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Engineer Laurie Quigley Utilizing Audio-Technica Microphones & Wireless Systems On Tour With Lenny Kravitz

Veteran who's spent 15 years with Kravitz (and more than 40 years in audio) employing 5000 Series wireless, AT4050 condensers and more.
Audio-Technica artist relations manager Roxanne Ricks (left) with engineer Laurie Quigley.

Laurie Quigley, who’s served as a sound engineer for more than 40 years for a variety of artists (Mötley Crüe, Whitesnake, Ozzy Osbourne, Bon Jovi, Cinderella, Tesla, Aerosmith, KISS), is deploying a variety of Audio-Technica microphones and wireless systems on the current Here to Love World Tour by Lenny Kravitz.

“I met Lenny several times while I was working with Aerosmith and later with KISS,” Quigley recalls. “Early 2004, I received a phone call from his management office asking me to hold for Mr. Lenny Kravitz. I thought someone was winding me up, but it was far from a joke. Lenny asked me if I would come and mix his band. I had another week to finish a KISS tour and his talent intrigued me, so I accepted his offer.

“Lenny is an incredibly nice person, but in a lot of ways, difficult to work for because of his knowledge, since he’s really on top of his live show, especially his audio,” he continues. :Lenny owns several studios and knows audio well. His knowledge keeps me on my toes and has made me a far better sound engineer. When I say difficult, I mean you have to be good every day and be on top of your job, because he knows how things are meant to sound. I thoroughly enjoy my time working with Lenny, hence 15 years and I’m still going.”

On the Here to Love World Tour, Quigley is employing an Audio-Technica third-generation 5000 Series frequency-agile UHF wireless system paired with an ATW-C6100 hypercardioid dynamic mic capsule for Kravitz’s lead vocal. They had previously employed the second-generation 5000 Series.

Among Quigley’s other “go-to” mics is the Audio-Technica AT4050 multi-pattern condenser. “I first saw and heard an AT4050 around 25 years ago,” he notes. “I was sold instantly and replaced all my guitar mics with 4050s shortly after (as soon as I could get enough of them). I have compared different mics over the years but have yet to find a better sounding or more reliable microphone. I believe there are close to 30 AT4050s on stage — 16 guitar channels, three bass channels, six choir channels, two Leslie bottom channels and spares.

“I also use all AE6100s [hypercardioid dynamic handhelds] on vocals, PRO 23s [cardioid dynamic instrument] on the toms, a AE2500 [dual-element cardioid instrument] inside the kick, a ATM23 on the top end of the Leslies, and AT4047/SVs on my overheads and cymbals.”

Quigley concludes, “The most important thing about any mic is how it sounds, and for how long. My mics are well looked after, but they still get bashed. Large amount of SPL, large amounts of smoke, hazers, and just a general beating, but A-T’s mics keep working! There is no point in having an incredible-sounding mic that can’t withstand life on the road.”

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