The backline techs also utilize PQ Controllers to more easily cue mixes and instruments backstage without distracting Kimball from his main duties to Thomas and the band.
A variety of manufacturers are represented on the input list, with kick drum double-mic’ed with the typical Shure Beta 91 and Beta 52A combo, and the snare classically mic’ed from below with a Sennheiser MD 441 and above with a Shure SM57 that employs a protective guard fashioned from a fork.
The toms are mic’ed from below with Beyerdynamic Opus 88 mics, a favorite of Kimball’s. “They just clip on the drum and the XLR plugs right in,” he says. “Their sound is awesome! Nice design.”
Ride and hi-hat cymbals are close mic’ed with Neumann KM184 condensers, while a Rode NT4 stereo mic is used overhead.
“I usually employ a closer cymbal mic’ing technique, but when I did Matchbox 20 with Robert Scovill, he brought the Rode out and mic’ed it up high,” Kimball explains.
“It just blew me away how nice the top end was, and it added snap to the snare. I’ve been a fan ever since.”
The guitar amps, remotely located off-stage, are mic’ed with Shure KSM32 and Audio-Technica AT4050 large-diaphragm condensers, which the backline techs isolate a bit with gobos improvised from plywood and packing blankets. Monitor System Technician Wayne Teaster assists Kimball on stage.
As of January, the tour has headed “down under” to Australia, where Thomas is immensely popular, working with Australian vendor Johnston Audio, whose principal Bruce Johnston is an Entech Award winner and has toured with Crowded House, Silverchair, The Killers and Oasis.
“This is our first time using them, but so far they have been extremely helpful and attentive,” Yakabuski adds. “They’re one of several d&b providers in Australia, and they’ve worked very hard to emulate the system we’re currently using in the US.”
Good on ya, Yak, that’s dinki-di.
Mark Frink is Editorial Director of Live Sound International.