Professional Sound - April 2018 - Page 33

Cutler is plenty busy pulling double-duty as the tour manager and monitor engineer. It was him and Good’s usual monitor engineer, Luke Purchase, that collaborated on gear choices; however, a late scheduling conflict led to Sullivan stepping in on short notice and inheriting what had already been spec’d. Basically, Cutler says, the SC48 is a tried- and-true workhorse. “It works, sounds good, and easily integrates with Waves [plug-ins],” he puts in. A complement of d&b audiotechnik monitors and drum subs are running onstage for Our Lady Peace to supplement the band’s in-ear mixes, with the monitor amps going directly in via AES. As for the IEMs, it’s a com- plement of Shure PSM1000s for both artists. “There’s a lot more panning going on in the ears than most of the other bands I’ve worked with,” says Cutler about one unique aspect of working with Our Lady Peace. “Other than that, the guys have great sounds, and that makes mixing easy. We have a three-point talkback system on deck, so on-the-fly changes can happen quickly.” Despite not having much of a say at the outset, Sullivan says he’s more than com- fortable at the SC48. “I’ve been touring with and using SC48s and Profiles for a number of years with other artists,” he says, “and it’s been working just fine.” He’s also a big fan of the PSM1000 units, saying he’s been requesting them on the road for years now. “They’re the best-sound- ing and most reliable for RF IEMs, in my opinion, and have been rock solid [on this tour] as usual so far.” Though Good and the band don’t rely on the stage package, drummer Blake Manning does take advantage of a Porter & Davies BC2, which mounts onto the throne to offer a good, physical “thump” when the kick drum sounds. “Everyone’s mixes are pretty straightfor- ward,” Sullivan says about Good and compa- ny. “The guys all want a bit of everything to varying degrees, with their primary instru- ments on top.” That said, there are quite a few changes from song-to-song, so he’s been taking advantage of snapshots in the SC48. “Every musician is different in my ex- perience,” he continues. “It’s really a matter of learning how each individual wants and needs to hear things to be most comfort- able onstage and give the best perfor- mance each night. Matt and the guys have been playing for a long time, so it’s been pretty natural building a rapport with them and understanding what they’re looking for. MEYER SOUND LYON MAIN ARRAYS & LEOPARD SIDE HANGS “EVERY MUSICIAN IS DIFFERENT IN MY EXPERIENCE. IT’S REALLY A MATTER OF LEARNING HOW EACH INDIVIDUAL WANTS AND NEEDS TO HEAR THINGS TO BE MOST COMFORTABLE ONSTAGE AND GIVE THE BEST PERFORMANCE EACH NIGHT. MATT [GOOD] AND THE GUYS HAVE BEEN PLAYING FOR A LONG TIME, SO IT’S BEEN PRETTY NATURAL BUILDING A RAPPORT WITH THEM AND UNDERSTANDING WHAT THEY’RE LOOKING FOR.” -MATTHEW GOOD MONITOR ENGINEER MATT “SULLY” SULLIVAN It’s a down-to-Earth group across the band and crew who are all looking to put on the best show possible, so I really couldn’t ask for a more enjoyable time out here.” Considering the nature of the tour – co-head- lining acts who consider each other friends, some shared systems and crew members, and a relatively tight timeline ahead of the first show – camaraderie was integral to its overall success on several different levels. “I love working with the VER team up here in Toronto. They have some solid folks working in that shop. Whenever I rent from them, it’s plug and play,” Brody enthuses. “Rarely do things go wrong, but when they do, VER will go the extra mile. I had a screen die on the S6L and the recovery process was incredible. We couldn’t get a replacement in Toronto and shipping from the States wasn’t an option time-wise. Shawn Loftus from VER drove to Montreal to get a screen, then flew to Halifax to personally deliver and rein- stall it. If that’s not customer service, I don’t know what is.” He and Palmer also praise Malone specif- ically. “It’s really great to have him beside me during the show,” Brody continues. “It’s like having a co-pilot when mixing. I’ll ask him to take walks or make global EQ changes. He can be my ears in places I can’t easily get to, and I’m always open to his recommendations during the show. Quite the luxury, really.” VER’s Erik Paquette and Randall Knight were also name-dropped a few times by both bands’ crews. With state-of-the-art systems and a pair of heralded artists with new music to share, the Our Lady Peace and Matthew Good co-headlining run avoided the “nostalgia vortex,” as Good and Maida put it in joint a pre-tour interview. Instead, the bands are bringing fresh sounds and old favourites to diverse crowds of music fans in a range of venues across the country. Canadian rock is alive and well. Andrew King is the Editor-in-Chief of Professional Sound. PROFESSIONAL SOUND 33