995_Shure.qxd 11/13/07 12:47 PM Page 1 995_Shure.qxd 11/13/07 12:47 PM Page 2 H ey all you kids out there, thanks for picking up this copy of On Tour with Shure! Although it’s still in analog form, it’s nice to know that some of you still care and have the time to read the news the old fashioned way. In a way, this publication could be considered a classic. The original format for its reception into the world is print; no electronic website format, no blog or podcast, or even a You Tube video format. We stuck to the basics for all these years. Sure, now you could download On Tour with Shure from our website, and we have featured some podcasts of artist interviews and even some videos that were shot during those interviews, but those are just a taste of what is collected here. In a way it’s similar to the idea of an album. An album is a collection of music by an artist or band that has a feel or vibe, and if it’s done right, it takes you on a journey into the mind of that artist. With all of the “new media” available to us these days, one hardly ever stumbles upon an entire album or collection of music by one single artist or band. Back in the day, not sure exactly when, to get a copy of your favorite song you had to purchase the entire album. Sure, with some artists it was a risk, and sometimes that one song you wanted was the only one worth obtaining. But sometimes, there was that one album that you could listen to all the way through; track one to the last track… even the hidden tracks were good! Do music fans still participate in this ritual? Sure, my friends out there that understand how it was back in the day probably do, but how about generation… whatever letter or number you are? All of my digital media heads out there, do you enjoy the collection of music that your favorite band or artist records for an album? Do you just download the one song and play it over and over again? I understand that the digital format affords us the opportunity to preview an album before we buy, and you may be able to tell whether or not you like the songs by listening to a 30-second clip. Still, there’s a theme there, almost a vibe that the artist was attempting to portray. By downloading one song or a few here and there, you may never know what that whole album was supposed to make you feel or think. It’s just a thought. The idea of album art seems to have fallen by the wayside as well. This is something the digital format, even with the album in its entirety downloaded to your digital media device, cannot duplicate. Sure, you get the little image of the front cover in your media player to distinguish it from the others in your collection, but what about the liner notes, the other images, the lyrics, the artwork on the disc itself? Again, it’s all a part of that vibe I’ve been speaking to. Don’t be so sure you completely understand your favorite artist or band, there may be a message there in the album or in the artwork that you may be missing. With that, I thank you all for continuing to enjoy our collection of print media; the copy, images, notes and credits all contained here in our 32 page musical journey. There are a lot of people involved in making this whole thing happen and I couldn’t do it without them, nor would I want to. I like this magazine in its original format. It’s amazing to see it go from an idea to what you hold in your hands right now. Thanks for reading and enjoying the pictures! Rock Out, On Tour with Shure® Editor Terri Hartman Managing Editor Cory Lorentz Associate Editor Kevin Spiegel Artist Relations Bill Oakley, Richard Sandrok, Ryan Smith, Kevin Spiegel Art Director/Designer Kate Moss Writers Penelope Biver, Louis R. Carlozo, Audrey Felix, Steven Frisbie, Lindsey Ignace, Cory Lorentz, Bill Oakley, Karen Yuen Contributing Photographers David Barnum, Andy Chan, Poker Chris, Stewart Cohen, Michael S. Corathers, Brian “B+” Cross, Earl E. Gibson III, Sophie Martin, James Minchin III, Paul Natkin, Randi Radcliff Printing Triangle Printers Inc. On Tour with Shure is published three times yearly by Shure Incorporated, 5800 W. Touhy Avenue, Niles, IL 60714-4608. Each separate contribution to Volume 8, Issue 3 and the issue as a collective work, is copyright ©2007 by Shure Incorporated. All rights reserved. All trademarks are property of their respective owners. All product specifications and appearances are subject to change without notice. Use of an artist’s name in this publication does not constitute an official endorsement of Shure products. Free Subscription! To receive your free copy of On Tour with Shure, please: • Go to www.shure.com • Fill out the enclosed postage-paid subscription card. • Send a note to On Tour with Shure, 5800 W. Touhy Ave., Niles, IL 60714-4608. We are not responsible for unsolicited material, which must be accompanied by return postage. All mail will be treated as unconditionally assigned for publication and subject to Shure Incorporated’s unrestricted right to edit and comment. Shure Incorporated assumes no responsibility for errors in articles or advertisements. Opinions expressed by authors are not necessarily those of Shure Incorporated. Cory Lorentz Managing Editor, On Tour with Shure [email protected] 2 www.shure.com AL1585 11/07 60K 995_Shure.qxd 11/13/07 12:47 PM Page 3 8 table ofcontents 4 Mic Check The highlight reel of Shure-related news in bite-size format for quick and easy reading pleasure with illustrations included and everything! Our microphones and endorsers are everywhere and it’s sometimes a little difficult to keep up. Here’s what we do know… 6 Flyleaf Takes On Hard-Rock Odyssey In just two short years, Flyleaf has encountered a dramatic change in status, all of it positive and all of it stemmed from hard work and endless hope. If you’ve never let your ears enjoy the sounds of Flyleaf, you just might be missing out. Read about ‘em here and then join the other 19 million who have played their tunes on MySpace.com 8 Guster Musters The Goods For Rock And Roll Longevity And then there were four. For 16 years, the three original members of Guster have rocked the masses with a style all their own. The three decided it was time to grow, both musically and in numbers, and longtime compatriot Joe Pisapia became a Guster. With a new album and tour to go along with the change in status, Pisapia shares his story. 10 Rock Band Remixed The Bravery changed their sound for album number two, adding a more acoustic, textured feel. More band members are taking part in the vocals, there’s string quartets, vintage organs, and a famous producer, but the mics remain the same, that and an unusual microphone stand. 14 Boundless… Timeless For just over a decade, Patty Griffin has enjoyed a career that has stood the test of time. Thankfully her guitar teacher convinced her to record and perform her music, which led to a recording contract and the release of her debut Living With Ghosts. Listen to your teacher’s advice. Patty Griffin did and with the release of her sixth album, Children Running Through, there’s proof it was good advice 16 A Situation Without Instrumentation Have you heard the things Bobby McFerrin can do with just his voice and a microphone? Proclaimed as one of the natural wonders of the music world, McFerrin truly makes the music with his mouth and makes the microphone the only accompaniment he needs on stage. There’s a lot you didn’t know about the guy behind “Don’t Worry Be Happy.” 20 Continuing The Journey to Be Anything But Typical There was a simple attribute attached to the music that Mute Math set forth to create… they had to like it. It makes sense, with recognition comes heavy touring, and with heavy touring comes the repetitious performance of the material that the masses want to hear. Luckily for Mute Math, the plan worked. They like the material that they perform on tour, and there’s an audience there night after night that enjoys it even more. 20 22 22 From Wedding Band To La Bamba To International Fame When it comes to longevity in the music industry, one cannot help but mention Los Lobos. Music fans are still discovering, thanks to the release of their latest album The Town And The City, that there’s more to this band than the fame of “La Bamba.” The band themselves is still discovering a new appreciation for Shure mics in the recording studio. The SM7 is the new favorite and a selfproclaimed must-have for the studio. 24 Sibling Chemistry We have endorsers all over the world, and as proof, we present to you the twin sensation that is Soler. Julio and Dino Acconci are multi-lingual Burmese-Italians that write songs in English and Italian, but perform them in Cantonese. Most people know only three guitar chords, but these guys are definitely putting in the work! 26 Over The Rhine Gets Over The Hump Taking its name from the funky Cincinnati neighborhood, Over The Rhine has been crafting their spiritually-charged music for some time. The spiritual part is not exactly what you’re used to. There’s artistic chances involving language, imagery, and lyrical honesty and brokenness in the music of Over The Rhine. The husband and wife duo talk about their music and the microphones that have captured their sound so beautifully over the years. 28 Oscar Seaton’s Got The Whole World In His “Seatpocket” With a resume that rivals some of the best funky drummers around, Oscar Seaton has come a long way since banging on his mom’s pots and pans. Currently on tour with Lionel Richie, Oscar Seaton put the sticks down and talked music and mics. To all of the mothers out there, let your kids bang on the pots and pans… you never know. 30 Between Finding What You Love And Loving What You Find Sometimes the rock ‘n’ roll lifestyle can take you places and make your wildest dreams come true. Sometimes it happens too fast, and before it’s too late, you need a break from it all. That’s where Sparta frontman Jim Ward found himself prior to the release of Threes. After a deepcleansing breath, the band is back to work and back to where they left off. 13 Mike Hagler: All Hail To The Kingsize Mike Hagler has probably engineered some of your favorite albums, and chances are he used a Shure mic to make it sound just right. Hagler, owner of Kingsize Sound Labs in Chicago, constantly sings the praises of Shure mics, and his new favorite is the KSM32. Pay attention to this guy, he knows what he’s talking about. On Tour with Shure 3 995_Shure.qxd 11/20/07 8:58 PM Page 4 Ozomatli Î Ozomatli Play Sunday Night Football In recognition of Hispanic Heritage Month [September 15th – October 15th], the National Football League celebrated with a Spanish-language TV campaign and festivities at games across the country. The national spotlight on Hispanic Heritage Month came during the September 23rd game between the Dallas Cowboys and the Chicago Bears on NBC Sunday Night Football. Five-time GRAMMY® award winner Gloria Estefan took on the duties of singing the national anthem, while Shure endorsers Ozomatli hit the field during halftime for a two-song set; one aired on NBC and the other aired on Telemundo. Î Jonny Lang Does His Best Jimi Hendrix former Hendrix associates, Mitch Mitchell and Billy Cox. Along with blues greats such as Buddy Guy, Robert Randolph, and Kenny Wayne Shepherd, Jonny Lang set out on a sevendate tour to celebrate the legacy and music of Jimi Hendrix.The Experience Hendrix Tour made its first run in February of 2004 with the best in rock and blues channeling Hendrix. Among the special guests included in the line up of performers, were The Experience Hendrix Tour continues on the tradition formed by Experience Hendrix, L.L.C.—the company formed by Hendrix’s family to manage the name, likeness, image and music of Jimi Hendrix. For more information on the tour, head to the website devoted to the whole cause, www.experiencehendrixtour.com. The National Football League celebrated Hispanic Heritage Month (Sept. 15-Oct. 15) with a new Spanish-language TV campaign and unprecedented festivities at games across the country, including many teams designating home games in honor of Hispanic Heritage Month and displaying special “Fútbol Americano—Celebrating Hispanic Heritage Month” banners in stadium. NFL players such as Chicago Bears Roberto Garza honored the month with local community outreach on Tuesdays, the traditional day off for NFL players during the season. Shure At The World Series Congratulations go out to the Boston Red Sox for winning the 2007 World Series. Amongst the fever pitch of October baseball, there were some incredible performances of both the “National Anthem” and “God Bless America” by James Taylor, Trisha Yearwood, Carrie Underwood and Boyz II Men to name a few. To ensure that the masses caught every note of their performances, Shure microphones, both wired and wireless were in play during this year’s series. Jonny Lang 4 www.shure.com 995_Shure.qxd 11/13/07 12:47 PM Page 5 Sammy Hagar Î Lifetime Achievement The Shure Artist Relations team has been spending a lot of time at venues across the United States, catching live shows and putting Shure mics in the hands of the latest and greatest the industry has to offer. It’s been a busy summer, and although things never seem to slow down, here’s a few of the latest additions to the legendary Shure Artist Endorser roster. The 23-members of The Polyphonic Spree, legendary accordion player and song parody master “Weird Al” Yankovic, the guitar and drum styled blues of The Black Keys, legendary rockers The Melvins, Chicago-based punk rockers Rise Against, former Audioslave frontman Chris Cornell, country’s latest female sensation Miranda Lambert, and the Marvin Gaye of hip-hop, Common have all signed on the dotted line to become official Shure endorsers. Be on the lookout for their live show and see if you can spot the Shure mics on stage. If you’re a Shure fan yourself, you may even be able to tell what model number the mics are. Miranda Lambert Award For Carmine Appice While at the Kosa Drum Festival, teaching and performing, Carmine Appice was presented with the “Kosa Lifetime Achievement Award” for his enormous contribution to the world of rock drumming. In the audience of a packed theater at Johnson State College, the site for the festival, Carmine sat in shock when his name was announced. Making his way to the stage to accept the award, Carmine Appice was also awarded to a well-deserved standing ovation. “This was an amazing surprise,” Appice said. “I would have never guessed that I was the recipient of this award.” It was the end to an amazing week, in which earlier on Tuesday, August 7th, Carmine played Radio City Music Hall with Vanilla Fudge, where he received standing ovations for his solo work and his vocal duties on “People Get Ready.” Vanilla Fudge was on the bill with Deep Purple headlining. “Man, what a great week,” recollected Appice. “What more can you want? An award, standing ovations, playing Radio City, health… I’m a happy dude!” The video of Carmine’s solo at Radio City will be available soon. Carmine Appice with Kosa Festival Organizers Aldo and Jolan Maza Î Î New Endorsers Sammy Hagar Celebrates His Birthday And Launches Radio Station A day before his annual birthday bash, Sammy Hagar launched his own brand of radio, Cabo Wabo Radio—”PURE ROCK RADIO THE WAY GOD INTENDED IT”. The station features produced and live broadcasts from studios inside the legendary Cabo Wabo Cantina in Cabo San Lucas, Mexico. The musical line up includes nothing but feel-good, party energy, cutting edge New Rock from all over the world. Check it out on Sammy’s website at www.RedRocker.com. On October 13th, the Red Rocker turned 60, and he celebrated the same way he does every year… with a week long, free concert, featuring special guests including Toby Keith, Emeril Lagasse and Kenny Chesney. The concerts were held at Sammy’s Cabo Wabo Cantina, and even included a dinner on certain dates for a minimal charge, although we’re sure Emeril probably wasn’t there to work that night. Happy Birthday Sammy, nobody parties like you do! On Tour with Shure 5 995_Shure.qxd 6 11/13/07 www.shure.com 12:47 PM Page 6 995_Shure.qxd 11/13/07 12:47 PM Page 7 On Tour with Shure caught up with Flyleaf guitarist Sameer Bhattacharya moments before the group’s show at Chicago’s House of Blues. It proved the ideal opportunity to catch the band during its white-hot ascent to metal stardom—and learn a little about how Shure mics have shaped its daring, dynamic sound. ON TOUR WITH SHURE: The story of how you got your name, and what it means, is fascinating. Can you give us some insight on that? SAMEER BHATTACHARYA: Before we were called Flyleaf we were called Passerby. We wanted a name that related us to everyone else; everyone has a story and no one is any more special or different than anyone else. That name was taken, though, and ultimately Pat [bassist Pat Seals] found “Flyleaf,” which is so cool. It’s the blank page in a book before the story is told. …That’s us. OTWS: You’ve played with P.O.D., and like that group, you seem to be taking an approach with your music that is positive and inspiring. What’s the thinking there? BHATTACHARYA: We really try, when we’re writing music and lyrics, to be honest with it—honest with the struggles of life—and get down to the core. Some of it, yeah, is horrible and can cut really deep. We’ve been there as band members; you’ve all been there. But we want to show you can get something out of it that is valuable. OTWS: Unlike many bands, you’ve enjoyed a rapid ascent, with millions of page views on MySpace.com and elsewhere. What’s it like to have so much success from the get-go? BHATTACHARYA: It’s been pretty steady since its beginning; I don’t think there have been any rapid spurts. But I don’t think [numbers] are how we measure our success. From the first day we started to write songs, we really felt successful because this was what God had called us to do. To have that peace is really amazing; to think about it and pray about it is something that everyone should do with their lives—no matter what you’re trying to [achieve]. OTWS: The rock and roll lifestyle is all about volume, fans, travel, parties, interviews. How do you find serenity in that swirl of activity? BHATTACHARYA: That goes back to our faith. You need to rest, even people who don’t have this lifestyle. Our bodies aren’t designed to go, go, go. We have Bible studies and try to seek that time with God. It’s very important to us. “I DIDN’T KNOW A THING ABOUT MICROPHONES. BUT WHEN JAMES WAS LOOKING FOR MICS FOR THE DRUMS, AND WE WERE GETTING STUFF FOR THE GUITAR CABINETS, WE ALWAYS WENT BACK TO SHURE. THE SM57S ARE THE BEST FOR GUITARS AND THE WIRELESS PACKS HAVE BEEN A LIFESAVER ON STAGE.” {SAMEER BHATTACHARYA} As the quintessential rock instrument, guitar poses a challenge: How do you go about finding and developing your unique style of play with all those guitarists out there? BHATTACHARYA: Sometimes people come up to me and say, ‘How do you write? What do OTWS: you do?’ I think it’s just about making noises that you want to hear and if you do that, it won’t be forced. It becomes inspirational. OTWS: Speaking of which, what music inspires you? BHATTACHARYA: I like to listen to music and things that make life more alive. I like Bjork, Radiohead, U2, I love—especially Bono— and Sigur Ros, they’re amazing. There are a lot of local artists I like listening to who inspired me and Jared [guitarist Jared Hartmann], too. OTWS: Shure no doubt inspires you, I take it. BHATTACHARYA: It’s awesome. When we first got into doing this, I didn’t know a thing about microphones. But when James [drummer James Culpepper] was looking for mics for the drums, and we were getting stuff for the guitar cabinets, we always went back to Shure. The SM57s are the best for guitars and the wireless packs have been a lifesaver on stage. And to think we’re working with Shure. That’s great. OTWS: A lot of guitarists are afraid going wireless will spoil their tone. You’re picky about your guitar sounds. What can you tell them? BHATTACHARYA: With wireless products in general, everyone who’s ever wrote in to a guitar magazine was worried about losing tone and punch—but I haven’t noticed that at all. If anything, the Shure has smoothed out the sound. And no more stitches from tripping over my lead cord! OTWS: Looking ahead, what do you see as the future for Flyleaf? If your rock and roll dream were handed to you on a silver platter, what would it taste like? BHATTACHARYA: I don’t know. We take it a day at a time. Every day is a miracle. If this is what I’m supposed to do, then I hope to share that message of hope and love with as many people as we can. The meaning of hope and love is so lost today on so many people. They’re stuck and people can’t see past that. But to have hope and peace, you’ll see so much more of what life has to offer. Flyleaf Theirs On A Budget Lead Vocals Kick Snare Top/Bottom Toms Hi-Hat Overheads Guitar Cabinet ULX2/KSM9* Beta 91 & Beta 52® Beta 57 & SM57 Beta 98D/S & Beta 52 KSM32 KSM44 & KSM32 KSM32 & Beta56® PG24/PG58* PG52 PG57 PG56 PG81 PG81 PG56 * wireless system On Tour with Shure 7 995_Shure.qxd 11/13/07 12:47 PM Page 8 The three original members of Guster have plugged away for some 16 years—taking a self-styled path that began in the dorms of Tufts University, and led to playing on David Letterman’s show, working with legendary producer Steve Lillywhite (Dave Matthews Band, XTC) and becoming one of the most reliable, solid American pop-rock bands. Where to go—or grow—from there? With the addition of longtime compatriot Joe Pisapia as a permanent member, Guster’s now a foursome, touring behind T 8 www.shure.com the acclaimed Ganging Up On the Sun (Reprise) and making ambitious plans for the future—that is, when they’re not joking around on their fan website. (Read on for the details!) On Tour with Shure spoke with Pisapia about how he’s adjusted to life as a full-time Gusterite, the care and craft that went into the new album, and how Shure has provided an essential weapon in the band’s sonic arsenal. Then there’s the band’s new nickname for its fans, which is… ON TOUR WITH SHURE: “Gusterrhoids?” [Cracks up.] I think that was [founding member] Brian Rosenworcel’s idea! I don’t know. I just think he’s pretty sick—obviously pretty sick. But the fans find it pretty funny… Maybe it’s because they won’t go away. OTWS: Then there’s that scene straight out of “Spinal Tap” on the Web site, where you guys are on a club marquee in Charleston, South Carolina next to a female boxing event called “Boxing for Boobs.” [Want proof? The photo is on the Guster website, www.guster.com, under “diaries.”] JOE PISAPIA: 995_Shure.qxd 11/13/07 12:48 PM Page 9 PISAPIA: We just started laughing when we saw that! When you actually get to see a marquee like that, and take a photo of it, it’s just priceless. But you could see how they [the boxers] would want to do it. I think the winner gets a free boob job. OTWS: So … did you attend? PISAPIA: I think it was the next night after us. OTWS: How did you handle assuming more of a commanding role with the new record? PISAPIA: Lost and Gone Forever [Reprise, 1999] sort of culminated their live situation; they did it with Steve Lillywhite—I’m a big fan of his. Then the record after that, Keep It Together [Reprise, 2003] they went into their experimental phase—it was more of their Pet Sounds record. What was exciting was that this record was somewhere in between the two. We cut everything live, but as a four-piece band. As we wrote the songs, we said, ‘We’ll make the meal and we can add the extras later.’ So it’s an easier transition to play these songs live. It’s also more exciting for me to get the guys to be more “improvy.” OTWS: For example? PISAPIA: The song “Ruby Falls” was more of an improv situation. I wanted them to get out of their box a little bit. OTWS: That seems strange, given that Guster has always been associated by default with the jam band scene, especially in the 1990s. PISAPIA: It’s more the marketing of the band than the music itself. Guster’s a grassroots thing, and you see that in the attitude of the band. It’s a friends and family thing businesswise, rather than fitting into the genre. OTWS: Has your becoming a full-fledged member altered the live show at all? PISAPIA: We changed a little bit of the stage plot. I moved a bit downstage—which makes a difference psychologically. Plus, when you get into mutual space together, there’s more of a group ownership. It felt good, of course; it was a natural transition. But to be in a band that’s been a band since 1991—I joined as a full member a year and a half ago—it’s great. We were mixing Ganging Up On the Sun and it was obvious we were in it together. Then there were decisions to be made, like ‘Who’s gonna be in this band photo?’ I never thought I should be in the band until that record. I always thought of myself as a helper. But my role had changed—and they had changed, too. OTWS: Everyone in Guster is multi-instrumental. How do you like playing bass? By trade I’m mostly a guitar player. I only started playing bass when I played with these guys. Some nights I feel like a guitar player, some nights a keyboard player, some nights a bass player. It all depends on the set list. But I really enjoy playing the bass. I did a solo record in 2002, and those guys heard it. I didn’t have time to get a standup bass player, so I said, ‘Let me see if I can get this.’ And I’d play until 5 in the morning! It was out of sheer force of will. PISAPIA: With Guster, did you ever imagine that you would go from being a fan of the band to a man in the band? PISAPIA: In the beginning, I never saw that it would happen. My brother and I were in a band called Joe, Marc’s Brother and I just wanted to help them out whenever they came to town. [Pisapia lives in Nashville.] They heard our last record in 2000 and wanted us to warm up for them; they wanted to help us out. We were both two three-piece bands—and it was like trying to OTWS: Guster Theirs charm a snake out of a hat, doing double and triple duty onstage. We always wanted a fourth guy, and I wanted to be that fourth guy for them—the nanny, the guy who does all the cooking and cleaning! And soon, you’re sharing the musical ideas to the point where I was producing the next record. Brian said, ‘You’re going to produce our next record’—and it wasn’t like I had produced any big-name record. OTWS: Speaking of developing relationships, how has Guster’s experience with Shure been over the years? PISAPIA: It’s been great. A lot of times I’ll use the KSM44 open in an omni position for handclaps and percussion. It’s an all-around workhorse. And the KSM141s? I love those! I like to mic acoustic guitar with them, one on each shoulder where you get that nice midrange bite. That’s worked great. OTWS: How about the reliability of the Shure line? PISAPIA: I don’t think I’ve ever had an experience like this with a piece of gear. I’ve had SM57s and SM58®s for 20 years and they work like I’ve just plugged them in. The mics have never crapped out—and you compare that with cables, where you’re lucky if you get a year out of them on the road. And I can’t even remember a time when we’ve had down time with the wireless packs. They’ve just been so reliable. OTWS: How do you see the band growing now that you’re a firm part of it? What lies ahead in the way of further changes? PISAPIA: I think when you’re in your 20s, you’re self-conscious, where you wonder what everyone thinks of you. But in your 30s you say, ‘I am what I am’—and that’s where we are. We’ve just gotten to the point where we want to be the best [musicians] we can. Just six months ago, I got my first pedal steel guitar and I’m so psyched! I just want to keep playing it for hours a day. You start out with a Crayola 8-pack, and soon you have a 64-pack, and you just want to keep adding … ukuleles, dulcimers, hammer dulcimers! OTWS: On and on! PISAPIA: [Laughs.] Yeah! On A Budget Lead Vocals KSM9 SM86 Backing Vocals SM58® PG58 Percussion Beta 56®A, Beta 91, Beta 98D/S, SM81 PGDMK6 Guitar Cabinet KSM32 SM57 Monitors PSM® 700 & PSM 600 PSM 200 On Tour with Shure 9 995_Shure.qxd 11/13/07 12:48 PM Page 10 On Tour with Shure got to sit down with Sam Endicott, lead singer and catalyst behind the changing sound, and Michael Zakarin, guitar, before their recent show at Chicago’s Vic Theatre. Here is what they had to say about the band’s new sound and the ex- 10 www.shure.com planation behind their interesting choice of a mic stand. ON TOUR WITH SHURE: How long have you been using Shure equipment? SAM ENDICOTT: Well I think the whole time. We’ve been touring since ’04. We were always using [SM]58®s. OTWS: What does Shure do for your sound? ZAKARIN: Not only is it the industry standard for a reason, but [Sam] destroys the microphone every night, and it always works. MICHAEL ZAKARIN: 995_Shure.qxd 11/13/07 12:48 PM Page 11 How do you destroy it? Oh I just throw it on the ground and bite it and smash it. [He also whips it around like a windmill.] With the wireless equipment too, we’re always traveling and touring and flying. You play these festivals and it has to stand up to a lot. That’s one of the really good things about it. ZAKARIN: I think people have the preconceived notion that once you use wireless, as opposed to cable, you’re going to lose sound or sacrifice tone. I’ve never found that to be true. ENDICOTT: Yeah, that’s true. OTWS: Do you guys generally like festivals over a headlining tour gig? ZAKARIN: They’re different, ’cause you don’t play to your audience. I mean you play to your audience, but a lot of the time the majority of people will be just people stopping by to see you. You get a wide variety of people, and it’s the best opportunity to gain new fans. For us it’s fun, because we get to see bands that we like. We’re usually on tour so we don’t get the opportunity to see other bands. OTWS: Has your sound changed from the first album to the second album? ENDICOTT: Yes. The second album is pretty different. In the first album we use a lot of electronics and in this one we were trying to find new instruments to play with, or new sounds and textures to experiment with. There’s a lot of acoustic instruments. There’s also a lot of vocal effects; like when we’d all sing together and create vocal harmonies, kinda like Beach Boy style. OTWS: Do you guys do the arrangements yourself? ZAKARIN: Yeah, it’s fun. It’s a lot of fun. Everyone sings now. There are a lot of parts of the songs where everyone sings. It kinda creates a nice camaraderie. OTWS: How has the internet affected your popularity here and abroad? ZAKARIN: The internet has helped us tremendously. When we first started, we were OTWS: ENDICOTT: one of the three first bands on Myspace. We were on it really early. ENDICOTT: You couldn’t find anther band on it. ZAKARIN: And John, our keyboard player, was like, ‘Myspace is like the new Friendster, but you can put music on it.’ It was great. We made a really, really [crappy] website and put some songs online and it was a great way people could download it. That led somehow to some big DJs playing these unmixed songs before we were signed. OTWS: And really fast, can you take me through your song writing process? ENDICOTT: Usually I’ll start with an acoustic guitar, the melody, chords and lyrics. Then we bring in the other elements, the atmospheric things. We try and spend a lot of time trying to get the groove right, basically the drum and bass interaction. Then we record everything. The part where it gets really unusual is when we put it all on the computer and remix it. The final product is kinda like if you took a rock band and made a remix out of it. We tweak out the sounds to the point where it’s often unrecognizable from the original thing. OTWS: How much of it starts at your own home studio or garage or on the bus? ENDICOTT: Most all of it. The first album was done pretty much entirely at home, and a friend of mine mixed it at his studio at home. This one we wrote the basics on the road on the back of the bus. Then we were in New York, you know, the basement just working on stuff. But the difference is we went to Atlanta with Brendan [O’Brian] and were there for four months. That brought a different element to it. ZAKARIN: It’s really easy to record now on a laptop. You don’t need anything else. ENDICOTT: I recommend it to all bands starting out. ZAKARIN: It’s so easy; you can really make decent sounding stuff on it. OTWS: And just a product tie-in question, do you use any Shure mics in that development process at all? ENDICOTT: Yeah, sure. ZAKARIN: He now has a miked amp on the bus. ENDICOTT: On the bus I have an amp and it has like a 57 in a shoe. I use a shoe to hold it. ZAKARIN: You guys need to start making shoe holders. ENDICOTT: I always use shoes. ZAKARIN: The Sam Endicott Signature Series shoe. ENDICOTT: They work really well for holding [the mic] in place. ZAKARIN: I remember the first time I went to [Sam’s] apartment I saw the shoe holder and I was like what the hell is that? ENDICOTT: Our first album was recorded in a shoe. OTWS: So how does that work? ENDICOTT: It just holds it. I don’t have a little stand for it, so I just use whatever is lying around. The Bravery Theirs On A Budget Lead Vocals Backing Vocals Kick Snare Toms Hi-Hat Overheads Guitar Cabinet Bass Cabinet SM58 Beta 58 & SM58 Beta 91 & Beta 52® Beta 57 Beta 56® KSM137 KSM137 SM57 Beta 52 PG58 PG58 PG52 SM57 PG56 PG81 PG81 PG57 PG52 ® On Tour with Shure 11 995_Shure.qxd 11/13/07 12:48 PM Page 12 A MIC SO SENSITIVE, IT EVEN PICKS UP COMPLIMENTS. “The KSM32 is becoming my mic of choice for many applications including vocals, overhead drums and bass cabinet. The accessories and hardware are brilliantly executed.” — Eddie Kramer “In the price/performance ratings, I would give the KSM32 a solid 10. For what you were planning on spending for a single microphone you can have a pair of KSM32s.” — Roger Nichols “In my 35-year recording career, I’ve never come across a mic that works so well on so many instruments. If you are looking for a mic that is accurate, uncolored, pristine, dead quiet and doesn’t cost much, you may want to own several KSM32s. I just ordered a dozen.” — Tom Jung Experiencing the performance of our KSM32 cardioid condenser microphone is, quite frankly, beyond description. But to be fair, we’ve let some discerning professionals try anyway. The Shure KSM32. It will capture more than your voice. For more information, visit www.shure.com. www.shure.com © 2007 Shure Incorporated 995_Shure.qxd 11/13/07 12:48 PM Page 13 engineered wisdom Mike Hagler: All Hail to the Kingsize by Louis R. Carlozo E ngineer-producer Mike Hagler, the owner of Chicago’s Kingsize Sound Labs, may be lesser known than his neighbor to the north, engineering legend Steve Albini (Nirvana, The Stooges). But Hagler’s records need little fanfare: Wilco’s Summerteeth ranks number 25 among Chicago Tribune rock critic Greg Kot’s 50 greatest albums of the ’90s. Hagler has also worked on both Wilco-Billy Bragg Mermaid Avenue discs, and his resume includes Neko Case [Canadian Amp], Jay Bennett and Edward Burch [The Palace at 4 a.m.] and Five Style [Miniature Portraits]. Besides being a talented engineer and studio musician, he’s also developed a reputation as one of the best mastering engineers in the Midwest—and an engineering favorite of country musician-producer Lloyd Maines [father to Dixie Chicks lead singer Natalie Maines]. On Tour with Shure stopped by Hagler’s Kingsize lair on the city’s West Side to discuss his recording philosophy, the outstanding discs he’s made and how he’s used Shure microphones to craft and refine his most ambitious and delicious sounds. ON TOUR WITH SHURE: There are a good number of diehard Wilco fans who have no idea the key role you played on their watershed record, Summerteeth. Not to put you on the spot, but can you shed some light? MIKE HAGLER: I did a ton of work on that, a big chunk of that record. They came in here with skeletons of songs, and a lot of that record was [fleshed out] here. Summerteeth was a lot of fun to make. I went out to L.A. with them to mix it. I also engineered on the Wilco/Billy Bragg records, Mermaid Ave. Vol. 1 and Vol. 2, based on the unrecorded Woody Guthrie lyrics. [Vol. 1 was nominated for a 1999 Grammy for Best Contemporary Folk Album.] What Wilco did was come here to record demos for these songs, and they were supposed to redo them in Ireland. And they said, ‘Why redo them? The vibe is right, it sounds right.’ There was a bit of tension between them and Billy Bragg! OTWS: There’s a fascinating story about how you switched from using a $4000 tube mic for vocals and overdubs to the Shure KSM32. Tell us about that. HAGLER: Shure had come by and loaned a Mike Hagler pictured with his KSM32s behind the console at Kingsize Sound Labs. pair of KSM 32s to Joe Chiccarelli [Beck, U2]. We were working on Tim Easton’s record; Joe was producing and I was engineering. I put them on the overheads and as soon as I put the overheads up—that same moment—it blew his mind. Once I used the 32s on overheads, I never went back. Then I started using them on vocals. “Once I used the [KSM] 32s on overheads, I never went back. Then I started using them on vocals.” — Mike Hagler OTWS: Why the KSM32? HAGLER: I think it’s got a real present quality and gives recordings character. It has punch, drive to it. I love KSM44s, too; they seem to be smoother and rounder. And the SM7? Forget it! I used that mic on Mark Eitzel’s vocals, and we went through four or five mics. OTWS: So here’s the boxers-or-briefs question for recording guys: Analog or digital? HAGLER: It depends on what the client wants. I love the depth of analog, but I love the speed of digital. And a lot of clients can’t afford reels of 2-inch tape. In digital, you can manipulate things in cool ways. People make great records in both formats. You have to do what feels right. I don’t want to discourage people from making music. OTWS: Your approach is unusual in that it mixes homebrew ethic with top-flight professional sound. HAGLER: I love homemade records. I’m really into DIY and with mastering, I get to hear a lot of these records. With Neko Case’s Canadian Amp we recorded it in her kitchen at home. It’s a great, fun little record and she’s hilarious. She knows what she wants and so we’d make it weird—bring out the Space Echos, the weird effects. OTWS: You actually live in a makeshift apartment across the hall from your studio. Why is that? HAGLER: I’m here pretty much all the time and ever since 9/11, I figured, ‘What do I need all this stuff, these material possessions for?’ Everything I have here is pretty much what I need. OTWS: What advice do you have to people thinking of making the leap into the studio world? HAGLER: You have to really want to do it. I’ve run into a lot of guys out there with great ears and they quit! You’ve got to get along with people, too—that’s important. And with Shure mics, you get a lot of bang for your buck. With other mics, you’re going to pay more, and for what? You’re better off going down the road with Shure. On Tour with Shure 13 995_Shure.qxd 11/13/07 12:48 PM Page 14 P atty Griffin recently added to her list of award nominations; her latest LP, Children Running Through, was nominated for Album of the Year and the song “Heavenly Day” for Song of the Year by the Americana Music Association. The record also garnered her the biggest first-sales week of her 10-year recording career. The Maine-born/now Austin, Texasbased singer/songwriter is one of those rare artists whose music is so universal and so much from the soul that you wonder if there’s an archetypal gene out there that makes a precious few human beings innately able to translate emotion into music. It’s no surprise that critics are lauding her newest collection of songs as her best thus far, some even calling it “a masterpiece.” It’s as if this was the record she was always meant to make. 14 www.shure.com 995_Shure.qxd I 11/13/07 12:48 PM Page 15 t’s hard to believe Griffin’s career began just over a decade ago, when her guitar teacher in Boston convinced her to perform her songs live. Soon after, she landed her first recording contract, and the shy girl became an admired and beloved artist, one whose music will surely stand the test of time. “It just kind of happened,” she contemplated humbly. “I think I’ve lucked out in a lot of ways. A lot of it’s timing. I’m a hard worker, not without ability. But I think I’ve been lucky, really.” Her songwriting began to shine bright before her singing did, as she has long been a popular source of material for other artists. A diverse assortment of performers have recorded her work, including Martina McBride, Bette Midler, Mary Chapin Carpenter, Reba McEntire and Maura O’Connell. And in April, Griffin’s music was exposed to the masses when Kelly Clarkson, joined by legendary rock guitarist Jeff Beck, performed her song “Up To The Mountain (MLK Song)” on a special edition of American Idol aimed at raising funds to help children in the USA and Africa. It is a song that soul artist Solomon Burke [who indeed had known King] recorded first for his September 2006 album Nashville. Griffin participated in the recording. She then decided to take a shot at it herself for this record, with a simpler piano- and stringsbased rendition. “It was frightening actually because [Solomon’s] version was really intimidating,” Griffin told OTWS before her Chicago show at The Vic Theatre earlier this year. “He knew Martin Luther King, so it was a whole different deal for him. But I also felt like it was a nice piece for my record. I love gospel, I’m influenced by it, and I wrote a gospel song, so I figured I might as well sing it!” Gospel has been a part of Griffin’s life since childhood. “For years The Staples were my staple,” she said. “If I was bummed out or confused I would put that music on and I would feel better. I’ve been listening to Aretha [Franklin] for years; the Amazing Grace record was a big part of my life, it made me see how high the bar can be set as a singer.” Children Running Through was recorded in her hometown of Austin, in a makeshift studio set up in a house she was renting. In addition to Griffin on vocals and guitar, the sessions featured a stellar assortment of Austin, Nashville and New York players, including longtime Griffin collaborator Doug Lancio on guitar, legendary Faces keyboardist Ian McLagan, and a nine-person “I was a Beta 58[A] girl for years—you can’t really go wrong with that one. But the Beta 87C has a flat [screen] and I can really work it.” —PATTY GRIFFIN string section conducted and arranged by multi-instrumentalist John Mark Painter. There are as many explorations of emotion as there are a variety of styles on the record, but the common thread is deeply buried in roots. There is the jazzy and poetic “You’ll Remember”; the hardy, acoustic guitar and horn-laced R&B of “Stay on the Road”; the bittersweet, country-folk beauty, “Trapeze,” which features backing vocals by her friend Emmylou Harris. “I’ve been lucky enough to know her for quite a while, and [this song] was the one I earmarked for her. And it turned into a duet. She really made it this whole other thing.” Then there is the celebrated “Heavenly Day,” whose combination of uplifting strings and piano buoying the pure joy of Griffin’s voice—a truly heavenly experience. On past recordings, Griffin stayed out of the production role for the most part. “To me, production is being hands-on and very specific about the arrangements and how things go to tape and how they sound, and in the past I haven’t had a huge interest in that.” But this time around she chose to work with Mike McCarthy, whose production credits run the gamut from indie rockers like Spoon and …And You Will Know Us By the Trail of Dead to Lee Ann Womack and BeBe & CeCe Winans. “He’s really technical, but he would bring something really different to the table,” she said. “My weaknesses are his strengths. I came to it with more confidence; he made me work for it a little bit—he’s got his own ideas— but we made a good team in the end.” A hard-working singer naturally chooses a hard-working microphone. That’s why Griffin uses nothing else but the Beta 87C. “I’ve been working with Roy Taylor, and he’s the one who urged me to try that mic back in 2002. I was a Beta 58[A]® girl for years—you can’t really go wrong with that one. But the Beta 87C has a flat [screen] and I can really work it. I like to play with volume. And I like to fall into the background and use my voice as an instrument. I’ve tried other things and I’ve always wanted it back!” She has also used a Shure wireless guitar pack since 2000. Her current tour bassist/cellist/pianist/back-up singer Bryn Davies just changed to the Beta 87C, too, she said. “She’s got to move with that big bass and sing and needed to have it carry her from a distance [onstage].” Don’t pass up the opportunity to see Patty Griffin and band perform songs from her masterpiece—with Shure mics to enhance the experience—as they’re on tour throughout the year. Patty Griffin Theirs On A Budget Lead Vocals Backing Vocals Kick (on floor, beside pedal) Kick/Snare (on beater side of kick) Toms Overheads Guitar Amp Upright Bass Cello Conga Beta 87C Beta 87C Beta 91 Shure 300 Beta 98D/S KSM27 KSM27 & Beta 57A® Beta 98H/C Beta 98H/C Beta 98D/S SM86 SM86 PG52 SM57 PG56 PG81 SM57 PG57 PG57 PG56 On Tour with Shure 15 995_Shure.qxd 11/13/07 12:48 PM coverstory 16 www.shure.com Page 16 995_Shure.qxd 11/13/07 1:01 PM Page 17 Proclaimed as one of the natural wonders of the music world, Bobby McFerrin is a talent unlike any other. His unique, innovative vocal ability allows him to take on the persona of a one-man-band, only without any instruments on stage and making it all up as he goes along. On Tour with Shure caught one of McFerrin’s captivating performances and then made the attempt to wrap our heads around how he does that thing that he does with just a voice and a microphone. ON TOUR WITH SHURE: How do you describe your unique music to those who may not be familiar with your work? BOBBY McFERRIN: My career has been mostly built up on solo voice concerts, which I started doing in 1983. What that means is, I walk on stage alone without guitar, piano, or anything and sing acapella. In order to do that, and to do it successfully, I devised a technique that makes people hear the bass, melody, and harmony. I fill in and sing the bass lines giving as much musical information as the ears need to get a full musical picture. The listeners can sort of fill in the blanks. That’s pretty much the way I’ve built and established my career as a solo vocalist. I did that pretty much exclusively for about five or six years before I started branching out doing other things, such as putting bands together, working with other musicians like Chick Corea and Jack De Johnette, and putting Voicestra together, a 12-person acapella group. Voicestra is also very unique because all of our concerts are completely improvised from the first note to last. OTWS: Has it always been a method where you were trying to do multiple instruments or did you start with more of a single-instrument, whether it was percussive or a bass line? McFERRIN: I actually never thought about the instruments themselves. I never had my “trumpet phase” or “bass phase” or “percussion phase.” It was always, ‘How could I create a color palette to get people to hear things, or a palette to describe a character?’ Each tune to me has to have some kind of a sonic landscape. What I usually do on stage is, I go out and I just start improvising and I’m actually looking for an idea to play with. So I’ll spend five, ten minutes looking for that something. That’s very hard for the audience and myself, because they have to wait. In today’s society, it’s very difficult to wait for things because in today’s popular music, the groove is set up right away. You’re not looking for it. But in my concerts I’m trying to find something to play with and as soon as I do, I’ll establish the tonal center, the bass line, the key, the rhythm, the sound…all that goes into it. OTWS: Your audiences look as though they are in awe, locked onto you. You mention that they want something instant, but it looks as thought they can see the process you’re going thru and they are happy to wait for it. McFERRIN: I do have a segment of the audience who understands what I’m about. They know when they come to one of my concerts, what is required of them as listeners. But generally, it can be very challenging to some audiences who have not been exposed to me or don’t know what Voicestra is about. For example, I’m certain that people are convinced that with Voicestra, everything we do is thought out in advance. The whole concept of not having a single idea or nothing thought out in advance, discussed, or rehearsed… it takes people a minute to get that. I think by the end of the concert they do get it, but in the beginning, they might not be convinced. OTWS: You started as a piano player and your parents were a huge influence and inspiration to becoming a vocalist, but what took it to this unique jazz, vocal, soloist level? McFERRIN: It’s Keith Jared’s fault. When I was a pianist, I was a huge Keith Jared fan. Keith was technically brilliant and had wonderful ideas. But what was so admirable is that this guy would just walk out on stage, sit at a piano, and just start playing. He was on this journey. He’d walk up the mountain or walk thru the valley or whatever he was doing musically, but that was what he was doing. And I thought, ‘I want to do that. I’ve got do this! But how can I do it?’ So for two years, all I did was sing. I wouldn’t buy any records and I wouldn’t listen to a single singer. I’d go in my room, turn on my tape recorder, and just start singing. I did that for a couple years, shutting myself off from other singers until I figured out what it meant for me to be a solo vocalist. So from the thought to the conception of it, it took me about 6 years to actually do it, because first off I was scared. To me it was a very frightening idea, a very bold idea, to stand on stage as a singer without any kind of accompaniment and sing. It blew me away. Once I overcame the fear and really started doing it, I saw the possibility of it. OTWS: Speaking of classical music, the performance you do with “Ave Maria” combined with Bach’s “The Node,” with the audience participation… Is that you opening up people’s minds or is that part of you looking for material and using the audience to kind of play with? McFERRIN: It’s the latter. Music has got to be the best icebreaker, community-making device possible. You’ve got a room full of strangers singing together. That’s the most amazing thing. Everyone in the audience feels like they’ve contributed to the musical Bobby McFerrin His On A Budget Lead Vocals Monitors UR2/KSM 9* PSM® 700 PG24/SM86* PSM 200 * wireless system On Tour with Shure 17 995_Shure.qxd 11/13/07 1:01 PM Page 18 happening of that evening. I remember a musical moment with Voicestra in Minneapolis where I had the audience singing this chord. We stopped singing because we had to listen to this sound that was coming from the audience. It kind of reminded me of an ice storm on a sunny day. Everything is like shimmering diamonds. But it’s dangerous too, because at any moment, a branch from a tree could fall down and kill somebody. So we had this incredible combination of this beautiful chord and yet there was this sort of tension... I can’t really describe it. For a moment there, we had to stop and catch ourselves because it was a phenomenal moment and it came from the audience! OTWS: When did you start using Shure? McFERRIN: I’ve used Shure more than any other mic, going back to the Shure [SM]58®s. It’s a reliable microphone. I shared a Shure 58 with Tina Turner and Mick Jagger at a Rock and Roll Hall of Fame induction ceremony in New York, February of 1988 I believe. Shure came thru! Mick and Tina and myself! [laughter] What a moment that was! Yeah, I’ve been using Shure for a long, long time. OTWS: About two years ago, you made the switch to the KSM9. How has it been treating you? McFERRIN: I have to say I do notice how true the sound is. It’s just true, clean; just right for me. I can move the microphone and still get the sound it picks up in the air around my voice, and it’s easy to manipulate. I don’t have to worry about any kind of drop offs or the sound just going away. It trails along with whatever I’m doing. Every time I use a new microphone from Shure, it’s an advance. It’s better. The other thing that is really cool about the Shure KSM9… There are moments when I’m singing very softly and the microphone does a really good job at picking up those soft tones. I have worked with other microphones where that wasn’t the case. You would move away and it would only go so far with you, but it’s almost as if the Shure microphone is an extension of my instrument, it’s part of me. OTWS: Most proud professional moment? McFERRIN: Oh gee…. I don’t know if I can choose one… There’s so many. For example, Alison Krauss, who has the voice of an angel, she does this song, this cover… [singing] ‘Baby, now that I found you I can’t let you go/I’ve built my world around you…’ My daughter and I used to sing that 18 www.shure.com everyday I would drive her to school. I got Alison’s phone number, I introduced myself and I said, ‘I got to tell you… my daughter and I sing this song on the drive to school and I just want you to know I think you’re fabulous and would love to sing with you someday.’ So a couple of years ago I was invited to sing at the Telluride Bluegrass Festival, and she was one of the artists. I was determined to ask her if we could sing that together. So when I saw her I said, ‘Here’s what I’d like to do. As a duo, just the two of us, I will sing… [demonstrates] the guitar part. And she said, ‘Maybe we should have some band members…’ because she didn’t know. Like I said, when I first started doing acapella, nobody understood what I was talking about. And I said, ‘Don’t worry about it. You’ll hear everything, it’ll all be there.’ So she said, ‘Okay… we have to rehearse this, because I don’t understand.’ So we went to her bus and she said, ‘Okay… show me what you mean.’ And I started singing… [demonstrates], and she started singing, and she sang the first verse and she leapt up and ran away! And she came back and said, ‘I could hear everything! I could hear everything!’ So that night, she invited me out to sing, and the two of us did this song; she played fiddle and sang. That was one my most favorite moments. But there’s more! 995_Shure.qxd 11/13/07 1:02 PM Page 19 995_Shure.qxd 20 11/13/07 www.shure.com 1:02 PM Page 20 995_Shure.qxd 11/13/07 1:02 PM Page 21 ON TOUR WITH SHURE: Mute Math’s beginning came at a time when another band, Earthsuit, was ending. What feels different this time around, musically, physically and mentally? PAUL MEANY: I like the guys in the band a lot better. I like to think of Earthsuit as an educational college experience. It was a definite “going to school” time. When we started Mute Math it was just really an attempt to apply what we have learned and hopefully have a band that we can enjoy more. And when I say I like the guys better in the band now, I mean mainly myself. GREG HILL: You like yourself more? ROY MITCHELL-CARDENAS: You definitely yell a lot less. [Everyone laughs] OTWS: A message of simplicity and relevancy is expressed in the band’s new material, was this a conscious effort? MEANY: The only effort that we made was to try to make music that we would look forward to playing every night. I think when it comes to lyrics, there isn’t a lot of conscious effort that goes into it except for just what kind of naturally happens. I think writing songs is a big part of just kind of stepping back into the subconscious in a way. You just kinda let music provoke feelings and kinda write itself. So that was the “M.O.” when we started our band. We wanted it to be… sort of free from what we thought any particular rock band should be or whatever genre it was and to do away with the requirements categories and just make music for the sake of creating and enjoying what we’re listening back to. It really started as a side project—Darrin [King, drums] and myself—it was a twopiece band and it just kind of evolved slowly. Greg [Hill, guitar] joined after that and then finally, when Roy [MitchellCardenas, bass] came in, it seemed that everything had come together. It was an evolution. All I knew in the beginning was that we wanted to make music that we like, simple as that. Major simple. OTWS: Let’s talk about the song writing process. Is this a collective effort, involving all members of the band? MEANY: Yeah, it definitely is. Obviously, this record we are going into is the first time that all the band members are around from ground zero. Because of the way Mute Math started, it was generally a lot more Darrin and myself’s ideas and then the other guys came in after the fact and put their little twist on it. But right now, which is very exciting, we’re starting the second record and all the writing. Everyone’s really shaping these songs from the bottom up together. It’s been good… I think this next record is going to be incredible. OTWS: What is the inspiration for the new material? MITCHELL-CARDENAS: I think generally it’s just the inspiration of playing together more and knowing each other as a band, and individual pieces that work a little more. That definitely inspires me. MEANY: I think having played [together] and touring non-stop, you learn a lot about yourself as a band… what you do good, what you don’t do good. This next time we are just trying to focus in on what we really like about our band, try to emphasize all that. Almost every bio of the band and review of the record submits that the Mute Math sound is reminiscent of U2 and the Police. How would you guys describe your sound on stage and in the studio? MEANY: The description of our sound is: difficult. I usually leave the categories to the professional category makers. The bands you listed are definitely bands that we’ve listened to, enjoyed over the years and I think wrote the textbook on how to make music and then translate that to a great show. That’s all we try to do. When we’re making OTWS: music in the studio it’s really embracing that medium. But it’s a different experience when you take it to the stage and I think that’s a good thing. That’s how it actually should be. That’s what we try to do as a band... let the song grow on tour, let it become a life of its own and not be afraid to be in the moment of whatever happens any given night. OTWS: Speaking of your sound on stage, the vocals are being picked up by Shure’s SM58® and you guys are also using PSM® 700 for monitors. Have you noticed a difference in the sound on stage and also in the way you perform? MEANY: Well absolutely! So much of the performance has to do with what you are listening back to. Since we have been using all of these wonderful gadgets provided by Shure, yeah it’s inspirational. Especially when you take the stage and are anticipating the “zone” or the “moment,” or whatever is going to click you into that place you hope to be on stage. It has so much to do with what you hear back. Being the vocalist, I have definitely enjoyed the sound of the SM58. When you like the sound of your voice, it helps you to sing better somehow, at least for me. We’re having a good time with all the new toys. OTWS: It seems that things are really working for you guys the second time around, what lies ahead for Mute Math? KING: The next tier of the “layer cake of success” is: all the things we’ve had before except, more of it, I suppose [laughs]… with a little more freedom. To be honest with you at this point, it just looks like a lot more work still yet to go as we are preparing for the next tour. The first show of our 51show tour is near approaching. MEANY: You’re catching us the second to the last day of production rehearsal, which we are so behind the 8-ball and that’s how it is. Every tour, you’re so under-rehearsed, you’re never ready and that’s OK. It’s a great time. Once you get a week in on the tour, it doesn’t matter. Mute Math Theirs On A Budget Lead Vocals Backing Vocals Kick Snare Toms Hi-Hat Overheads Guitar Cabinet Bass Cabinet SM58 SM58 Beta 91 & Beta 52® KSM137 & SM57 Beta 56® KSM137 KSM32 KSM27 Beta 52 PG58 PG58 PG52 PG57 PG56 PG81 PG81 SM57 PG52 ® On Tour with Shure 21 995_Shure.qxd 11/13/07 1:02 PM Page 22 n a chilly evening in March, in an intimate Chicago theater, two American classics collided. The skeletal set for a forthcoming production of “A Streetcar Named Desire” proved the perfect backdrop for Los Lobos, and the music from their latest CD, The Town And The City. Backstage, the conversation turned to the mics used at CRG studios (i.e. Cesar Rosas’s Garage). It turns out that the boys from Los Lobos have discovered what so many musicians are discovering; the SM7 makes a wicked vocal mic. 22 www.shure.com 995_Shure.qxd 11/13/07 1:02 PM Page 23 Oh man, it’s such a staple now. Every studio should have a couple of ‘em. One of the reasons we like it is that you can sing pretty hard into it and it can take it. ON TOUR WITH SHURE: I understand you had a little trouble getting started writing The Town And The City. Even at this point in your career, I guess sometimes you’re just tapped? DAVID HIDALGO: Yeah, that’s what it was. We’d been on the road a lot. We hadn’t had more than like five days at home in eight months. Luckily I had some ideas that I had been working on a year, year-and-a-half prior. I started going through my tapes to see if there was something—not to use, but to spark an idea. OTWS: This record is arguably your finest, so maybe it’s not such a bad thing to have to dig yourselves out of a hole. HIDALGO: Well, it worked out that way. We always start with a struggle—the first couple of songs, you have to follow the inspiration and see where it leads you. OTWS: In addition to being road weary, did you feel any need to live up to your reputation? HIDALGO: I guess so; we always want to do something different. We try not to repeat ourselves, but that’s self-imposed. OTWS: Do you find that your motivation has changed? Do you do this for different reasons than when you started playing weddings? ROSAS: Well, we went from just being musicians and having a great time to having success just come. Just confronting that, that this is what we do now, this is our career… when we had the hit with “La Bamba,” it was so weird for us; we didn’t know how to handle it. OTWS: Are there still people who only know you through “La Bamba?” ROSAS: Well, we’re so old now…[laughing] HIDALGO: With the younger generation, we’ll say, ‘Hey, remember “La Bamba?”’ ROSAS: They’re like, ‘What is that?’ And we’re like, ‘Cool!’ HIDALGO: But that was our ace in the hole, too. We’ll be going through customs [and say], ‘Remember “La Bamba?”’ ‘No.’ ‘Aw, man. Cesar, get over here! Bring your shades!’ [Laughing] OTWS: And it seems that you have the freedom to do what you want musically. ROSAS: We managed to cut our own little niche. Whatever’s happening, we’re right alongside it in our own little world. We CESAR ROSAS: didn’t plan it like that; it’s just the music that we play. OTWS: Tchad Blake has mixed so much of your music; how much latitude does he have? Like the distressed drums on “The Valley”—was that you or him? ROSAS: They already sounded that way. HIDALGO: That was from an eight-track cassette. He made things sound bigger. His stereo imaging is pretty amazing. He can make things sound like they’re coming from behind you. He’s good at finding space for everything. And he was very excited about it, because he’s been working at Real World and working on albums with a hundred and forty tracks. OTWS: It’s like math homework after a while. ROSAS: But as far as all of those tones though, we’re responsible for all of that. From way back, we’ve committed to the track, especially Dave, messing around with all of the pedals, we’d get all of the tones, and we’d record it like that. We’d commit. OTWS: It’s nice and wet, and you can’t undo it. ROSAS: So often, when we’d get to the mix, we put up the tracks and they’d be practically mixed already. So we’ve tried to keep it like that. OTWS: With the kind of music you play, no one is going to look at you like they do Mick Jagger and criticize you for continuing beyond a certain age. Will you do this ‘til you drop? ROSAS: I hope so. I can’t believe that we’re still here together after so long. HIDALGO: Y’know, we get tired sometimes, and wish we could stay home, but we’ve got to count our blessings. We complain about a lot of things, but… OTWS: …but the guy typing away at his desk for fifteen years doesn’t say, “Man, I have always loved data entry.” Do you still get that rush on stage? HIDALGO: Yeah, every time we play—well, some nights we have some problems getting it going, but even then, as work, it’s pretty good. Los Lobos Theirs On A Budget Lead Vocals SM58 PG58 Kick Beta 52® PG52 ® On Tour with Shure 23 995_Shure.qxd 11/13/07 1:02 PM ON TOUR WITH SHURE: How’s Page 24 the newest recording coming along? I guess it’s coming along fine. It’s taking time to shape but it’s coming along; the way we envisioned things. I think the novelty is that, because we have been doing all the production by ourselves, what happens is that we feel the pressure a lot more and I suppose that’s why most of the time people tend to work with a producer. But because we’re working on it together, we can actually sort of share the load. OTWS: Have you got a title for the album yet? JULIO: I think we can tell you the theme, but we still haven’t JULIO ACCONCI: 24 www.shure.com confirmed the title yet. It’s [the theme] pretty much “not alone,” meaning everything that we have been going through is a joint experience and we never felt that we were alone. I think one tends to go through life, feeling that you have to make decisions; feeling that you are alone–but there’s somebody sitting there going through the whole thing with you. OTWS: What’s the inspiration for this album? Have you been listening to different influences recently? JULIO: Yes, a lot of stuff. From Snow Patrol to the Beatles, and everything else in between. 995_Shure.qxd 11/13/07 1:02 PM Page 25 DINO ACCONCI: I actually spent one evening just listening to all the old Beatles songs over and over again. If they worked then, why can’t you learn from them? So whenever we listen to music, we tend to learn how they crafted the songs as opposed to how they arranged it. So, the direction we’re taking is not so much conceptual. We try to write songs that people can hum when they’re in the shower. So, when we listen to records, we tend to listen over and over to those songs that catch our senses and that you find yourself singing along to as you’re walking down the street. We consider that a good song and go from there. We then structure the song and the way we come up with sounds [melody]. For the instruments, that’s something we do later with the musician and songwriter friends we’re collaborating with. They’ve been giving valuable advice that has helped us to shape things and meet our objectives. I think that’s been the whole writing process. OTWS: Between the writing and production and actually getting the records into stores and on the airwaves, how do you share the responsibilities? JULIO: For all that is musical, they tend to be on Dino’s shoulders. Although we write together, he’s the man when it comes to songwriting. Whereas I look after things like logistics and the business side so that he doesn’t have to worry about those things. DINO: He’s actually being too humble. What we do together is, I may come up with the ideas but I never complete them myself. I always work them through with Julio because we think together. The last thing I want to do is to write a song that he can’t sing. So, I always run it by him. It’s always a collaboration between us. So, by the time a song is completed you’ll find that it’s not only an expression from Soler, it’s everyone who has collaborated with us. That’s what we like to do, to involve and listen to every member of the production team, so that the songs have a more eclectic flavor. JULIO: Another thing that is so important, what we find interesting in our relationship with everybody, is this mutual admiration. I told Dino this many times, and I’m not shy to say that I’m his number one fan. And with that, I think it helps a lot to give him the confidence to develop musically and creatively. Instead of criticizing everything he does, my job is to ignite his spark and keep it going. OTWS: You write songs in English and Italian, but are those songs performed in English and Italian too? JULIO: They are actually in Cantonese, but we have tried to preserve the context despite all of the translation work. One thing we felt lacking in our previous albums, even though the music was written by us, was that we didn’t really connect to the lyrics. With the English lyrics as a guide, the translators managed to recreate the lyrics and at the same time retain a Cantonese or Mandarin flavor. It was a challenge for them, but in the end I think some of the songs came out surprisingly well. OTWS: Which mics do you currently perform with? JULIO: We currently tour with our [own] UR2/Beta87As, and they’re very good. Actually, I’m a big fan of Shure, as you already know. I like the feeling; it must be a design thing. Ever since I began using it, I’ve liked the feeling of the thing [grill] against my lips. So having [mics of our own] is actually very good. DINO: Not all companies spray sanitizer on the mics. JULIO: Exactly, so having [my own], I can now kiss the mic. DINO: We have been using the SE530s at the studio. I recorded yesterday for my guitar tracks and it gives you the whole feeling of the song, and listening to yourself in the recording is a very unusual experience. Brilliant. OTWS: What artists have you been compared to? JULIO: Quite a few. In the beginning, when we sang in English, some people thought we sounded like The Simm Brothers, Crowded House… DINO: Daryl Hall & John Oates… JULIO: …Simon & Garfunkel… I think we’ve been compared a lot to people that harmonize in songs. Not that we sound like them but the way that we write songs is very similar to The Bee Gees. There’s something about siblings that write music together, it’s very unique if you listen to how they write songs and how just any songwriter writes songs. Soler Theirs On A Budget Lead Vocals UR24D/Beta 58 * PG24/PG58* Lead Vocals UR24D/Beta 87C* PG24/PG58* Kick Beta 91 & Beta 52® PG52 Snare Beta 56 PG56 Toms Beta 98D/S PG56 Hi-Hat SM81 PG81 Overheads SM81 PG81 Guitar Cabinet SM57 PG57 Bass Cabinet Beta 52 PG52 Monitors PSM® 700 PSM 200 ® ® * wireless system On Tour with Shure 25 995_Shure.qxd 11/30/07 8:53 AM Page 26 But sound-wise, there’s nothing like the husband-wife duo of Linford Detweiler and Karin Bergquist. From their early, arty days [captured beautifully on the album Patience], to riskier endeavors [Films For Radio] to majestic, broken epics [Ohio], the Over the Rhine catalog reflects depth and power any independent band would be proud to possess. 26 Now with their latest The Trumpet Child [GSD/ Redeye], Over the Rhine stands poised to break more new ground and win over new legions of fans. On Tour with Shure stopped to talk to Linford and Karin just as their album hit the streets to talk matters of art, faith—and faithful service from a mic they’ve trusted all the way. 995_Shure.qxd 11/13/07 1:02 PM Page 27 ON TOUR WITH SHURE: Over the Rhine has always managed to tread the world between Christian music and the mainstream without alienating fans loyal to either camp. To what do you attribute your artistic success? LINFORD DETWEILER: Oh, well that’s an optimistic appraisal of the situation! [Karin laughs.] Karin and I both grew up around a lot of church music. My father was a Protestant minister and the big questions have always interested us in our music. I think some people sense that we do want to go deep with our songwriting. However, it was very clear to us from the very beginning that we wanted to function in the mainstream. We wanted to get out there with our musical heroes, people like Bob Dylan, Nick Lowe, Leonard Cohen, Emmylou Harris, whoever. We wanted to rub shoulders as much as we could with our musical heroes, people we consider to be “giants” of song. We didn’t want to limit our music to a particular subculture or whatever. So we kind of busted out of the church into the general marketplace and that’s where we always felt the most at home. Karin always says, ‘You don’t pick your audience, your audience picks you.’ So it’s been really interesting to us to see just a broad spectrum of people discover our music and find a way in. We love our fans! OTWS: Many full-time Christian industry artists would be queasy about taking the kind of artistic chances your band takes— with language, imagery, the honesty and brokenness in the lyrics. What compels you to go down that path as opposed to, say, singing neat three-minute hit songs with lots of references to Jesus? KARIN BERGQUIST: Wow! Well I think that’s where we live and I can’t relate to the threeminute hit song period—I can’t relate to any other songwriting than what we write because it’s where we live. I just prefer more of a real approach to songwriting. I like to blur the lines between, and I hate the terms “Christian” and “secular” because I think they’re abused, overused and overrated. I think music crosses all those boundaries and I don’t like the separation. That’s not where I live and I just can’t help but write from where I live. So if it’s dangerous to one group…um … ya know… good! [Laughs.] DETWEILER: I think just in terms of keeping it real, we don’t have all the answers. We struggle, we’re broken, we have hopes and aspirations. We’re just trying to reach out and be honest. I think that’s part of it, too: We have never tried to dictate an answer. I’ve always been more interested in the question. I think that’s a more honest place. I’d prefer a leader in my life, or my government, or my world that says, ‘I’m not sure, I don’t know, but here’s what I think and here’s what I’m learning,’ rather than, ‘I know.’ Because I don’t think anybody can say they know and they have all these absolutes. I think that’s very unrealistic and misleading and that’s just not where I live. DETWEILER: I think we just try to invite people into a conversation. We want to learn from our fans and from our music. We want them to hopefully get ideas from us. Hopefully it’s sort of an interactive thing. BERGQUIST: OTWS: Linford, you have always been one of the most literate voices in indie music. What types of reading, literature and art—musical or otherwise—inform your approach to the craft? Bob Dylan for example once said his music would be more influenced by a given painting than, say, another music act. DETWEILER: When people would ask my influences, I used to name authors. It just felt natural to me, more so than other songwriters or musicians, so I can relate to that a little bit. I think when I started getting interested in words, I was drawn to people Over The Rhine who had a real facility with language. People like Dylan Thomas, who could make the words themselves sound like music. Or people like Andy Dillard who could sustain sort of a lyrical, beautiful piece of writing page after page. So a book like “A Pilgram at Tinker Creek” to me is like a 400-page poem, just this cathartic outpouring of beautiful language. In recent years as I’ve grown older, I’ve grown more interested in trying to simplify my language, be more adept with my subject matter. [Linford laughs as a server begins to fill the ice bin right outside the green room.] I think simplicity is hard to achieve convincingly and it’s sort of what I’m drawn to in all areas of life. OTWS: Tell us about how Shure mics have worked into all you do. Take us back to the beginning and right up to now. DETWEILER: I had an old SM57 that I carried around like a little, special… child. [He motions like he’s holding a baby; Karin laughs.] It was just a great microphone. That was the microphone on all our early records that we always pointed at the guitar amp and a lot of different things because it just sounded great and we weren’t sure what we were doing. So that was easy! Then I remember my first pair of SM81s. I finally saved up 600 bucks or whatever it was for a couple of good condenser mics. We used those for years on guitars and my upright piano. They made the upright sound so good and I realized that it was sort of an underrated instrument. People tend to want to use a really grand piano—so you can almost dismiss the sound of a grand because it’s kind of predictable. Uprights tend to be unpredictable and ragged sounding—like pianos with broken hearts. The SM81s were great. Obviously, SM58®s were our first vocal mics. For us to have a Shure endorsement at this point in our career is significant, a real vote of confidence. BERGQUIST: It’s great. We really appreciate that. Theirs On A Budget Lead Vocals Beta 87A SM86 Backing Vocals Beta 87A SM86 Kick Beta 91 & Beta 52®A PG52 Snare SM57 PG57 Toms KSM27 & Beta 98D/S PG56 Hi-Hat SM81 PG81 Overheads SM81 PG81 Guitar Cabinet Beta57A® PG57 Bass Cabinet KSM27 PG52 Monitors PSM® 600 PSM 200 On Tour with Shure 27 995_Shure.qxd 28 11/13/07 www.shure.com 1:02 PM Page 28 995_Shure.qxd 11/13/07 1:02 PM Page 29 On Tour with Shure caught up with Seaton in the midst of the Richie action. It’s been a long road from banging on his mother’s pots and pans, but one filled with joy, discovery and an unbridled affection for the mics that make his magic sound spring to life. ON TOUR WITH SHURE: Take us back to the exact time in your life when you knew you were called to be a drummer. OSCAR SEATON: I was raised in Church and one Sunday during service, I saw an older gentleman playing drums. I was about 6 or 7 years old and that particular Sunday, I really paid attention to the drums and I was blown away! I knew from that point on playing drums is what I wanted to do. All I could think about was playing drums. I went home and made a drum set out of some pots and pans and paint cans and started playing every day from that point on. OTWS: What is your favorite style of music to play? How is touring with Lionel Ritchie a challenge in terms of nailing the drums? I am told he’s a real perfectionist, in a good way. What is Lionel like to work with? SEATON: I don’t have a favorite style of music. As long as it has a pocket and a groove, that’s my favorite thing to play. The challenge playing with Lionel Richie is making his music sound like the record and making him feel better than when he recorded the song—and when people hear the love songs and ballads, making them feel like they felt when they first heard the song. Lionel is one of the nicest artists to work with. He never tells me what to play; he just lets me do what I do. I make him feel good every night on stage because I play 90 percent of the same thing every night and when he hears that, it makes him feel comfortable. OTWS: What is a peak moment like for you playing live? Take us there. SEATON: When the groove feels amazing throughout the whole band and when everybody is feeling the same energy on stage; when the artist turns around and looks at me and smiles; when you look out into the audience and they’re on their feet and partying—and it seems like that’s the only thing in the world they care about at that moment. OTWS: Tell us how Shure microphones have supported your sound and live play over the years, especially on this tour. What specifically about Shure mics makes them right for you? SEATON: One of the biggest ways Shure mic- rophone to my drums and I know how it’s going to sound. As far as this Lionel Richie tour, I mix my own drum sound in my ear and I know every setting for every drum. I’ve noticed that my drums sound consistent in every venue that I play, without changing my settings. I need to hear the same sound every night in every venue— and Shure microphones let me do that. OTWS: How about the reliability of the mics? SM57s are legendary as the definitive snare mic for every situation. How have you found Shures to be when put to the test? SEATON: The reliability of the mics are great! What can I say? Most monitor guys and production managers love the stability of the mics because they hold up night after night. Even when sometimes I may make a mistake and hit one of the mics when I’m playing a show, they still stand up to the test. I find them to be very durable and road-friendly as far as setting them up and breaking them down show after show; they’re very dependable. The reason everyone uses the 57s from live to recording is because it lets the natural sound of the snare drum come through. OTWS: What advice do you have to the young drummers of today who dream of occupying the throne you’re in? The music business can be tough. SEATON: Practice first and learn what drums mean to the industry. Always remember that the song and the artist come first. Our job is to hold down the pocket, groove and support the songs we are playing. Try to find out about as many different styles of music as you can and always let your ears be your guide. Playing groove is so important in the music industry and one way to get great pocket is to always practice to some type of metronome or drum machine. Along with that always be on time and always spend time learning the material that you are playing—and always be kind to others. Those are some of the ways that you can make it in this business. rophones support my sound is that they allow my drums to sound natural—without adding a lot of EQ to my settings. They consistently make my drums sound very warm and comfortable. I know what I’m going to get every time I put a Shure mic- Oscar Seaton His On A Budget Kick Beta 52 A PG52 Snare SM57 PG57 Toms Beta 98D/S PG56 Hi-Hat SM81 PG81 Overheads KSM32 PG81 Monitors PSM® 600 PSM 200 ® On Tour with Shure 29 995_Shure.qxd 11/13/07 E 1:02 PM Page 30 l Paso, Texas band Sparta has experienced its share of the double-edged sword that is the rock ‘n’ roll lifestyle. Co-founder Jim Ward [vocals/guitar] caught a nick from it while part of the shortlived but much celebrated At The Drive-In. But when that band went on permanent hiatus in early 2001, Ward must have taken it as a sign, so he got together with Paul Hinojos [guitar], Tony Hajjar [drums] and Matt Miller [bassist] to start a new band under the name Sparta. The adage “be careful what you ask for” applies here, as things happened pretty quickly in the musical careers of this foursome. Within a year the band had a record deal with Dreamworks, and in March 2002, released the Austere EP. A full-length Wiretap Scars followed just months later, and two years later the Porcelain LP was released. Sparta felt both sides of that sword in 2005, a year they spent mostly on the road. The pressure proved too much, and as a result, Hinojos left the band, and Ward decided he needed a break. 30 www.shure.com 995_Shure.qxd 11/13/07 1:03 PM Page 31 “I took a break from what I felt was my job. I took a break from writing rock songs,” Ward told OTWS backstage at Metro in June 2007. “Before Threes I was going down a quick spiral. We’re all friends before anything else and [the band] saw what was happening, and when I said ‘I think I need to leave,’ everyone said ‘take care of yourself first.’” It was a time to “stop and smell the roses,” he explained. It wasn’t, however, a break from making music. During this time he recorded music for a CD by El Paso poet Bobby Byrd, and he began to write again. “I would force myself to sit down and play a chord on a piano that I’d never played, then learn the key and just work on music for music instead of music for profit or career or photo shoots or interviews or whatever. And that was the point where I got a lot of stuff out of me that way.” The hiatus proved fruitful for Sparta; when they decided it was time to reconvene and write a new record, they were all ready with a fresh perspective, personally and artistically. But it took some time to shake off the cobwebs and take in a deep breath. Keeley Davis [Engine Down, Denali] went out to L.A. to audition to replace Hinojos. “When he came in for those first rehearsals, he was walking into a very dark atmosphere,” Hajjar recounted. “It was weird; he came in all excited to learn the songs and stuff and we were just all barely talking. And for him to come out for those four days and be as positive as he was, we knew that he was our light. He’s a very positive person and he reminded us that it was fun to be in our band.” That light and Davis’ atmospheric, layering songwriting style, Ward said, made for a better band. Armed with rejuvenation, they went to El Paso and demoed their hearts out, to the tune of 50-60 songs. “That was the most productive Sparta had ever been,” Ward noted. They whittled the list down to 27, then 13, which would become Threes, released in 2006. “It’s the end product of a terrible time, maybe not terrible, but trying,” Ward said of the new songs. “The record was made during a very dark period, but it proceeded into light. It’s about hope and redemption and trying to work your way out of whatever you’ve gotten yourself into.” It’s as if you can hear that deep-cleansing breath the band has taken on this LP. Instead of feeling the need to fill the space with noise, Sparta uses the quiet moments to build and contrast with the dynamics. They also successfully explore melody and vocal harmony on “Erase It Again,” “False Start” and “Without A Sound.” A couple of mellow tracks have elicited comparisons to Coldplay, though the band still keeps that sense of tension brewing under the surface. Having been back on the road for months this year already, how are they handling the pressure this time around? “I think it’s being positive, more than anything,” Ward mused. “It’s easy to get lonely in this job; if you don’t force yourself to see the bright side of things it can get pretty dark. I would never put the band in the position again where I would have to leave. I have to be realistic about things. And I’m taking better care of myself; I get out and see things instead of locking myself in dressing rooms!” Sparta uses a wide array of Shure microphones. In their home studio they use Beta 98s, SM57s and KSM32s. “When we did the demo for “Erase It Again,” Mike, one of our friends who was working with us, used the KSM32 on Jim’s vocals; I didn’t know you could, but it sounded really cool,” Hajjar said. Onstage for live performances they use Beta 98s on the toms, a Beta 91 and a Beta 52® for kick drums, KSM32s for guitars and overheads, Beta 58A® for vocals, and an SM57 on one of the bass cabinets. “Whenever I don’t have the KSM32 I get really pissy about it,” Ward said. “I’m addicted to that mic!” Sparta is a great example all musicians should follow when it comes to the convenience of Shure in-ear personal monitors. “We all bought them about six years ago with our advance because we had this practice space in El Paso and we didn’t have a P.A. We have actually used them in weird situations like when we’re flying somewhere and our backline is already there and we want to go through a day of rehearsal, we take our in-ears and use those. We don’t even use headphones in the studio anymore, we just use the in-ears. You can walk around, you’re not tethered to this mixing desk like you usually are with headphones. I think it’s a good idea because of the freedom.” They also wear their in-ears for personal use, plugging them into their iPods when they travel. “You can always tell who the bands are on airplanes because you see these little chords behind their ears!” Sparta Theirs On A Budget Lead Vocals Backing Vocals Kick Snare Top/Bottom Toms Hi-Hat Overheads Guitar Cabinet Bass Cabinet Beta 58A Beta 58A Beta 91 & Beta 52 SM57 & KSM137 Beta 98D/S SM81 KSM32 KSM32 SM57 SM58® SM58 PG52 PG57 PG56 PG81 PG81 SM57 PG57 On Tour with Shure 31 995_Shure.qxd 11/13/07 1:20 PM Page ii
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