This Mississippi native has engineered monitors for the likes of Staind, Guns N' Roses, Marilyn Manson, Stone Temple Pilots and countless others.
After Staind, was working with Seal a juxtaposition?
It was different, but nothing I couldn't adjust to. There were no live instruments onstage at all with Seal. The only thing you could hear was his vocal. It was quiet, amazingly quiet. On the live shows in Europe, I mixed on a Heritage 3000 a good portion of the time. But in the U.S., I was changing consoles every day.
It took a lot of concentration on my part, because he listens to a mix that includes his band and a lot of Pro Tools. That was fun and challenging.
With that kind of staging, I assume you were using in-ear monitors.
I had Seal on a Shure PSM700 system with Ultimate Ears UE7s. The band had four stereo mixes on PSM600s, also using UE7s. With Shure's new PA821, I could combine the output of all the transmitters with a single antenna.
You have a reputation for pleasing tough acts. How do you do it?
When I do soundchecks, I walk the deck and see, hear and feel what the artist does. He or she may not hear a lot of ambience, but there are other things: the feeling of the guitar rig, or drums and cymbals bleeding through. Once I understand their world, I know what to do in mine.
What do you do when you're not on the road?
I live on six acres in Canton, Miss. When I come home, the cell phone gets put aside and the motorbikes come out. I have four dirt bikes, a '93 Harley-Davidson Low Rider and an '03 custom chopper.