underground access across Market street forever.

The Warfield - Today (?)

The Warfield – Today (?)

Today, it remains an icon of San Francisco, with incredible acoustics and a welcoming host to a constant cycle of legendary artists.  Many of its production crew also work at The Fox Oakland, what you may consider a “sister club”, and The Regency nearby (all venues Skrillex played recently for the SF Takeover Tour, rocking massive subs provided by PK Sound, the same we’re touring with today!)

The Blade - up close and ?

The Blade – up close and shiny

Martin, the set designer and Brett, our LD

Brett, our LD and Martin, our Set/Lighting/Video director, (presumably) deep in their own conversation of Tech Talk

To me, The Warfield tops them all, winning with a great vibe and good sounding room.  Some of my best friends, also music-collaboration buddies, and my girlfriend all made it out to the show, doubling the level of fun in contributing to The Glitch Mob rocking a sold-out show at one of my favorite venues in the middle of one of my favorite cities!

IMG_20140509_123020358

LA

The following night’s show was equally inspiring, as LA is the current hometown of the Mob and the Mob brought a mob of great minds!  Everyone from their management team at Deckstar, the lead designer of their custom Ableton software, their set/lighting/video designer, and even the ever-inspiring Steve Nalepa, who has touched this tour in more ways than he will probably ever know.

We played a sold-out show to Club Nokia, similar to The Warfield only in that it’s very unique, although in completely different ways.  For one, it had a much newer and modern feel, though Nokia clearly has an extensive history of its own, with artist posters stretching wall-to-wall throughout the backstage area.  One challenge I found interesting is the width of the room versus the depth – it’s really quite wide, as you can probably see:

Club Nokia - LA

Club Nokia – LA

<Tech Talk>

Immediately upon starting sound check, and even earlier while tuning the system before the band even hit the stage (more on that some day), I was walking the room and felt a distinct lack of bass in certain areas of the room.  You may recall on this tour we’re traveling with the CX800 subs, which are massively beefy and possess more than enough punch to hit the back of the room.  Though to obtain an even spread of low end through a room, you will need to use a few tricks regardless of what subs you have, especially for challenging rooms.

Bass is omni-directional, meaning it propagates in all different directions regardless of where the “front” is aiming; whereas your tweeters or “high end” (or Treble as your granny maybe calls it) shoot in the specific direction of where they’re aiming.  However, despite the tendency for bass to be omni, when you have enough of them clustered together they form what is known as a “power lane”, which is basically a massive wall of bass that shoots straight ahead, jello-izing organs of bass-hungry fans.

This is great when you have enough subs to form a literal wall from end-to-end, but what about when you only have enough subs to cover the area directly in front of the stage?

This is where having a digital console or nice processor comes in real handy.  By splitting up your sub wall into multiple “zones”, and setting a small delay (very short and precise – think Milliseconds or fractions thereof) on the outer subs, your “wall” becomes an “arc” that will spread more to the outside edges of the room and break free from the confines of a straight line or lane.

Note that you will be sacrificing some of the power in your center lane, but making a system or room sound good is all about sacrficing tactfully, as according to the laws of physics you will never work under the conditions of a perfect sounding system and room – not on this planet and in our lifetime, in any case; best to embrace it and have a little fun!

Okay, so if you want to try it for yourself, let’s say that you have a wall of 16 subs, which will probably look something like this:

Wall of Sound

Whoops sorry, wrong pic!  Let’s try again:

IMG_7863

(16) PK CX800’s – dual-18 direct radiators

Great, so you have your sub wall.  It’s 16 subs total (each loaded with two 18″ drivers), stacked double tall.  Each sub is 4 feet long so your wall is about 32 feet wide.  However, the venue you’re playing tonight is 50 feet wide.  You’re tuning the system and everything sounds fine in the center of the room, but once you’re well outside the 32 foot radius, toward the outer edges of the room you’re missing a lot of low end.

The next step is to split your subs into 2 zones, from your processor or digital console.  The center subs (8 total) will be one zone.  The subs to the outside (4 per side) will be the second zone, connected to each other but independent of the center cluster.

It’s actually pretty easy from here.  Start with about a half-millisecond of delay on the second zone.  Typically between .5 and 1.5 milliseconds of delay will “arc” the throw of your subs and still maintain a cohesive sound before the center starts to collapse.  For a greater degree of control, you can split your subs into more Zones, and gradually increase the delay times as you move farther from the center…try moving in .5 millisecond increments, the best bet is to walk the room a bunch or use a sub-calculator to really lock it in.  You could also create the technique without a digital delay by physically staggering your sub placements, with the outside subs placed behind the inner subs in a “stepping” pattern.

</Tech Talk>

Once the subs were filling the room nicely, the PA felt right throughout the room and we were show ready.  I had a great dinner with Zach from SubPac (really kickass “Bass Vest” that is exactly what it sounds like, it’s responsive down to 5hz and great for producers!) and got back in time to see the Penthouse Penthouse guys have a great set, and the amazing Ana Sia who has another set coming up at Lightning in a Bottle!

The show was incredible.  It’s hard for me to go into more detail as during shows all I’m basically focusing on is dialing in that extra couple percent to really set things over the top.  As Zach put it that night I was pretty deep “in the Matrix” so hopefully some vibe of the excitement that night is translating!  The Mob killed it in front of thousands of their fans and friends, I can’t think of a better way to end our second leg of an increasingly incredible tour.

The following day I had the honor of going to my friend Alluxe‘s birthday party on the beach near Malibu, a breathtaking lookout with a medley of Ableton-heads to match.  I made some new friends including a talented DJ who goes by Codiac (check out his radio show called SUBduction, spinning vinyl every Monday night 6-9p on Sub.fm) and Jordan from DoLab (anyone going to Lightning in a Bottle this year?)!

Here’s a few shots of the view we shared while nerding out for hours on end:

El Matador Beach - LA for A

El Matador Beach – LA

Alluxe's birthday party at El Matador Beach

Alluxe’s birthday party at El Matador Beach

Over the course of this weekend, and the past few shows in particular, I’ve had the opportunity of meeting with some great minds.  They got me thinking…

<Producer’s Corner>

I’ve been seeing a pattern unfold that I wanted to share with producers, in particular those who are in a period of growth.  On your path to success, on a weekly or even daily basis, you will be meeting people who possess the knowledge and ability to further your career.  They may be in management, promoting, booking, labels, or even producers themselves.

If I may offer a suggestion, before trying to push or “sell” your music to them/get booked/get signed etc., simply ask questions and listen closely to what they have to say.   They are going to be much more forthcoming with advice and information to someone who is inquiring and honestly trying to grow and learn, than someone who is looking to get signed and blow up overnight.

It is infinitely more important to the longevity of your career to build genuine relationships with people in higher, equal or lower places than you, than it is to make something happen immediately.

Of course, don’t be afraid to let them know who you are, what you do, and where you’re trying to go.  Convey all these things with confidence and a gleam in your eye and it will speak worlds about your goals and ambition, as well as an encouraging indicator that you are worthy of advice and help.

However, don’t ask for hand-outs.  If you truly have something to offer, at that particular point in time, they will know intuitively.  The urge to be on-par with those in high places is natural for those with any skillset, including music production.  Sometimes when you meet those elevated individuals it’s tempting to “push” for help, and that will be the first thing to scare them off.  If you really want to get ahead in your career, focus on being genuine and engaging, you will quickly start to see the world unfold!

</Producer’s Corner>

That’s about it for this entry, I wanted to part with a picture I shot in my hotel room, that encapsulates pretty well what life on tour is all about…

Life on the road

Life on the road

If this were an “I Spy” game, I would probably try and get you to spot:  A radio for communication during shows, an Audio interface, a bluetooth speaker, two Keith McMillan MIDI controllers, discarded wallet, discarded hat, cloth bag for a 2TB Hard Drive, razor, and package containing a CD with a show recording.  Put them all together, and you get a busy yet happy Producer/Sound Engineer…

Our next leg takes us through Europe!  I will be posting about our Euradventures very soon so keep an eye out, feel free to sign up for my email list at the bottom of the page (“Follow”) if you’d like to stay posted!

Sig5
Ian Hicks – FOH

The Glitch Blog #7 – Double night in Denver

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!

My new-new setup the Digico SD9 (with fellow FOH Warrior Brett, our LD)

FOH Tech-world Left:  My new-new setup of the Digico SD9 – Right: the Hog of my fellow FOH Warrior, Brett our LD

<Tech Talk>

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.

TGM "Rocking Out" - none have successfully photographed Goose Dyrrg as he changes a drum-head, ninja-like

TGM “Rocking Out” – none have successfully photographed Goose Dyrrg as he changes a drum-head, ninja-like

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.

</Tech Talk>

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.

#GlitchCrew

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:

The Goose - or as the French would say, L'oie

L’oie Majestueux  – as the French would say, “The Majestic Goose”

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:

Fearless Ableton tech Christopher, before an unfortunate atomic disassembly by our LD's Death Beams

Fearless Ableton tech Christopher, before an unfortunate atomic disassembly by our LD’s Death Beams

20140429_175442_Richtone(HDR)

Photo cred Scotty Delancey – http://www.instagram.com/scottdelancey

Merch-master Judd rocking the booth in SLC

Merch-master Judd rocking the booth in SLC

...Atomic disassembly by our LD's Death Beams

…Atomic disassembly by our LD’s Death Beams

Dome in Vancouver, I can only imagine this is some sort of escape pod in case of a US invasion?

Dome in Vancouver, I can only imagine this is some sort of escape pod in case of a US invasion?

The Commodore - Vancouver

The Commodore – Vancouver

Such Purple!

Such Purple!

The Glitch Hawk - as prepared by edIT

The Glitch Hawk – as prepared by edIT

Over the shoulder shot at The Knitting Factory Boise - photo cred Nicholas Cahill!  www.instagram.com/nicholascahill

Over the shoulder shot at The Knitting Factory Boise – photo cred Nicholas Cahill! http://www.instagram.com/nicholascahill

Over the shoulder shot at The Knitting Factory Boise - photo cred Nicholas Cahill!  www.instagram.com/nicholascahill

Over the shoulder shot at The Knitting Factory Boise – photo cred Nicholas Cahill! http://www.instagram.com/nicholascahill

Next entry will follow our shows in LA and my favorite venue – The Warfield in San Francisco!  Next stop Europe…à bientôt!

Sig5
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.

TGM_Bandshot2

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!

Sig5
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.

TGM_bandshot

Hope to see you there!

Sig5
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!

Sig5
Ian Hicks – FOH

The Glitch Blog – Prologue

The Glitch Mob’s  upcoming tour for their new album Love Death Immortality is set to start May 11 2014, bussing from Maine to Miami, performing at world-class venues and Buku Music + Art Project before completing the first leg of the run at Ultra Music Festival.  Soon after is a trip clear across the US, stopping along the way for Coachella in CA, Governer’s Ball in NYC and a highly anticipated string of dates in Europe.

We are in the middle of rehearsals, at the historic Red Studios in Hollywood, home to famous video shoots from Michael Jackson to Seinfeld.  Our practice space is a massive warehouse enclosure, padded walls stretching in every direction blanketed with acoustic dampening material, held up by green-screen printed concrete floors, and a lofty wooden catwalk towering in the rafters above.

Red Studios, Hollywod

Red Studios, Hollywood

I am Glitch Mob’s FOH engineer, tuning and mixing their performance through state-of-the-art sound systems – controlling and balancing the overall mix of the band – translating their music into the analog world, for thousands to feel as a wall of sound vibrates the air and energy around us.

Worth noting is that I have admired and aspired to their work for many, many years.

The band members themselves, edIT, Ooah, and Boreta, are each legends in their own regard, known for pioneering the Beat scene in LA during the early 2000’s, putting Glitch on the map and making it a household name.  Despite massive success they’re humbly down to earth, resonating with good vibes and a strong commitment to memorable performances, conveying all that positivity and more to their fans.

They are icons – possessing an inordinate knack for talent, persistance, and patience – touring with a professional and seasoned crew who bring the combined experience of Visuals, Lighting, Ableton programming, Sound, and Management for Skrillex, Sound Tribe, and Deadmau5 to name just a few.

Their stage/set design, coined “The Blade”, will be revealed in more detail on show night.  Wish I could say more but for now I can say it is a beautiful representative of the performance, supporting an engaging show on multiple levels, and makes my job easier: accenting their massive drums (hint) and lead lines to rumble and resonate an auditorium of fanatic fans.

<Tech Talk>
Their Ableton Live rig is a cause for salivation and salvation – this is the Holy Grail of Ableton setups, charting complex paths that would make a NASA-programmer turned Cartologist’s head spin.  Fronted by Ableton pioneers Matt Davis [namethemachine], Chris Legaspi and Fred Carlton, they are pushing live performances to the next level for Bassnectar, Drake, Linkin Park, 30 Seconds to Mars, and now The Glitch Mob.

Nope!  Not the workstation - just her nametag

Nope! Not the full command station – just her nametag

Partial view of the command station

Partial view of the command station

</Tech Talk>

Today’s challenge:  With rehearsals starting at 6pm, and the band running their set until 6am, our sleeping pattern is a tricky one to shift into; though it  does invoke interesting conversations at 4am, when guards are down and spirits are up.  Topics interpreted through a haze of sleep deprivation draw parallels between producing a song and cooking a feast – instruments treated as ingredients, garnishing and spicing the mix with EQ, blended and balanced to fully access the senses.  Comparing succulents to sound systems – crunchy highs, braised bass, limiting your lettuce – form amorphous definitions that vary between infinite meaning, and none at all.

Today’s highlight:  After listening intently to an advance copy of the album for nearly 2 months, ingraining rhythmic patterns, phrase changes and core elements of the song firmly into my psyche, finally being able to mix the band on a proper sound system.  A more compact representation of the line arrays we will soon be playing through, four PK Sound CX800 subs plus two CX215 tops make for a pretty badass rig, especially when all their drivers are emanating dynamic and well-produced music.

As the tour progresses, I will post updates and pictures here to log an incredible year that is sure to fly by, hopefully making history in the process!

Cast & Crew of The Glitch Mob:
edIT – Band Member
Ooah – Band Member
Boreta – Band Member
Ana Sia – Support Act
Penthouse Penthouse – Support Act
Justin – Tour Manager
Harry – Production Manager/Stage Manager
Martin – Show Designer
Brett – Lighting Director
Chris – Ableton Programmer/Tech
Fred – Ableton Programmer
Matt – Ableton Programmer
Drew – Lighting
Scott – Video
Mike – Audio
Judd – Merch
Randy – Master Semi Driver
Kevin – Management
Ian – FOH

Sig5
Ian Hicks