The Glitch Blog #11 – Festival season!

Le Festival d’été de Québec mainstage – directly after our setup and soundcheck

edIT takes the Jumbotron by storm (to sound guys, every large LED wall is a Jumbotron)

The dust is rising; millions of dollars in sound, video and lighting are being freighted cross-country to the middle of the desert, a young generation is stocking up on tents and tank-tops, and local electronics stores are mysteriously completely sold out of Glow sticks – it can only mean one thing.  Music festival season is in the air!

These past few weeks, we’ve had the honor of leaving our mark on some of the best festivals this summer in the US and Canada:  EDC, Governor’s Ball, Electric Forest, Coachella, Bonnaroo, What the FestivalBadlands, and Le Festival d’été de Québec (FEQ).

Governor’s Ball opened its gates to tens of thousands of fans on Randall Island, New York City.  Here’s a shot from Front of House, sometimes known as “the best sounding seat in the house”, but only when conditions are ideal…as they were here!  Can you hear it?

The Glitch Mob at Governors Ball

The Glitch Mob at Governors Ball

The view from Manhattan Island

Directly backstage of our stage, the view from Randall Island

Tech tip – the more beat up, the better it sounds

Can you guess how many of these speakers are plugged in? (Hint – not all)

Bonnaroo Bonus – we got to set up The Blade backstage during Lauren Hill’s set, killin us softly with sweet melody:

Backstage with Ms Lauren Hill

In case you were wondering about Lauren Hill’s keyboard player…

Ok, take the capacity of Governor’s Ball, Bonnaroo, Electric Forest – add them together, and you’re still…not even close to the turnout at EDC this year.  EDC hosted the biggest stage ever built in North America, with 130,000 attendees…every night.  That’s right, almost 400,000 heads in one weekend at EDC.

Here’s what the biggest stage in North America looks like, and we played it – directly after sunset!

Mainstage EDC

Photo A – Mainstage EDC

Mainstage EDC

Photo B – Zoomed out

Mainstage EDC

Photo C – Ultra zoomed out – imagine this packed with people, 4 hours later

Backside of the Mainstage

Photo D – Backside of the Mainstage

How's it hangin?

Photo E – How’s it hangin?

<Tech Talk:  Delay Towers>

What you see in the picture directly above (Photo E) is known as a Delay Tower.  In photos B and C, you can see more of them – all the towers with speakers hanging away from the main stage.  These allow the sound field to be carried far beyond the reach of the Stage (the “Main System”) – allowing an indefinite, scaleable method of reaching as many ears as physically possible, as consistently as possible while still following the laws of physics.

For reference, our show at EDC had about 60,000 people watching our show.  It’s easy to lose the scope of that number, so if it helps, think of the city of San Francisco – now take 1/11th of its residents, and put them in front of a ginormous stage in the middle of the desert, surrounded by millions of dollars in production.  That was The Glitch Mob’s performance at EDC.

Now, how do you cover 1/11th of a metropolis with full, even sound?  Cramming them in together like it’s 6pm in a Silicon Valley office elevator is a good start, but we’re going to have to do better than that if we want the audience to have an enjoyable sonic experience.

We’ll do what you did for your college house party, times 1000; put most of the money into the main sound system, and distribute multiple smaller sound systems throughout the living room and kitchen – sorry, mainstage dance area – aimed at strategic locations using complex prediction software (ie not just “wingin it”).

Here’s the key part:  The farther “towers” from the stage need to be “delayed”, in order for the music to lock together cohesively and sound like it is from a single source, covering an absurdly long distance and multiple Delay Towers.

In other words, if everything isn’t delayed properly, it will sound like a bad slapback echo effect is playing continuously along with your favorite DJ or band, throughout the entire set, with utterly no regard to rhythmic delay or BPM.

This is because the tower needs to be delayed in milliseconds according to its distance from the main system.  The speed of electricity is slightly slower than the speed of light (983,571,056 feet per second), whereas the speed of sound (also known as Mach 1) is only 1,116 feet per second (varying with temperature and air density).

The electrical signal coming from the DJ’s mixer will potentially the Main system and Delay Towers at the same time, but by the time the sound from the Main System meets with the sound of the Delay Tower, they are out of sync and sound awful.  The solution?  Insert a delay on your Delay Tower signal, so the two match up.

Not only do Delay Towers need to be delayed – every single speaker and cluster with one source of sound needs to be delayed relative to the farthest driver from the crowd (that is still part of the main system – the one hanging directly in front of the stage).

If it seems like a lot of work…it is.  And worth it for good reason – if everything isn’t lined up perfectly, you will have a concert completely inconsistent from one standing point to the next, sounding anywhere from god awful, to merely terrible.  But get your delays locked in and as if by magic (though far from it), the music will sound locked in and consistent, hitting that much harder!

I have a basic tutorial on aligning and tuning sound systems in a previous entry here.

Anyways, if you take nothing else from this portion of Tech Talk, remember this – when done right, the delay tower can often be the best sounding (or at least realistically accessible) area of the show – and you’ll still have room to dance!

If you have the option of being in front of a delay tower, or smashed between a sweaty audience member and a sweatier audience member (and yet, still being too far away from the stage to enjoy the show) I would pick the delay tower – it will likely sound better too!

</Tech Talk>

A bit more EDC, since it’s so damned beautiful:

Calm before the Storm – Chris and Brett

Here's a shot from our stage's perspective, a few hours before our set

Here’s a shot from our stage’s perspective, a few hours before our set

I also found my true calling this year at EDC, with my new job title:  Canned Music Conductor

I also found my true calling this year at EDC, with my new job title: Canned Music Conductor

Our hotel rooms at The Cosmo - pretty nice!

Our hotel rooms at The Cosmo – pretty nice!

The PK Fam at Infocomm - where we unveiled our groundbreaking new line array, Trinity!

The PK Fam at Infocomm – where we unveiled our groundbreaking new line array, Trinity!

Ok, so enough EDC – what else?  

Answer:  Pants

Good God!  The Keebler elf is streaking through JFK Airport!

Good God!  The Keebler elf is streaking through JFK International!

Always need a nice random Airplane shot

The overhead map view of Final Fantasy 7

Dinner with ma and pa

Dinner with the fam bam

Guys look - is that Craig Robinson?

Guys wait – is that Craig Robinson?

Thanks to the staff at What the Festival for taking care of us, and throwing a kickass show!

Thanks to the staff at What the Festival for taking care of us, and throwing a kickass show!

Electric Forest this year could very well be an entry on its own.  Actually, it will be!  There’s no way I could sum up this experience in a few short sentences, especially since I stayed and camped the entire weekend, and had the time of my life!

Le Festival d’été de Québec will be a hard one to top, and for good reason – this monolithic gathering has been in the running for over 40 years, and just keeps getting bigger – last year saw Stevie Wonder, Guns n Roses, and Tiesto headlining – this year it was Lady Gaga, Journey, and Deadmau5 among others.

The Glitch Mob played directly before Deadmau5 – we all had a blast sticking around for his set after our show, the Mob included!  Here was our stage, at the beginning of the day:

Le Festival d’été de Québec mainstage – A clean slate before setup or soundcheck

Here's a shot of FOH from the stage - see me back there?  Of course not, I'm taking this picture.

Here’s a shot of FOH from the stage – see me back there? You would, if you had eyes like a hawk – and I wasn’t up here, taking this picture…

Robert Delong soundchecking - this guy puts on an incredible performance, super multi-instrumentalist!

Robert Delong soundchecking – this guy puts on an incredible performance, super multi-instrumentalist!  That Jumbotron tho

Mighty fine Jumbotron you got there

Mighty fine Jumbotron you got there

This is underneath the mainstage - you could fit a small country under here

Underneath the mainstage, you could fit a small country

Entrance to under the stage

Entrance to under the stage

Secret exit from the stage to the crowd

Secret exit from the stage to the crowd

Ooah takes the big screen

Ooah Jumbotron Takeover Tour

The Glitch Mob

The Glitch Mob gets vaporized

I supremely enjoyed Deadmau5‘s set, he recently dropped his new album While 1<2 which I’ve had on repeat.  The album title refers to programming language, where While 1<2 is a way of expressing “to continuously loop”.

I have limitless respect for artists who like to “do their own thing” rather than getting too caught up in what’s perceived as “hot” these days, and Deadmau5 paves the road with a double-album full of piano breaks and cerebral dance vibes.

I highly recommend checking it out; these days, you simply can’t beat 24 high-quality tracks for only $13 on Beatport.

Deadmau5 from the front

Deadmau5 from FOH

Deadmau5 from the stage

Deadmau5 setup from the stage, after the show

Stay tuned for a full Electric Forest recap – up next is more festival madness to Lollapalooza and Osheaga, followed by a full run of festivals across Europe!

Looking forward to our triumphant return across the pond – hope to see you there!

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 #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!



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:


(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 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!

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.


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


Photo cred Scotty Delancey –

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!

Over the shoulder shot at The Knitting Factory Boise – photo cred Nicholas Cahill!

Over the shoulder shot at The Knitting Factory Boise - photo cred Nicholas Cahill!

Over the shoulder shot at The Knitting Factory Boise – photo cred Nicholas Cahill!

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

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 #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 #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