Cubby: I just recently had a system with flying sub bass. It was OK, but I must say I prefer sub bass stacked on the floor, provided it's displayed right and there is some thought given to trying to get rid of the "power alley". This can be done a few different ways. I believe Showco's Prism system, within the drive rack, has corrected the center bass build up. I know of another way of delaying one side of the low bass (in relation) to the other, and sometimes this will help get rid of power alley. I like to feel the energy on the floor, and when I go up on the sides, generally there's good bass. Depending on how much room is left in the mix, you can use the sub bass in the air as an effect. Raul: Can you tell us about your preparation process to mix a new tour/new artist. What is some of your homework process? Cubby: First I get as much of the artists' material, whether it be studio or other tour mixes (such as live videos, television footage), and spend a great deal of time getting familiar with the music. I then find out the play list - all the songs that the artist could possibly use for the tour. Then I hone in on those and determine what effects, dynamics and panning will aid me in putting out the right mix. I also like to spend time with the artist (or artists) during production rehearsals, going over the work tape that I've recorded that day, to make sure that I am heading in the right direction with the philosophy of their music. Pat Scott: Do you miss playing/mixing in small venues or "surprise" local big-city bar jams? Cubby: Yes, I miss the old days of Prince deciding in the middle of the night that he wants to do a club gig. We'd pack up from the tour, grab what we needed, put it in a van and go right to the club. And let me tell ya, as hard as it was to do those things, what Prince would bring to that two-to-three-hour private jam would be incredible. I saw many sunrises while doing the several tours with Prince. Pat Scott: Even on major tours, what were some of your worst promoter nightmares? Cubby: Outdoor stages. Either the load-in to the sound wings were atrocious, making it far harder for the guys to fly the huge speaker arrays, or the front-of-house canopies would leak so badly that we would build tarp roofs within the mix tower. Pat Scott: When going out on tour, do you specify which board you want to work with? Also, do you prefer digital or analog, and why? Cubby: For the past five years I've been very happy with the Amek Recall, and now with the RN version, I'm extremely happy. I have used the Showconsole and feel it is an incredible digitally controlled analog console. The (Yamaha) PM1D is also a good console, and is a great facility for multiple band shows, such as awards shows like the Grammys, Billboards, etc. Some day in the near future I would like to tour with the Showconsole, provided the tour has the budget. Until then I am very happy with the Amek RN Recall. Scott Fahy: Of all the people you have mixed over the years, who was the most challenging to get a good handle on the mix? Cubby: Interesting question. Perhaps Ricky Martin, most recently. I just finished a 14-month tour with Ricky (Feb. 2000- April 2001), and the challenge was in the Latin percussion. If the Latin percussion rudiments aren't in the mix, it might as well be any rock band up there. It was so enjoyable to mix that music once I got my head around the Latin sound. I had a lot of good help on that tour. The co-manager, Ricardo Cordora, was a great help. In the very beginning, during rehearsals, he would play traditional Latin music for me. Just finding the tamborine and pulling that out made the music make sense. All the syncopated beats that they actually danced to needed to be heard. It had nothing to do with the "two" and the "four". P. Tucci: Cubby, you've been at this a long time, and at a very successful level. Do you sometimes feel an ebb and flow to your chops? For example, was 199X so much easier than two years before? Sort of a sports analogy, if you will. Cubby: Not really. I've always been blessed with really great tours. And it was always the preparation that got me started on the right foot. What's changed the most for me over the years is the politics. I can live without the politics. That's what's making it more difficult. michael: What do you mean by "politics"? If you can say so autonomously. Chris Kathman: Or discreetly ... Cubby: I don't care to discuss politics. AlanH: Who do you look up to (and why) as far as engineers? Cubby: In terms of live sound engineers, Brian Ruggles. A French engineer, Yves Jejette. Dave Natale is the best. Studio guys: Prince, Hugh Padgham, and too many more to mention. Brian Ruggles and Dave Natale are great dynamic mixers. The others that I mentioned are more like producer engineers. I learn from everybody. Especially now with the young engineers coming up, the guys that are mixing Limp Bizcuit, Tool and a lot of the new cutting edge live bands. I don't know their names, but these guys are just fantastic. What they're bringing to this new sound, I don't know if I could find it. I'm too old school. These guys create excitement Moderator: I'd like to take this time to make a "last call" for questions. Pat Scott: If you could, pick an artist, past or present, that would make you drop everything and go out on tour with them. Cubby: Two tours. Genesis with Peter Gabriel, and the new artist Craig David. Cubby: Thank you all very much! I hope I brought something to this chat room. It's kind of difficult because I would really like to expound on your questions even more. A big thanks to Danielle, who did all the typing for me. Chris Kathman: Thanks Cubby (and Danielle)! Our moderator was Dave Dermont, "Another Dave"! Please join us in the live sound chat room now. Moderator: Thank You, Mr. Colby. Cubby: Thanks Dave, and we can do this again whenever you want. Cubby: You can give out my email address if you'd like - cubtones@aol.com.
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