Page 63 - Lighting & Sound America (December 2019) Magazine

Distressor for my Alex [Pall] and Drew vocals, Avalon 737 the bottom. The combination of the two top mics is
for each of my guest vocals, and a TC Electronic TC2290 because my drummer hits extremely hard and is very con-
digital delay for vocal delay throws. I’m also using a sistent—so the drum is tuned slightly lower than I would
Yamaha SPX990 for vocal effects—distortion, etc.—and usually prefer. I am able to move between the 57 and the
also a doubler preset for the acoustic guitar, along with a 207 to get the snare to cut through on a song-by-song
Yamaha SPX2000 for vocal reverb. I prefer a nice chamber basis; I’m only talking 1 or 2dB increments.” For the sec-
vocal reverb for this band, as I am able to find room in the ond snare, there’s a SM57 on the top and bottom; for the
spectrum to allow me to place it in without clouding any of toms, he’s using Shure Beta 98As. “All main cymbals are
the other programs, so to speak.” He also has an Eventide individually miked underneath with [Shure] KSM137s. I do
H3000-D/SX [ultra-harmonizer] and a Yamaha SPX990 this so I can run with the lowest gain possible, due to the
[effects processor] for drum reverb. “I use a [Rupert] Neve hard-hitting nature, to prevent bleed from everything else
5045 [Primary Source Enhancer] on my main two vocals. going on around. For the splash cymbals, I have Beta
This is a very important tool, as the SPL onstage is quite 98sA.” The drum kit on the B stage uses the same mic
high at times, and when the vocal mics are sitting in package. For vocals, he’s using the Shure Axient AD
keys/DJ world, I am able to use the Neve to transparently Series with KSM9 capsules.
close the mics off to prevent bleed. I run the entire mix In the end, McGuire says, “The most important part of the
through an API2500 [stereo compressor]. I use it gently, as production is that everything always has to work in symme-
a master bus compressor for minimal compression ratio try to provide the ultimate experience. It’s a show that has
and gain reduction.” been designed for a specific purpose, and it’s extremely fun
Talking about the onstage mic package, he says, “On to play every night and watch people’s reactions.” The
the kick drum, I use a [Shure] Beta 91A and an Audix D6. Chainsmokers’ World War Joy Tour concluded earlier this
For the main snare top, I have a combination of a Shure month.
SM57 and Beyerdynamic MS201, with just an SM57 on

The graphic gives a sense of the production’s color strategy. “The show starts with an aggressive, warm palette of red and orange,
which broadens into more pastel tones as the show progresses to convey the joy theme,” Behm says.

www.lightingandsoundamerica.com • December 2019 • 63