Vocalist Corey Taylor (#8) sings through an Audio-Technica AEW-T6100.
Photos: Steve Jennings
When “nu-metal” — a hard-hitting combination of metal and rap — first hit the airwaves, Slipknot was at the forefront of this “nu-wave” and made it all the more splashy as they only perform in costumes. Die-hard fans know them by their individual masks, while newbies can get to know each bandmember by the number on his sleeve: 0 to 8. Mix caught up with Slipknot’s Thunder Audio-supplied tour at Sacramento, Calif.’s Arco Arena, while they were out supporting their latest release, All Hope Is Gone.
Front-of-house engineer David “Shirt” Nicholls is mixing on a Digidesign VENUE with the Venue Pro Pack and Eventide Anthology Pack. “I couldn’t be without the VENUE,” Nicholls says. “Also, I have my trusty A-T 4050 microphones; they take a battering on a Slipknot stage. It’s not unusual to see one of the vocal mics (T6100s) go flying up into the seats only to be back up onstage the next day working fine — I’m sure they’re bullet-proof!” Thunder Audio is providing the Meyer P.A., which comprises 16 MILO boxes, six flown HP700s and nine Nexo CD-18 subs on the ground per side. Nicholls uses a tablet with the Compass software, a laptop running RMS speaker-management software and SIM for analysis. System control is via Meyer Sound Galileo. The side-hang features 10 MICA boxes per side, with four UPJs for front-fills.
Monitor engineer Ron Hurd is mixing the show on a Yamaha PM5D console. “I’m not using any plug-ins or rack gear except for an [Apogee] Big Ben word clock,” he says. “Six of the nine guys are on ears: Ultimate Ears with Sennheiser G2s.”
Stage-right guitarist Jim Root uses his signature Telecasters and a signature prototype Stratocaster. According to guitar tech Martin Connors, amps include two Orange Rockerverb 100s: one for stage and the other for his iso cab. The amp is miked with Audio-Technica 4050s.
Front-of-house engineer David “Shirt” Nicholls
Guitarist Mick Thomson plays his signature-model Ibanez (MTM1) electrics “loaded with Seymour Duncan ‘Blackouts’ active pickups and Ovation (MT37 model) acoustic guitars,” says guitar tech Drew Foppe. “Mick uses signature Rivera KR7 guitar heads with a custom-tailored EQ function and gain structure. These amps are three channels, each with a boost and played through custom Rivera ‘Seven’ cabinets loaded with Celestion G12K-100 speakers. Onstage, he uses Rivera’s new Silent Sister single 12-inch iso cabinet. An Audio-Technica AE2500 dual-element mic is mounted inside the cabinet.”
According to drum tech Sol Engelhardt, Joey Jordison’s kit is miked with Shure Beta 91 and Beta 52 (kick), Audio-Technica AT 350 (toms), AE 5100 (hats, snare bottom), AT23 (snare top) and AT 4050 (overheads, ride).
Shawn Crahan’s stage-left percussion setup is miked with Audio-Technica AT23s, says percussion tech Sean Kane. On stage right is percussionist Chris Fehn’s setup, which sees AT-35 mics, says his tech, James “Chief” Yepa.
Bassist Paul Grey uses Audio-Technica wireless going through all Peavey gear (Tour 700 preamp and 2600 power amp); mics are Audio-Technica AE 3000.
DJ Sid Wilson uses two Technics SL-1210MG5 turntables, DJ Starscream’s Full Metal Scratch-It glow-in-the-dark signature vinyl records, Mackie d.2 Pro mixer, Korg Kaoss Pad KP3 and Pad MiniKP, and DigiTech Whammy pedal. In addition, says tech Pat Williams, sampler Craig Jones’ gear comprises a Korg Kontrol49 MIDI keyboard, Akai Z4 rackmount sampler and Roland Fantom XR rackmount sampler/synth.
