After three years of working the Fox-woods Casino stage audio crew with all kinds of acts — from musical performances to circuses — dealing with rock bands is probably a piece of cake for Tricia Ellsworth. She certainly has some workaholic blood coursing through her veins: Ellsworth mixed the U.S. leg of The Academy Is’ “Almost Here” tour in late-March; plus Panic! at the Disco; and Men, Women and Children at the UK’s Give It a Name and New Jersey’s Bamboozle festivals before rejoining TAI’s European tour, which wraps up in Paris on June 1. Then she returns Stateside with Butch Walker this summer. Whew!
What’s the challenge of doing The Academy Is?
Making sure the audience can hear every word William Beckett sings over the audience members singing along!
Were you carrying production on that tour?
Not too much. We carry all of our own mics, which are mostly Audix. William Beckett and [drummer/backing vocalist] The Butcher are using in-ear monitors, but we’re planning on getting the whole band on in-ears pretty soon.
What’s your “must have” gear?
My effects rack, which includes a Lexicon PCM 42 delay, a TC Electronic D2 delay, a Lexicon PCM 60 reverb, and, oddly enough, a Korg Kaoss pad, which has great reverbs and delays.
What are some of your fave venues?
The House of Blues in Cleveland, Chicago and Anaheim sound fantastic. I also really enjoy mixing at the Chicago Metro. In the UK, the Portsmouth Pyramid Center is a great-sounding room, as is the London Astoria.
What do you like doing when you’re off the road?
I like anything that involves the outdoors, like hiking, mountain biking, long-boarding — a new favorite.