Mix caught up with Björk’s FOH engineer Kevin Pruce inSan Francisco, when she opened the U.S. leg of her tour. Pruce hasworked with Björk for 15 years, starting back in 1988 when she waswith The Sugarcubes. “Working with Björk is always apleasure, and every tour brings new challenges; there’s never a dullmoment,” says Pruce. “I’m using Eighth Day Sound in theU.S., whom I’ve used for most of my acts since 1986. FOH control issupplied by UK’s Wigwam Acoustics. What we hang varies according to thevenue, but we are carrying 44 L-Acoustics V-DOSC, 16 dVDOSC, 16 SB218subs [flown], 12 d&b audiotechnik B2 subs [floor] and a d&b C6.The frontfills are dV DOSC/d&b C6; the sidefills are TurbosoundFlashlight; and the floor monitors are Eighth Day 1×15s.
“I’ve got Björk on a Shure U2 wireless with an SM58capsule,” he continues. “She has a very distinct voice anda great understanding of how it works, with good mic technique, plentyof level, and a nice, natural sibilance. Having tried various othermics, the SM58 is the choice. For vocal processing, I’m carrying aLexicon 480L, Tube-Tech LCA 2B and BSS 901, with a Tube-Tech SMC 2A forsystem compression. All other effects and compression/gates are withinthe console.
“For this tour, I’ve chosen a Yamaha DM2000 digital, using 40inputs from the stage. On the last tour, we had an orchestra with a90-channel input list, so I used a Yamaha PM1D. The challenge this timewas with festivals throughout Europe, so a small-footprint FOH and thesimplicity of an analog snake — and A/D conversion at FOH —seemed sensible.”