Touring in support of his latest releases, The Raven andNYC Man: The Collection, Lou Reed pulled into San Francisco’sWarfield theater in June. The set choices ranged from deconstructedversions of his late-’70s classics to the synth- and sample-inspiredworks of his more recent LPs. Reed was joined by Mike Rathke (whoplayed various instruments), cellist Jane Scarpantoni, bassist FernandoSaunders and vocalist Antony Hegarty.
FOH engineer Frank Golchert mixes 24 inputs from a Yamaha DM2000console. For vocal and guitar channels, Golchert employs six AvalonVT-737 preamps, which he uses for compression and EQ, as well. The onlyeffects he uses are occasional reverbs and delays, which he accessesfrom the DM2000’s internal effects unit. The crew uses the house P.A.at each venue.
“It’s nice to have a digital board because you can do veryspecific alignments to bring instruments and microphones intophase,” says Golchert. “We normally run the electric bassthrough an Avalon DI and then through another Avalon DI, and we mikethe amp, as well. You can make a very good time adjustment between theDI signal and the signal from the microphone. You can hardly do that onan analog board.”
Monitor engineer Dan Monaghan mixes a complement of standard wedgemonitors from a Midas XL-250 console. Monaghan’s stage inputs include astereo pair from a Yamaha 01V digital mixer handling a submix ofRathke’s array of synths and other instruments. All of the guitarsignals are taken with a combination of Avalon DIs, Beyerdynamic M88sand Audio-Technica AT4050s. The traditional electric and Kydd uprightelectric basses are both taken DI and miked with an M88. Additionalstage inputs include an Access Virus C synth and a Roland SPD-20percussion pad. Monaghan’s outboard gear comprises BSS FCS-960 EQs anda selection of dbx compressors.
“It’s quite an eclectic mix of instruments,” saysMonaghan. “We have a cello onstage. The bass player also playsthe Kydd bass and guitar, and he also plays the drum pads. Thestage-right guitar also plays some synth guitar. There are multiplelevel changes in any given song. It’s a very complicated show,considering the sparse number of musicians.”
The stage monitors consist of D&B Audiotechnik M2 dual 12-inchenclosures driven by D&B amps. All of the vocal mics are NeumannKSM 105s.