4/29/2023 0 Comments Massive attaque![]() We ended up stood towards the back as being short, I couldn't see a thing if I was stood in the crowd. I don't disagree with the political messages they used but it was pretty unsophisticated and amateur visual communication considering it's 2019. ![]() The band's performance to me seemed disconnected and in it's own weird little bubble, with patronising political visuals that I thought were pretty out of touch and reminded me of something I would have made in a Year 9 art project. There was only one bar and the queues were also ridiculous, with the most awful range of drinks. The queue to get in the venue was around a mile long, and I imagine those at the back of it didn't get in until halfway through the gig. This gig, on the other hand, was literally one of the worst. Massive Attack are a band I've loved for years and I last saw them at Eden Project in 2018 which I can safely say was one of the best gig experiences I've ever had. Well, it was even worse than my previous memory of it. It was like going to a gig in a really horrible corporate shopping centre. I sometimes offset them just a few ms to create a stereo image, I'll also have different amounts of feedback on L and R returns so that the tails of the delays appear to move across the stereo image.Blimey long answer, hope that was the kind of thing you were interested in.I came here with slight concern at how I was going to cope with the O2, a venue I have been to only once before and hated it. I will always use stereo returns on my delays. These delays and reverbs are fed back to monitor engineer so he can send them to the band and they can feed off/work with what I'm doing with the FX at FOH. Think of love you, "love you, love you" - in the chorus of the same song. The short one pretty much mixed into the background so the vocal sits in the mix and the longer one I either spin in from the aux send or push the return fader to bring out words or syllables. I tend to have a short delay and a longer delay for each song for the vocals.Often 16ths for the short and bar or half bar for the long. Its a bit over the top but when the acoustic snare kicks in on that song for the first time I want it to be a 'moment.' I've seen people duck at shows when they get a slap from the first snare beat.ĭelays: I program from the BPM of the song. For example the snare sound on Angel has a plate reverb with a sans amp inserted to 're-amp' it and make it punchy and dirty and then a mooger fooger flanger to make it shift up and down in frequency slowly so that each hit has a slightly different timbre. I also insert plugins across these returns on occasion. Reverbs: I use Revibe on Drums and vocals I also love the Sonnox Oxford reverb. I also work "old school" and spin them in dub style to maintain spontaneity. I trigger many of the FX automatically from the code. I can then use this workflow to fine tune my snapshots. This means when I run my virtual soundcheck the LTC is recorded as an audio track in Protools. I bring it in to the desk as an audio channel then use direct out top of channel from that channel to the LTC input in the S6L. The whole show runs from LTC which i pick up as an audio stream in my stage box. I use the Avid plugins that come with the desk and also a bunch from Sonnox, McDSP and Flux. i work with plugins within the S6L, It has 200 slots and I can trigger them from snapshots with precision from the code. ![]() one has the scratches from a vinyl record! Some of those sounds are heavily affected. The electronic drummer, plays all the samples triggered from his pads not only percussion sounds. MA have two drummers, one acoustic one mainly electronic. I first worked with MA in 2005 and picked it up again in 2014. Anyway the last gig I did in Brazil was with Coldplay in 2006 in Sao Paulo, I remember it well because it was the time of carnival and I had a fantastic night out there. Every touring engineer knows how hard it is to balance touring/family life. I worked full time for Avid, got back in to playing myself and spent a bit more time with my family. I actually had a break from touring between 20. There's nothing I like better than talking to my peer group about all things live sound, whether its the back lounge of a bus, in a seminar or in virtual lounge like this. ![]()
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