670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:41 AM Page 1 670_Shure.qxd: OTWS13_V5.qxd 1/2/10 10:04 AM Page 2 I ’ve had this conversation a few times, both with friends younger and older than me. Some of them have terrible taste in music, some of them have pretty good taste and others are just complete music snobs. We’re not all going to agree on music all the time, but we can’t deny or change music history. There are bands that changed the game. Led Zeppelin, The Beatles, The Rolling Stones, The Ramones, The Who… the list goes on and on. Music these days changes constantly and some bands never make it past that 15 minutes of fame. So, it got me thinking… Will we ever have another Led Zeppelin or Beatles? Is it even possible? Is it possible that the Beatles did it all as songwriters or that Zeppelin’s raw power will remain unsurpassed? Sure, a few bands have come close and others are still working on it, but are they really changing the game the way their predecessors did? The obvious indicator for those on the path to immortality, are the bands that play the arenas and sell out every city in the world that has electricity. Dave Matthews Band, U2, Pearl Jam, Radiohead… these are a few of the select hopefuls. Will it last? Will these bands become the next generation’s Beatles, Zeppelin, Stones or the Who? I certainly don’t have the answers; only time will tell. It’s just interesting to ponder what will influence the kids in the future. They may not even know who Led Zeppelin or the Beatles are. Could you imagine? Furthermore, what are the “oldies” stations going to play when I’m 64? I will do my best to present music history in its complete form to my daughter and let her make her own decisions when it comes to what she wants to listen to, but I won’t be able to sleep at night if she thinks this whole music thing started with Taylor Swift! I’m curious, great music appreciators of the world: What’s your opinion? Will we ever see a band bigger than The Beatles? Are you making sure your kids know how this whole thing got started? I know as I grew older and discovered a few things on my own, I went back and asked my dad why he glazed over some of these all too important details. Surely I can’t be alone in my quest… Share your thoughts. Until then, enjoy it all, but never forget where it came from! On Tour with Shure® Editor Terri Hartman Managing Editor Cory Lorentz Associate Editor Louis R. Carlozo and Davida Rochman Artist Relations Nelson Arreguín, Cory Lorentz, Richard Sandrok, Ryan Smith Art Director/Designer Kate Moss Writers Nelson Arreguín, Louis R. Carlozo, Cory Lorentz, Richard Sandrok, Ryan Smith Contributing Photographers Paul Natkin, Randi Radcliff, Juanlu Vela, Darren Ankenman, Colin Peterson, Omar Franchi 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 10, Issue 3 and the issue as a collective work, is copyright ©2010 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 Rock Out, • Fill out the enclosed postage-paid subscription card. • Send a note to On Tour with Shure, 5800 W. Touhy Ave., Niles, IL 60714-4608. Cory Lorentz Managing Editor, On Tour with Shure [email protected] 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. 2 www.shure.com AL1664 01/10 45K 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:42 AM Page 3 table ofcontents 14 4 Mic Check Maybe you haven’t found us on Facebook yet, or perhaps you’re not following us on Twitter… you should by the way. Well, here’s a collection of Shure-tinged happenings we probably have shared with our fellow Facebook and Twitter heads. Check it out and let’s try to work on being a lot cooler for 2010, okay? 6 Sara Bareilles: Small-Town Girl. Little Voice. Dolphin Trainer? What would music be if Sara Bareilles followed that dream to be a dolphin trainer or a teacher? Luckily, we are not left to ponder too long; it looks like Sara B is gonna stick with this music thing as she readies album number two. 20 She’s Got Her Own Thing Now Cut loose from the reigns of the now defunct Trick Pony, female country singer/songwriter Heidi Newfield has found her freedom. We’re not sure what she was waiting for, but she’s ready and country music is ready, so let’s go! Did we mention this lady plays a mean harp? 23 Progressing Nicely Making progress and pushing themselves as musicians are top priorities for Doves, the trio from Manchester, England. We hear there really isn’t much money to make touring the states, but we’re glad the guys still make the trip to share the new stuff with us. 10 You Can’t Slow Down Toby Keith’s American Ride Catch him if you can, this cowboy won’t be stopping anytime soon. Fifteen studio albums, 27 #1 singles, two movies and a handful of bar and grill establishments across the country, with more on the way… that’s enough to keep any average man busy, but Toby Keith is not done yet. 26 The Most Sensuous Word In The English Language Elbow. Feels good to say, doesn’t it? No? Well, it feels good to be the band Elbow these days. A career that spans more than 18 years is finally starting to pay off. Headlining tours, commercial success in the states and some esteemed peers as fans have really changed things for the quintet from Greater Manchester, England. 12 On The Move What started as a musical experiment has turned into a movement. Calle 13 has taken the world by storm, winning ten Latin GRAMMYs will do that sort of thing for your status. These guys are all over the globe finding inspiration for their next album, and if you catch them at a theater near you, you will not be disappointed. 30 Listen Like Thieves A sure-fire way to get your music out for the masses to hear: Start your own label first. The duo behind the musical collage Thievery Corporation did just that, and these days, they’ve got some pretty noteworthy fans and musical collaborators. Not too bad for a do-it-yourself project. 14 Something New Destination Life. That’s the next stop for bluegrass phenom Rhonda Vincent. She’s trying out a few new things when it comes to music and so far so good. She’s got some new tunes and some new musicians to join her in the studio and on the stage. Sometimes change is good. 16 16 Nice And Easy Known for taking a break now and then, things are definitely not slowing down for Jason Mraz these days. Sure, he still has his moments of spontaneous vacation time, but Mr. A-Z is everywhere! It’s safe to say that Mraz has found his groove and the key ingredient to his longevity, taking it nice and easy all the time. 30 26 On Tour with Shure 3 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 9:40 AM Page 4 Steve Martin Î for Calle 13 Shure endorsers Calle 13 kicked butt at the 10th Annual Latin GRAMMYs, taking home five awards. The Puerto Rican alternative/urban hip-hop duo won in every category in which they were nominated. These included Record of the Year [the single “No Hay Nadie Como Tú” featuring Mexican band Café Tacvba] and Album of the Year [Los De Atrás Vienen Conmigo]. The duo, consisting of Calle 13 He’s a wild and crazy guy, but Steve Martin is also a serious musician; his nimble banjo playing has garnered notice going back to the start of his show business career. So we were thrilled when Martin used a KSM313 ribbon mic at Nashville’s International Bluegrass Music Association awards. Martin was accompanied by his current tour mates, the Steep Canyon Rangers. Steve Jones, Martin's Front-ofHouse Engineer, has been using the KSM313 on the road and on major TV performances. “The [KSM]313 is a great microphone… warm, transparent,” said Jones. “I like the gain before feedback and the flexibility in the bi-directional tonal options with this mic.” And though he’s a celebrated comedian, Martin wasn’t joking when he praised the mic’s transparency and warmth: “The mic sounds great. It’s just the kind of sound I’ve been looking for.” singer/songwriter René Pérez [a.k.a. Residente] and multi-instrumentalist Eduardo José Cabra [a.k.a. Visitante], also won the categories of Best Urban Music Album, Best Alternative Song, and Best Short Form Music Video. More than 12 million viewers saw Calle 13 conquer on Univision, the Latin GRAMMYs took place at the Mandalay Bay Events Center in Las Vegas. Î ® Î A Latin GRAMMY Coup Steve Martin Marvels At The KSM313 A Reminder From One Of Metals’ Founding Fathers As we were putting things together for this latest installment of On Tour with Shure and sending out holiday cards and making preparations for the year to come, we received a message from the metal god… Kids, it does not get more metal than this! Thanks Mr. Halford. 4 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:42 AM Page 5 New Endorsers to the Line Up Though it’s a safe bet all of these artists have used Shure mics for years and years, they’re brand new to our stable of endorsers, and we’re thrilled to have them: Phoenix, Silversun Pickups, Cage The Elephant, Breaking Benjamin, Three Days Grace and Robin Thicke. Here’s a quick breakdown on what they’re up to: Our New DJ Headphones: Heads Above Î Shure and DJs have enjoyed a tight relationship for decades, with the turntablist community’s enthusiasm for our phonograph cartridges. Now bring on the headphones, as Shure unleashes the new SRH750DJ, tailored to the special needs of the DJ set. These headphones deliver high-output bass cleanly, with extended highs that enable precise mixing even in noisy clubs. The SRH750DJs also allow one-ear or two-ear use, with increased power handling capability for use with DJ mixers. For more info, visit us here: www.shure.com/ProAudio/Products/ Headphones/us_pro_srh750dj_content. Î Mos Def stylin’ with Shure What do you get when you cross Mos Def, the Black Keys and Shure? Sound that’s as solid as Blackroc. The collaborating artists, performing under that moniker, played recently on David Letterman’s show, with Mos sporting his red Super 55 Shure mic. Phoenix continues to ride high off their 2009 release Wolfgang Amadeus Phoenix. The French alternative band just scored a GRAMMY nomination in the Alternative Album of the Year category. … Silversun Pickups also scored a GRAMMY nod as Best New Artist. As of press time they were readying to appear on “The Tonight Show with Conan O’Brien” and a 2010 tour with Muse. … Cage The Elephant, after supporting Silversun Pickups on tour in 2009, ended the year with a literal bang: their hit song “Ain’t No Rest for the Wicked” has become part of the soundtrack for the post-apocalyptic video game Borderlands. … Breaking Benjamin has taken their alt-metal sound all across America, and begins 2010 by continuing their relentless touring pace, hitting the Midwest for a month before jetting to Perth, Australia in March. … Canadian rockers Three Days Grace had about as good a chart debut as you can hope for with their latest album, Life Starts Now. It debuted in the Billboard Hot 200 at no. 3, their highest chart position at the time, and sold 79,000 copies in its first week. … Robin Thicke comes on board having just released new album, Sex Therapy, Dec. 15th. He’s made lots of TV appearances to promote it, including on Conan O’Brien’s “Tonight Show” and “Good Morning America.” Pleased To Tweet Ya Shure mics can rock, sing, purr and sound silky smooth—but can they tweet? You betcha. Now you can keep up with our Artists Relations happenings via [email protected]. It’s the easiest way, in 140 characters or less, to see what Shure bands, singers and performers have cooked up lately. And who’s the most important Shure artist? YOU, of course! If you’ve got something you’re dying to tell us about how Shures came through in the clutch, or your latest novel use of an SM57, do give us a tweet. We’d love to hear from you. Î KSM313 Love, Part 2: Color Us Paisley Proud Martin’s not alone in the KSM313 fan club: Country superstar Brad Paisley tried one on for size during the 43rd annual Country Music Association awards, giving the 313 a go on his guitar amp for his performance of “Welcome to the Future.” His verdict? “This is the best my amp has ever sounded,” said Paisley, who won two award categories, including Male Vocalist of the Year. 5 670_Shure.qxd: OTWS13_V5.qxd 6 www.shure.com 12/29/09 8:42 AM Page 6 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:42 AM Page 7 “THE INTERESTING THING ABOUT YOUR FIRST RECORD IS THAT THERE’S THE OLD ADAGE THAT YOU HAVE YOUR WHOLE LIFE THROUGHOUT AND ABOUT SIX MONTHS THROUGHOUT ON YOUR SECOND. SO LITTLE VOICE IS JUST A COMPILATION OF TONS OF SONGS I HAD WRITTEN IN THE PAST TEN YEARS OF MY LIFE.” — S A R A B A R E I L L E S We are thankful for focus and determination, especially when it comes to Sara Bareilles and her chosen path of music. The world would have been a very different place if we got Sara Bareilles the teacher or dolphin trainer instead. Of course those nice gentlemen from Maroon 5 were a big help too, thanks fellas! With album number one, Little Voice, behind her, Bareilles is as determined as ever to keep the creative juices flowing and cull some fresh new tunes by the summer of 2010. Do we have to wait that long Sara? Really? Can you give us a springtime single perhaps? ON TOUR WITH SHURE: Who was Sara Bareilles before her first major label release, Little Voice? What chain of events led to that opportunity? SARA BAREILLES: I grew up in a small town, in Eureka, California. Then I moved to Los Angeles to go to school at UCLA. I was definitely somebody who’s always had a major passion for music but I didn’t have a lot of foresight. I wasn’t really thinking in terms of what my career would be. I thought maybe I’d be a teacher; I wanted to be a dolphin trainer for a while. I wasn’t super focused until I got into college. I think it was kind of a culture shock of coming to a new city and just feeling a little bit lost overall made me turn a little bit more introspective and I really turned to music at that time. I’d been playing music forever and writing songs forever but they never had this sense of urgency that they did when I got to college. It was in college that I realized that this was not just a hobby. Even more than a passion, it was just part of my sanity. I started playing live shows to get started and I did that for several years, just playing tons of shows. Slowly but surely, formed a band, started doing rehearsals and doing bigger and bigger shows. I made a little CD and sent them out to people but I didn’t get a lot of good feedback on that. So I was like, “Okay, I’ll just keep doing this because I love it.” I had some good friends from the band Maroon 5—I’d known them since college and they invited me out for my first tour—and that’s how I met my manager. I’d say that was probably a pivotal moment for me. Through my manager I met my A&R guy from Epic records and the pieces just started to fall into place. As someone who has a ton of live performance in my background, that’s kind of the heartbeat of everything… trying to make it about the live performance and the connection with the fans. That’s always been really, really important to me. So now I’m here and had my first record come out. I’m so lucky with the success of that. I had the summer off and now I’m working on number two. OTWS: Besides having an incredibly strong voice, you also play piano and guitar. Are you classically trained as a musician? BAREILLES: No, I wasn’t. I just took some piano lessons when I was about 9 years old and I hated them so I stopped. [Laughs.] It was always one of those things I was superpassionate about. I would sit at the piano for hours on end, but I didn’t want to study it. I tried when I got to college, I tried to take a music theory class but I didn’t know enough to get into the class. So I just decided to leave it be and just keep playing because I love it and it worked out. OTWS: Were there any musicians or artists who influenced you when you were starting to play piano? BAREILLES: Yeah, all sorts. From a piano playing perspective, there are people like Elton John, Billy Joel and Ben Folds, Fiona Apple, Sarah McLachlan. I was really drawn to the rhythmic players like Elton and Billy Joel. I really loved the percussive element of the piano. So it wasn’t as much writing float-y ballads as it was trying to dig in a little bit. I loved that those guys did that. OTWS: Which comes first in your songwriting, the words or the music? BAREILLES: It’s usually the music and then maybe one lyric line here or there that starts to get the idea going. It’s almost exclusively some riff or chord progression that gets me excited about building something around it. OTWS: When writing for a debut major label release, a lot of ideas are developed that don’t necessarily make it on the album. How many songs did you actually write for On Tour with Shure 7 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:43 AM Little Voice? Will any of those songs ever see the light of day? BAREILLES: Well actually those songs did see the light of day in my live performances. The interesting thing about your first record is that there’s the old adage that you have your whole life throughout and about six months throughout on your second. So Little Voice is just a compilation of tons of songs I had written in the past ten years of my life. For example, a song like “Gravity,” I wrote that when I was 19 years old and that made Page 8 loved my sound on stage once we switched to making sure everything was Shure. OTWS: You and your band also use in-ear personal monitors instead of traditional floor wedges to monitor your sound on stage. Have you noticed a difference in the sound on stage and in the way you perform as a result of that technology? BAREILLES: I think musicians are probably pretty split on this. As a vocalist, I love it because it makes it so much easier to hear myself without having to strain and push the world. It’s going to be something that keeps shifting, keeps changing. As an artist that entered it kind of right at the beginning of this whole digital era, it’s been really difficult at times to watch the changes in the industry—seeing personnel come and go and watching people try to fit in this new digital climate. I think like anything, it’s just going to take time to adjust and things will settle and move forward, as they always do. But that’s just the nature of the beast. It can be a scary time but it’s also an exciting time. “SHURE MICROPHONES HAVE BEEN THERE SINCE BEFORE I EVEN KNEW WHAT THEY WERE. ONCE WE GOT A LITTLE MORE ESTABLISHED IN OUR TOURING ENTITY AND WE SAW THAT WE NEEDED GREAT MICROPHONES, SHURE WAS RIGHT THERE TO HOOK US UP AND GIVE US THE BEST OF THE BEST.” — S A R A B A R E I L L E S it on the record as well as a song like “Love Song” that I wrote just a couple months before going into the studio. So it was very much a compilation. In my little world, it was a ‘greatest hits’ record of all the songs I had written. There’s definitely the potential of some of those songs coming back out. I‘m really focused on kind of forging ahead right now and getting creative about writing new music. There’s always room for the old music. OTWS: When you perform live, Shure is on stage with you to capture the vocals and instruments. What is your history with Shure, has it been a part of your performance from the beginning? BAREILLES: Shure microphones have been there since before I even knew what they were. It was always an [SM]57 or an [SM]58, it’s always on stage at every club you go to, practically. Once we got a little more established in our touring entity and we saw that we needed great microphones, Shure was right there to hook us up and give us the best of the best. It was amazing. My production manager Trey swears by Shure and I completely trust him. I always 8 www.shure.com over the sound of everything else on stage. They take a little getting used to, but for me, overall, it’s a much better choice, a much better way to go. I’m amazed at the sound you get in your ears. It sounds very live, very roomy. OTWS: As a major label artist that has gotten some pretty significant mainstream recognition, what’s your take on the music industry as a whole? BAREILLES: I think it’s like any industry right now. There’s a lot of change happening in SARA BAREILLES OTWS: When will the new record come out and what can we expect? BAREILLES: I’d expect to see it next year at some point, maybe summertime next year. It’s been a really interesting process of trying to figure out what you want to say with the second record. I’ve had a ton of fun and great success so far with the producer that I’ve chosen. We’re just kind of hitting our stride here. I’m really excited about it and I hope everybody loves it. Theirs On A Budget Lead Vocals KSM9 SM86 Backing Vocals Beta 57A & Beta 56®A PG57 Kick Beta 91 & Beta 52®A PG52 Snare Top/Bottom Beta 56A/KSM32 PG56 Toms KSM32 PG27 Hi-Hat KSM137 PG81 Overheads KSM44 PG27 Guitar Cabinet KSM32 & SM57 PG27 Bass Cabinet Beta 52A PG52 Percussion Beta 98D/S PG56 Audience SM89 PG81 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:43 AM Page 9 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:44 AM Page 10 Toby Keith has built himself an empire since his humble beginnings in 1993. Fifteen studio albums, 27 #1 singles, two movies and a handful of bar & grill establishments makes him no slouch when it comes to what one accomplishes in his lifetime. The only thing is, Keith is far from done, and he only seems to get better with every endeavor. There’s no time for a book of memoirs just yet, but Toby Keith will no doubt have a drink with you at his favorite bar… the one he owns. 10 www.shure.com 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:45 AM ON TOUR WITH SHURE: Let’s start with some very recent news… you just opened another I Love This Bar & Grill in Mesa, Arizona. What’s the most exciting part in the process of opening these restaurants for you? TOBY KEITH: We opened one in Vegas and one in Oklahoma City. The most exciting part of opening these is just to have a place to hang with my buddies, whether I’m at home or in Vegas, where we are a lot. It’s a nice place to hang out and bring all your celebrity buddies. The ones in Vegas and Oklahoma City took off and it’s doing real crazy numbers. So now we’ve got one in Tulsa, Kansas City, Mesa… soon to be Tunica, Orlando, Chicago, Pittsburgh, Boston, San Antonio, and maybe another one in South Oklahoma on Lake Texhoma. They’re doing really well… great themes, great liquor, great whiskey girls, great food and great times. You build it, they will come. OTWS: An article about you in American Cowboy Magazine called you, “A brilliantly creative risk-taker whose every move is studied and admired by the most loyal and most knowledgeable fans anywhere.” Could we someday see the word “author” listed after your name… perhaps a book about your many successful business approaches? KEITH: When it comes to writing a book I’ve been asked a million times. They’re really time consuming and when you’re as busy as we are right now, you don’t have time to sit and reflect on all your accomplishments. I don’t bask in that very much anyway. It’s got to be a tremendous milestone that somebody brings to my attention before I even hardly recognize it. We work hard everyday and as soon as all this shuts down for us one day, and it will, hopefully I’ll find time to write a bio or a cool book to remember it all… or five books maybe! OTWS: Searching all over the web, I’ve seen many comments like, ‘finest vocal performances of his career,’ closely associated with your latest record. Is there anything you do or don’t do to protect your voice? KEITH: I have a very strong voice and it’s very seldom ever let me down. In fact, in the six to seven years of touring regionally as a garage band and then sixteen years of having a major recording contract and touring the world, I think I’ve only missed three shows. We used to do about 270 shows a year or more. It’s very strong and never let me down. It’s God gifted and I’m blessed that He gave me such a great voice that’s that strong. I don’t even really have to warm up. Page 11 I just have set my set list to where I’m not screaming at the first of the show. If I warm it up right, no problem… it’s on. OTWS: For many years now, there has been one constant on stage, and that’s a Shure mic front and center. What is it about Shure products that work for you, and what do you like about the KSM9? from wedges to ears, and how have the Shure systems been working for you? KEITH: Going from wedges to ear was a big step because you don’t get any feedback anymore and that’s number one with me. You control your own volume; you control your own world with your wireless pack. So everybody, I’ll tell you, if you can use ear Shure microphones go all the way back. We had [SM]57s and [SM]58s in our garage band in the ’80s and early ’90s and that’s all we had. They were just reliable. They rolled around in the bottom of the trailer behind the van like grenades do in the bottom of a Humvee. They made every show with us. When you needed one, you just picked it up. They’re very reliable and that’s why we’re still with Shure today. The brand new mic I got, the KSM9, is my newest mic number. Shure keeps me in the best stuff and it’s fantastic. The ears I have are great too. It’s really helped save my voice, longevity and my hearing. OTWS: Back when in ear systems started to show up, how was the transition for you monitors… I’ve got some old rockin’ buddies that won’t use them, but if you can learn to use them, they’re a lifesaver. They really save on the wear and tear of your voice when you are on the road. I recommend them to anybody. OTWS: Any more movies on the horizon? KEITH: Not any movies right now. The last thing we did, “Beer For My Horses,” took ten months to write, three months to produce, three months to shoot and three months to promote, and I still ain’t got over it. They’re real long projects. I’m glad I did one, I’m glad I wrote one, glad I produced one, and glad I got to play in one and do all that. I check marked all those boxes, but it’s gonna be a while before I do that again. KEITH: TOBY KEITH Theirs On A Budget Lead Vocals UR2/KSM9* PGX24/SM86* Backing Vocals KSM9 & Beta 56®A PG58 Kick Beta 91& Beta 52®A PG52 Snare SM57 PG57 Toms Beta 56®A PG56 Hi-Hat SM57 PG57 Overheads KSM27 PG27 Guitar UR14D* PGX14* Fiddle UR14D* PGX14* Guitar Cabinet SM57 PG57 Bass Cabinet Beta 57A PG57 Pedal Steel Cabinet SM57 PG57 Leslie Cabinet Top/Bottom SM57/Beta 91 PG57 Saxophone Beta 98H/C PG57 Trumpet Beta 98H/C PG57 Trombone Beta 98H/C PG57 * wireless system On Tour with Shure 11 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:45 AM Page 12 Half brothers Rene Perez, a.k.a. Residente [Resident] and Eduardo Cabra, a.k.a. Visitante [Visitor] have accomplished a lot since their self-titled debut album in 2005. After forming their band as an experiment, the boys from Calle 13 of Trujillo Alto, Puerto Rico have won a total of 10 Latin GRAMMY®s, one GRAMMY and are continuously at the top of the charts. Now the jet setting duo travels the globe to get inspired by their experiences and to communicate with their fans in the neighborhoods, barrios and villages. 12 www.shure.com 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:45 AM We sat down with them while they were in Chicago to find out what served as inspiration for their latest album Los de Atras Vienen Conmigo [They’re With Me] and what inspires such creative rhythms, rhymes and flow. Let’s go… ON TOUR WITH SHURE: You’re currently on tour promoting your latest studio album, Los de Atras Vienen Conmigo. Who are “Los de Atras” and where are you guys going? RESIDENTE: Los de Atras are our band of 11 musicians that make up Calle 13, also everyone who is rejected, objectified or unwanted, all of these people of different social classes. Anyone who feels rejected in some way, those people are part of Calle 13. The people of villages, the barrios, upper class, middle, everyone... OTWS: Your songs are very creative and diverse and they range from political all the way to romantic. What is the creative process involved in developing your stories? RESIDENTE: The stories, many of my ideas for writing lyrics, come from the same people I come across in the street. That is why I need to travel and move to write. For example, the song I did with Ruben Blades, “La Perla,” I went to that neighborhood, I was writing in La Perla to write part of that song. I did the same when I wrote “Pal Norte,” I was traveling. I write on airplanes a lot. I also get lyrics from my brother’s music, or sometimes I give him music through my lyrics. We’re always working together and traveling to different places, we never make an album in a studio or lock ourselves in the studio. That’s why we have to travel and move. OTWS: In this new album you guys collaborated with a couple of impressive artists in Café Tacuba and Ruben Blades. How did these collaborations come about and how easy is it to align each other’s ideas for the songs? VISITANTE: I think that the collaborations flow, because we collaborate with people that we admire. And it’s very helpful when the artists we admire want to collaborate with us. We have made great friendships through collaborations, I think because our music is influenced by their music. So, if they like Calle 13 I think it’s indirectly because their music is within us as already. Because of that, our collaborations and partnerships have emerged some very memorable songs. OTWS: I notice that you share the stage with Shure microphones. How long have you been using Shure and how did that collaboration begin? VISITANTE: I think a year ago we began Page 13 officially… RESIDENTE: Shure microphones and equip- ment... And everything is flowing great, we made some inventions with the accordion, we cut a few wires here and there and placed two microphones on it, but it’s cool, I’m wireless now with the accordion and the melodica, so cool… OTWS: I also noticed that you use in ear monitors. When did you start using them and how have they helped your performVISITANTE: ance on stage? RESIDENTE: Yeah they are very helpful. It is important to be able to hear myself clearly so I use Shure... because I hear myself very well, I used them at Viña del Mar, and have used them throughout our tour in Latin America and they have worked very well so we will continue to use them as long as we continue to be sponsored... [Laughter.] OTWS: What is it about Shure microphones that you like so much? RESIDENTE: I like how they sound; I like how I sound in the monitors, my voice, and CALLE 13 how they are heard in the house. It is important for the people to understand everything you are saying, the lyrics and everything. It is extremely important and that’s why I like them. OTWS: Do you guys have a favorite Shure story that you can share with us? RESIDENTE: Well, before the shows I always go to urinate, um, One time I went to urinate and had the microphone turned on and I was heard outside in the house. So, Shure fidelity is very good because everyone heard me urinate clearly... [Laughter] OTWS: Finally, what’s next for you guys? RESIDENTE: Well currently we are traveling a lot throughout Latin America. But, next is Mexico and then from Mexico we go to Spain. From Spain we are going to jump to London and then France. We are expanding in different countries, things are getting bigger and better and we're happy because so far we’ve had a very short career. It important that we take advantage of the energy that comes with having such a young band. We need to take advantage and grab all we can so we can continue to communicate with people. Theirs On A Budget Lead Vocals UR2/Beta 58®A* PGX24/PG58* Backing Vocals UR2/Beta 58A* & Beta 58A PG58 Kick Beta 52®A PG52 Snare SM57 PG57 Toms SM98 PG56 Hi-Hat SM81 PG81 Overheads SM81 PG81 Guitar Cabinet SM57 PG57 Bass Cabinet Beta 52A PG52 Congas Beta 57A PG57 Bongos Beta 57A PG57 Timbale SM57 PG57 Djembe SM57 PG57 Zurdo SM57 PG57 Cajon SM57 PG57 Alegre SM57 PG57 Tambora SM57 PG57 Saxophone SM57 PG57 Trumpet SM57 PG57 Trombone SM57 PG57 *wireless system On Tour with Shure 13 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:45 AM Page 14 ON TOUR WITH SHURE: There have been countless artists who’ve performed at the Ryman Auditorium. What does it mean to you to perform on this stage? RHONDA VINCENT: Well I remember being at the Ryman, I was about 6 years old — maybe 5 or 4 — and we stood out front and we waited in line all the way down the street. The artist that stands out in my mind that I really remember is String Bean, and I’m sure it’s because of how unique his costume was. So this holds a very, very special place for me in several respects. I was here when I was very young. We listened to the Opry every Saturday night, even if we were performing, as soon as we got to the car, even when it was so much static you could just barely listen. I was also here for Bill Monroe’s funeral. I sang a song called “Is The Grass Any Bluer On The Other Side,” and the very first place ever I sang that song was when the Opry was here in the wintertime. I also sang the songs “Fishers of Men” and “Last, Best Place” at the funeral for Grand Ole Opry star Skeeter 14 www.shure.com 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:46 AM Davis. So I have a lot of memories here, but more than anything it’s just something that’s really a part of me because it’s been so many different moments. Tonight is special because I’m also appearing with my daughters and their new group The Next Best Thing. So tonight will be another special moment in my life. OTWS: You’ve been out supporting your latest release, Destination Life… VINCENT: We started the year [2009] with new musicians and new music. We created this album with my band, The Rage. This was the first time in my career that I’ve ever just recorded with The Rage. So we all went together, shared ideas and collaborated. Everyone put in their individual talents, it wasn’t anyone saying, “Play this. Do this.” It was them coming in, usually by themselves, to really get a chance to create themselves once we cut the initial track. So it was a really unique experience. It was very relaxed and something that I’m very, very proud of. It was released on June 16th and it was on the Billboard charts at #2 for three straight weeks. Also, on the Country Charts, it debuted at #52. So it’s been really, really great, and all the reviews… the Boston Globe, the New York Times… we [were] in Oprah’s magazine in September—a lot of great things have come from this new project. [It’s] lots of fun to perform and it’s really, “What you see is what you get,” because it’s exactly the way we recorded it. There are no triple fiddles, because we can’t play triple fiddles all at the same time. So when you here twin mandolins on the Poco song “Crazy Love,” that’s Hunter [Berry] and I playing the mandolins, and we’ll be playing them on stage just like that. OTWS: What is Destination Life? Tell us about the meaning of the title. VINCENT: I liked Destination Life for several reasons as the title. I started on a new destination in my life with the new music and the new members. The song came actually from New Zealand. I got on my message board on my website at rhondavincent.com and I asked the fans to share song ideas for this project. There’s a fellow by the name of Don McLean and he’s is in New Zealand. He’s the one that posted the song “Destination Life.” It’s from an artist by the name of Donna Dean from New Zealand. She wrote it, she recorded it and this is the very first project that it’s ever been released on in the United States. But it also had that special Page 15 meaning because of it being this new destination for me in my life. OTWS: Are you listening to any other artists outside of bluegrass, anyone on your iPod that you would like to mention? VINCENT: Well, I don’t have an iPod [laughs]. I’m always listening for songs. I always encourage folks to send me CDs or to share their songs. I always listen to those when I’m in the car. I listen to mostly demos but my favorite group is The Isaacs. I got to see them recently on the Opry, and I got their CD that’s called Songs That We’ve Worn Out. I texted all of them and said, “You have not worn out this song, and you have never failed me.” That’s the music that I’m listening to. OTWS: How does it feel to see your daughters follow in your footsteps? VINCENT: It is very exciting! A lot of folks say, “Did you discourage it?” I told them when they graduated from high school and start- RHONDA VINCENT ed in college, I said, “You know, you’re going to have to work for a living. You’re going to have to do something. Make sure that you love it. Whatever it is, I don’t care what it is. Whatever it is just make sure that you love it.” So they have just discovered their love for bluegrass. They were part of the bluegrass program over at East Tennessee State University in Johnson City and they are lovin’ the music. They put together a little CD for their grandpa and from that they started getting play on Sirius XM and other radio stations. They also got booked for 30 to 40 dates in 2009 and they’re on their way. OTWS: Let’s talk about your touring schedule… there are no breaks, it’s constant. Why is your schedule so heavy? VINCENT: I enjoy touring and that’s my favorite thing. I love to work, love to tour, I love the people and that’s not for everybody. For me, if I’m home I get really bored and I’m ready to go, I’m ready to move. I don’t sit still very well. Also, my husband books me and I guess he’s trying to make sure I’m never home. [Laughs.] OTWS: You are out doing shows and your gear probably takes a beating. What does it mean to have the support of manufacturers behind you? VINCENT: It’s VERY important, especially from Shure. They provide us with our in-ear personal monitors, we have our KSM44 microphones and a few other models that we use. I think we’re probably a very good “workhorse” to show the durability of the equipment. If there’s something in the design that isn’t working, we’ll know right away. We’ll be on the road 275 days this year, doing about 140 dates. So we’re, I guess, living proof of the durability of the equipment and how great it works. I love pulling in a place and they might look at it and say, “You’re only going to use four microphones?” They are very skeptical and it’s a very easy load in. Then after the show, they go, “What kind of microphones are you using?” So it’s always fun to make a believer out of somebody and say, “Wow that really worked well.” Theirs On A Budget Lead Vocals KSM44 PG42 Fiddle KSM27 PG27 Banjo KSM137 PG81 Monitors PSM® 700 PSM 200 On Tour with Shure 15 670_Shure.qxd: OTWS13_V5.qxd coverstory 16 www.shure.com 12/29/09 8:46 AM Page 16 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:46 AM Page 17 eing on a break is a life philosophy for singer/songwriter Jason Mraz. From the moment Mraz finished high school, he was determined to do as little as possible and enjoy life to the fullest. Playing music with friends was his favorite waste of time, but as adult responsibilities started to enter Mraz’s life, he began to share his music with the world, which made him enough money to continue his life of ease. More than seven years later, Mraz is still standing by this same philosophy and judging by the success of his latest release, We Sing, We Dance, We Steal Things, it seems to be his recipe for longevity. ON TOUR WITH SHURE: You were on a self imposed hiatus for a bit from the music industry, and in an age when acts are so quick to turn around in the popular mind collectively, did that make you nervous at all, taking a bit of a break and then coming back to release We Sing We Dance We Steal Things? JASON MRAZ: No, I wasn’t nervous about it at all. I was more nervous about not taking a break. Living out here on the road, things just become so routine—you forget what you might look like if you grew your hair out. You forget what you buy at the grocery store if you were really given the time to run around the store. It’s basically kind of checking in with yourself, and I certainly recommend it to every student, to get out there and travel, see the world. Anyone who’s been in their career for 10, 20 years take a break, go see what your body is capable of doing. Smell things, taste things… that’s really all I wanted to do. I wasn’t concerned about not turning a record in on time; I’ve never actually believed in that paradigm that albums need to come out every certain amount of years. To me the album is a reflection of whatever that artist is creating or not creating so… my next one is certainly coming up again very soon. OTWS: Is taking a break something that you had to discover or has that always kind of been a philosophy of yours? MRAZ: I think just being on a break is my life philosophy. When I got out of high school, I was like, “Cool, I’m done! Now I’m just going to hustle my way through life. What can I do, how can I live my life… in just joy and bliss and totally resigned from it all?” Actually what I found is that music is what was giving me all my power—this ability to participate in music and to participate with other musicians. I realized that was my life, that was how I was wasting my time. It was sitting around with other musicians or sitting around with my instrument and fulfilling my time. I was like, “This is all I need, why would I have to do anything else?” But of course, you know, supporting yourself and supporting a family comes into play and I figured out how I could then share my music with the world or with various communities and in exchange I was getting food, I was getting places to stay, and eventually I started selling my CDs and was earning a little bit of money. But I never really gave up my life philosophy, that is take it easy... you know… just take it easy. OTWS: When it comes to the process of collaborating with other artists, how have things changed throughout your career? MRAZ: Well in the selection of someone you want to collaborate with, certainly the position we’re in now, it’s easy to get a hold of people and at least ask them if they want to participate. Certainly there are agents and lawyers and managers that are in between myself and these other artists, but it’s those agents, managers, and lawyers that actually give us the connections and the network to reach out. I’ve been very fortunate to meet a lot of artists who are willing to collaborate that way. But the best way to meet up with other artists is just meet with other artists. If you see somebody on the festival bill that you’re going to be playing, get out there and get in front of them, shake their hand and say, “Hey what’s up?” We’re only people and all of us are musicians who are just trying to take it easy in the first place and share their music with other musicians and other communities so… I’m still as selective as ever about collaborating at the same time. OTWS: You don’t feel like anyone needs to shove a collaborator down your throat perhaps? MRAZ: Yeah, certainly not. Collaborations certainly bring up new opportunities, whether I’m collaborating with another musician or a songwriter, that’s where I learn. I learn from sitting down with other songwriters and seeing what their process is about. So I definitely welcome it. But I think it’s a lot harder for any of us to do anything if we’re forced to do things. OTWS: Now, given that you’ve been touring so much, especially as of late, and that you have a lot ahead of you, how do you write songs while you are on the road? On Tour with Shure 17 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:46 AM Well, I don’t write songs as easy as I would if I was just on my own adventure, because to me, my songwriting has just been a chronicle of my adventures. It’s been a story I’ve liked telling, it’s been a spiritual juice that I’ve enjoyed tapping into and being high off of. The routine of the road sometimes sort of interferes with that. The things that I need to do to prepare my body and my spirit for another night of being as passionate as I can be, fully in the moment, keeping all of those songs fresh, that’s where my creative energy ends up going. By the end of the night, I just kind of want to turn it off, or read a book. So, I usually end up writing poetry, I usually end up writing blogs, writing stories—writing other material, that once the tour ends, that material then gets filtered into songwriting. So my songwriting usually happens, funny enough, away from the tour because music is happening constantly on tour. OTWS: Now, you had mentioned blogs, and on your website you interact with your fans on a daily basis, where do you feel that importance comes from? MRAZ: Long before there was ever a word blog, I kept a road journal on my website and I felt it was a great way for me to keep in touch with family and friends and people MRAZ: Page 18 that I met in various cities that I was traveling to. It was also an extension of my own journal. I just love to write and share thoughts, tips, inspirations, opinions, whatever it may be. It’s just nice for me to put it out there, and it’s just something I’ve kept up with. It’s been seven, eight years now that it’s been up on my website and of course, through all the various networking sites now, it makes it a lot easier for people to tune in almost instantly and that’s a really rewarding feeling. When I step onto a stage and the room is sold out, I feel like I’ve been invited to some special party and I know everybody in the room. My job is to just play the songs, and we’re all going to sing along to them; it’s a really special feeling. I definitely have to give credit to the internet for allowing that connecting to be possible. OTWS: Now you’ve been using an SM86 for JASON MRAZ 18 www.shure.com your voice, is that something that you experimented with, with your engineers or yourself, or is there something that resonated— do you actively seek out particular sounds in various microphones? MRAZ: My monitor engineer and I have been seeking the right sound. And for me, I need something true, I need to know what I’m sounding like. Honestly, I never used to care what microphone was in front of me… on my last album I wanted to only sing with an [SM]58, your basic, most famous Shure microphone. I did my whole album with it [Mr. A-Z]. I even got engineers yelling at me saying, “No you can’t, you can’t!” I’m like, “I don’t care, I just want to perform and this feels good to perform with.” So we were using that for quite a bit on stage throughout the years, and I noticed my monitor engineer would change out the mics every once in a while. When I was traveling early last year, we found an SM86 in the drawer at home where all of our mics are kept, and it was my roommate’s. I said, “Oh, let’s take this out on the road and see how this feels.” Honestly, my first love about it was that it was just flat, that my lips could actually get right up on it and there wasn’t a sphere that I had to figure out the space on. I felt like I could really kiss the mic and really love it and have my moment with my instrument, my tool. The reaction I got from the front of house and the reaction I got from the monitor world was that the top end was a lot smoother, and that it was really just working with my style of singing, and how I like my mix in the microphone and everything else, so I’ve been using the 86 ever since and it’s a great mic, it feels good! Theirs On A Budget Lead Vocals SM86 PG58 Backing Vocals SM86 & SM58® PG58 Kick Beta 52®A PG52 Snare Beta 56®A PG56 Toms Beta 56A PG56 Hi-Hat KSM137 PG81 Overheads KSM32 PG27 Guitar Cabinet KSM32 PG27 Congas Beta 98D/S PG56 Bongos Beta 98D/S PG56 Toys KSM137 PG81 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:47 AM Page 19 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:47 AM Page 20 She didn’t know what to expect when she parted ways with her former band Trick Pony to pursue a solo career, but Heidi Newfield was ready no matter what. For Newfield, it felt like starting over again as a new country artist, even songwriting seemed brand new. Luckily for Heidi Newfield, her fans and friends in country music weren’t too far behind, and her debut album, What Am I Waiting For, was released with critical acclaim. Freedom has obviously been good for Heidi Newfield, and we wonder, just what was she waiting for? So you’re out on your own… how does it feel? HEIDI NEWFIELD: Oh my God, it feels like FREEDOM! It feels wonderful. I’m having the time of my life. Crazy about this new music, crazy about the people I’m working with, crazy about this new band. OTWS: So you’re ready for this then? NEWFIELD: I’m more than ready for this. I’ve been ready longer than I actually realized. OTWS: You co-wrote a good part of this record [What Am I Waiting For, 2008 Curb Records]. What inspires you when you write and when is your best writing time? NEWFIELD: I used to be a mood writer. I used to write whenever the mood hit me and it could be at two o’clock in the morning. When I was writing for this album, I had to learn more of the “craft” of songwriting. So I learned that thing, where you get up in the morning, you roll up your sleeves, and you go in and say, “I’m gonna ON TOUR WITH SHURE: 20 www.shure.com build a song today.” I think a lot of that fire came from all that stuff that was going on, building up, culminating inside, getting up to that point when I was on my own. So there was a lot to talk about, lots of melodies and lots of ideas running around and swimming around in my head. So it was really fun to just sit down and start laying it all out there. Some of my collaborators on this particular record… I really got to write with some people that I have such admiration for, such respect for; people that I built relationships with that will be lifelong friends now. So it’s been rewarding in so many ways. OTWS: Describe your experience with veteran producer Tony Brown in the studio… NEWFIELD: Well, working with Tony… sheer joy. We were right on point with one another creatively. He loved that I wanted to make a nice, easy, organic, natural departure from the Trick Pony sound into my own sound. He loved that I wanted to dig down a little deeper, [have] a little bit more substance and make a really ingratiated record. We just had so much fun. That’s one of the people I can honestly say that I’m honored to consider not only my producer but my friend. I just adore him from the top of his head to his toes. He’s awesome, one of the most talented people I’ve ever worked with. The thing about Tony that I need to add is he is not a formula producer. I’ve shared this a few times but it’s so important. He’s one of those rare individuals that looks at you, looks within you, looks at the material and we scrutinize over every song, over every bit that we had going on the record. He told me from the very get go, “We’re making YOUR record. We’re not making my record, we’re making your record.” His job as a producer, he feels, is just to find the essence of who you are and then just to help guide you on your path. He did just that and we made a record that I’m ultra 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:48 AM Page 21 On Tour with Shure 21 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:49 AM proud of, and I’m already just chompin’ at the bit to get into the studio and make the next one. So, I loved every moment of it. OTWS: You picked up the harmonica at an early age. What songs were you learning to play? Who were your teachers? NEWFIELD: I picked up the harmonica when I was about 6 or 7 years old. I still have some of my grandfather’s old Hohner harps that still smell like the drawer where they were kept in the kitchen, it was so awesome. He played harmonica but he played Page 22 hoped that maybe we might get one or two nods from the Academy [of Country Music] on this record, perhaps for “Johnny and June,” because I was so proud of that song and the way it kicks the record off. When they kept calling my name, I won’t lie, I was just so pleasantly surprised and so happy that the industry as a whole has welcomed me back with open arms. This is proof of that. Frankly, Trick Pony, we had a great run. We got to do a lot of really cool stuff. We even won some awards and “SINCE I WAS A TEENAGER, I’VE USED THE GREEN BULLET. I’VE LOVED THAT SOUND, THAT NATURAL TONE. I CAN GO DIRECT FROM A B ULLET AND GET JUST THE TONE I WANT .” —Heidi Newfield more straight harp; more like that old campfire music like, “Red River Valley,” and some of those old campfire songs like that. I used to sit on his lap and listen to him play. I always loved the sound of the harp. Somehow, it was either an old Sonny Boy [Williamson] or James Cotton… an old Delta harp great record landed in my lap and I was hooked. I loved the blues. So what I would do is I would sit down with those great old harmonica players from Chicago, and they were my teachers. I would sit down and take lick by lick and just cop that lick and learn it. Then of course, like anybody who is learning an instrument, you start to gain confidence in your own style; you start to add your own style to whatever that is. So I’ve incorporated that into my “stone cold” country songs or into my soulful stuff on the record or into bluesy stuff. I proabably have my Grandfather to thank for that. Those old blues records were who taught me. OTWS: Hearing your name called so many times at the ACM nominations must give you a renewed sense of confidence on this new path of your solo career… NEWFIELD: Oh my gosh! You know the first words that came out of my mouth were “I’m shocked.” But then the more I really realized it, I thought you know, that’s not necessarily the proper words. I was so happy and so pleasantly surprised. I had I’m very proud of what we accomplished. But we never got to really play at that level. So this is the first time I’m gonna get to kind of step out and shine and get to sort of play with the big boys. That’s how I look at it, so this has really been exciting and I thank the Academy for welcoming some new blood into the mix. I hope I make ‘em all proud. OTWS: Shure has been with you for quite a while and we’re happy to be continuing our support. What does it mean to you to have this kind of support on the road? NEWFIELD: Shure takes care of me and the customer service is amazing, they literally make the best product. If we’ve got a problem with something and if we need some- HEIDI NEWFIELD thing, I can call my man Ryan in Nashville or my road manager Bartt and it’s taken care of. You know when you’re in my position as an almost established artist, sort of a veteran artist, but ultimately also balancing that new artist thing, because I’m starting over again. I’m starting over as a solo female [artist]. That whole starting over thing, there’s a lot to that. The support that Shure has given me has been invaluable. I can’t say enough about them and I can’t thank them enough. OTWS: You’re not only using the UHF-R Wireless with an SM58, but you’re also swinging a wireless 520DX Green Bullet for your harmonica. I’m guessing you’re not standing still too much during your shows? NEWFIELD: [Laughs.] What’s ironic is that I think most of us started out using a good old Shure 58. That’s one of the best microphones ever made; just consistent as all get out. Since I was a teenager, I’ve used the Green Bullet. I’ve loved that sound, that natural tone. I can go direct from a Bullet and get just the tone I want. A lot of that comes from here [motions to her mouth] but a lot of that comes from that microphone. The products are great. Yeah, there’s not a lot of standing around, there’s a lot of energy on stage. I never have, from day one, been a stand there and sing kinda girl; once in a while on a ballad. But for the most part, I like to move around and I like to work the crowd and I like to entertain the crowd, I like that energy. If I’ve got it and my bands got it and that chemistry on stage is happening, then that’s translating to the crowd. I get so much from them; I feed off of their energy. Theirs On A Budget Lead Vocals UR2/SM58®* PGX24/PG58* Backing Vocals SM58 PG58 Kick Beta 91& Beta 52®A PG52 Snare SM57 PG57 Toms KSM27 PG27 Hi-Hat KSM137 PG81 Overheads KSM32 PG27 Guitar Cabinet SM57 PG57 Bass Cabinet SM27 PG27 Saxophone SM57 PG57 Monitors PSM® 700 PSM 200 * wireless system 22 www.shure.com 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:49 AM Page 23 Doves come to some cities and they never really get to see too much, they’re only here for the show, for the fans and for the money… well, maybe not the money. At a recent stop to Chicago, the Williams brothers, Andy and Jez, tell us it costs a bit of money to tour the states! Well, we’re glad they still make the trip, a Doves show is unlike any other. The band has continued to push themselves musically and the effort shows on their latest release Kingdom Of Rust, an album they produced collectively in a makeshift studio, complete with living quarters, on a farm in Cheshire, England. On Tour with Shure 23 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:49 AM Did anyone in particular get bitten by the producer bug while working on Kingdom of Rust? JEZ WILLIAMS: We’re our own producers, really. [With] this particular album we took control more of the production, more than previous albums. It was a bit like our first album [Lost Souls] when we produced most of the stuff ourselves. ANDY WILLIAMS: All of them have been produced by us in the end, really. JEZ: Particularly this one and Lost Souls were more... When you build your own studio you can have more control anyway because it’s your environment, your studio, not someone else’s. We had help, a guy called Dan Austin—he’s brilliant, on our wavelength. But it was a self-produced album, as opposed to the previous album [Some Cities], which was Ben Hillier. It felt right at that time to do that. OTWS: As artists just starting out, you typically work on your own productions. As success comes along, you begin to work with producers and see where things end up. Do you feel there’s a progression there and that eventually you want to return to your own productions? ANDY: That’s our priority, progressing musically and pushing ourselves musically. For each album that’s what we try and do. Personally, I wouldn’t rule [out] working with a producer. I mean, you always have to think it’s going to work [as your own producer]. It’s not something that I’d rule out, but I think just by the nature of us listening to a lot of music and being big fans of music, that we do progress record to record. [We] don’t really ever want to stand still. It’s about being excited about what you’re writing. OTWS: If we switch over to the touring side Page 24 ON TOUR WITH SHURE: 24 www.shure.com “THAT’S OUR PRIORITY, PROGRESSING MUSICALLY AND PUSHING OURSELVES MUSICALLY. FOR EACH ALBUM THAT’S WHAT WE TRY AND DO.” —ANDY WILLIAMS of things... What have you learned that makes you way more efficient while out on tour now versus just starting out more than 10 years ago? JEZ: Learning to deal with not [having] much privacy; learning to get some sort of routine going when you’re on tour. I think having some kind of routine is a good thing. ANDY: Pacing yourself and not going absolutely mad.… When you’re younger, your first week you go, “Wow, I’m on tour. [woohoo] I’m gonna do everything.” JEZ: You get ill. ANDY: You just end up getting ill and not enjoying the tour. We still have our moments, but we generally try and take it a bit more easy. We’re knocking on now, so… [Laughs.] JEZ: Yeah, and the live show is… we keep putting more and more in to the live show. Now we’ve got four albums worth of material. It’s really a luxury to pick and choose the songs; it’s really, really good. Just getting to a fourth album these days is something of an accomplishment. [Laughs.] ANDY: We also feel very lucky we’re able to go out and tour. It’s getting harder and harder for a lot of bands to properly tour because everything’s shrinking, isn’t it? OTWS: There are a lot more bands nowadays, too... ANDY: Seems that way. JEZ: Seems to be. I mean, in a way, the internet has provided that sort of self-publicizing angle, that... ANDY: Platform, yeah. JEZ: You don’t need record companies. There is a lot more choice. Some people argue that there’s too much choice, but with all the crap, there are always great bands there if you look for it. OTWS: Do you find that as you tour city to city you’re able to enjoy the city you’re in for each stop? JEZ: You very rarely get a chance, but today in Chicago, we went to the Sears Tower and had a bit of a giggle. That was good. Occasionally when you get time off, it’s great. You get to see a little bit of it. But more often, you spend quite a bit of your life indoors. It’s either in a tour bus or in a venue. It’s something that you forget, but when you go back on tour you remember. It’s one of those, “Oh yeah, I remember this.” It’s a sort of claustrophobic, kind of indoor feeling. That’s why it’s so good when you get a day off just to get out; just to see a bit of the world. All this is for that hour-and-ahalf on stage. That’s what it’s all for; all this touring, all this traveling and all this sleep deprivation. It’s for that hour-and-a-half 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM on stage because that’s the very reason you’re there. OTWS: I don’t know how ticket prices are in England, but they’re tending to go up around here. JEZ: They’re more, yeah, because there’s less tour support. That’s one reason, because there’s no money in music anymore. A record company can’t pay £20,000 for an up-andcoming band to go and tour. Because of that, ticket prices have to come up because the money has to come from somewhere. ANDY: It’s very expensive to tour as well. I mean, for instance, for a tour like this we personally won’t make any money off of it because we have a big team around us and we have quite a set up. So we’re certainly not getting rich touring the States. JEZ: We’re getting poorer. [Laughs.] ANDY: We’re getting poorer, if anything. I think you get to a level, obviously, of certain bands doing stadiums, and they’re doing well... you can make money on that kind of scale. But mid-scale and the lower-scale, most bands, they’re not making anything. JEZ: Losing an awful amount of money. OTWS: Where do you make your living? ANDY: Songwriting. JEZ: Songwriting. We’re all songwriters, so my advice to anyone is to try and get into songwriting as well as being a musician. Songwriting is most rewarding as well, personally. It’s incredibly rewarding, creatively. OTWS: You guys have had quite a bit of licensed material. TV shows... JEZ: Yeah, we’ve never had an advert. I have to stress that. People always think [that]. Yeah, we get licensing for TV, like football and stuff like that, but we’ve never actually approved an advert. ANDY: Yet! Page 25 “…IT’S GREAT BECAUSE YOU GET ON STAGE AND YOU KNOW IT’S GOING TO BE RELATIVELY THE SAME AS THE NIGHT BEFORE, WHICH IS A GREAT THING.” —JEZ WILLIAMS JEZ: Yet! [In a singsong] If the money’s right... gotta pay the rent! OTWS: When you guys changed from floor wedges to in-ear personal monitors, was it a drastic change for you? ANDY: To get used to, yeah. It took a while to get used to. The great thing about inears is it’s consistent, hopefully, night after night. You get your mix. Now that we’re using digital monitor desks, you can hopefully rely on.… Using monitors you can get DOVES wildly different mixes every night. It can be hard to work with, but you know you can rely on your in-ears—that hopefully it will be similar sound every night. JEZ: Yeah, the beauty is, you don’t have to do sound checks, which frees up four hours of your day. [Laughs.] OTWS: You can go explore Chicago… JEZ: Yeah, explore Chicago, if you want. If you don’t have to rehearse any songs it’s great because you get on stage and you know it’s going to be relatively the same as the night before, which is a great thing. ANDY: I still use a side-fill in my set-up because I do still like a bit of ambient sound around me, but I do really rely on [in-ears] because I listen to click tracks. It’s definitely a good move. We started on the last tour, it was suggested to us that we use them. Once we got used to ’em, it was the way to go. OTWS: It’s an interesting thing to be cut off from the crowd. JEZ: I was gonna say, that was the first thing that really freaked my head out, is when you’re taken off monitors and in to in-ears. Suddenly there’s almost this kind of wall there, but you soon get used to that. You feed these ambient mics that [are] set-up at the front of the stage, facing the audience, in to your mix and it’s quite easy to get that back. Theirs On A Budget Lead Vocals Beta 58®A PG58 Backing Vocals Beta 58®A PG58 Kick Beta 91 & Beta 52®A PG52 Toms Beta 98D/S PG56 Hi-Hat KSM137 PG81 Overheads KSM32 PG27 On Tour with Shure 25 670_Shure.qxd: OTWS13_V5.qxd 26 12/29/09 8:50 AM Page 26 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM t feels good to say the word “elbow,” according to the BBC’s Singing Detective, and these days, it feels good to be the band Elbow. As a band for more than 18 years now, the quintet has garnered only minor commercial success… until now. No longer a supporting act, these days the guys are headlining their own shows and gaining some esteemed fans along the way, such as U2, Radiohead, Coldplay and R.E.M. We caught up with keyboardist Craig Potter in Chicago to get his take on what keeps Elbow progressing. ON TOUR WITH SHURE: In the time that you’ve been a band you’ve run the whole gamut when it comes to playing different venues. Is there a type of venue that you guys appreciate more, now that you’ve got the experience with all of them. CRAIG POTTER: Well, if you were to ask me that maybe six months ago I probably would have said the large theaters, which I think everybody likes. That three to four thousand capacity, big theaters are always great to play because it’s not too big, it’s not too little and it’s a great atmosphere. We’ve only done our own arena gigs recently. The whole idea was to actually make these venues as small as possible; as intimate as possible. We played Wembley Arena and I think we pulled it off. We were actually really surprised that we enjoyed it just as much as the theaters that we do. We’re not that experienced. We’ve done plenty of support in stadiums and things like that, but it’s not really the same thing. So headlining gigs, it’s more... The last arena gig we did was great, so we’ll see how it goes. I suppose a few theaters in a row, you’re guaranteed to get a good atmosphere. But we did alright the last arena one. OTWS: Did you ever feel like there was a distance between you and the crowd that was kind of hard to overcome, maybe, when you got to the larger arenas or the larger venues? POTTER: That’s what we thought was going to happen, but it just didn’t. It seemed to be just as intimate as all the rest of them. Guy [Garvey, lead vocals] is really good at talking to the crowd and we managed to do that even in the big places. I think we pulled it off pretty well. OTWS: You are versatile in both the production realm and live as well. When did you get bitten by the production bug? POTTER: Well it was right from when we i Page 27 first did demos. The first recordings we ever did were on a four-track tape and then we went on to a MiniDisc eight-track recorder. When we did the first album with a guy named Ben Hillier, I think that was what really got me. I was always the guy in the band that was over his shoulder wondering what was going on. We got our own Pro Tools rig and we ended up doing our own b-sides. We had a little bit of experience, and having worked with a producer and in studios... you get a gist of what to do. Everyone was pretty involved with it. It’s not just me. It’s just that I took on the producer role on the last album. So, yeah... it’s right from the first album, we started doing our own b-sides and that was it, really. I was always really interested in what was going on and started reading up online about it. OTWS: Do you have something equivalent to those four tracks that you guys tour with now? POTTER: I’ve just heard there’s a four-track application on the iPhone that’s come out, isn’t there? OTWS: Yeah. POTTER: [I] quite like the look of that. I’ll probably check that out, but we’ve got a little [Pro Tools] LE rig with a laptop that we take with us. I think it’s really important to keep writing. We made a little bit of a mistake after our first album. We were sort of “basking in our glory” for a while and actually stopped writing, which is a real big mistake. So we make sure that we’re always doing a little bit of writing wherever we are. OTWS: Is there a better place than not for doing that writing? Do you find more inspiration on the road or does it just kind of depend on where you are? POTTER: It depends, and it depends on what everyone’s frame of mind is. Sometimes everyone can be really inspired on the road. It’s difficult to grab rooms that you can get a bit of peace and quiet and you don’t have people wandering in all the time. But if you get a nice room with a big window then anywhere can be as good as anywhere. OTWS: As you’ve been doing the production throughout the career of the band, have you noticed that you tend to approach music differently now that we’re in an age of singles rather than entire albums? POTTER: I know that a lot of bands do and I can hear it from the stuff that comes out. But I don’t think we actively try not to. We make sure that the album is the most important thing and it always has been. We work in Pro Tools and our mix, everything is completely in the box. When it comes to putting the album together, even half-way through writing the songs, we actually put in the sessions, we start to decide how the album’s going to go; where the songs are going to go. We put the songs in the session before and after. We don’t just work on individual tracks. We make sure we have a little step back and have a listen to the song that comes before it and see where it might take; try and maybe drag some sounds or just vibes across from the song before. On Seldom Seen Kid there was one track that I think was quite heavily influenced by what the background vocals were doing on the track before it. We like to sort of keep the flow like that. [It’s] great because we can shove it in the sessions right next to it and sometimes have a listen to it in a row, and it works really well like that. OTWS: So the flow of the album is crucial to you guys in terms of how you want to produce your product? POTTER: Absolutely, yeah. OTWS: In the final product there’s obviously mastering and you guys support... POTTER: Turn Me Up!™. Yeah, it’s [men- On Tour with Shure 27 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM tioned] on the album. There’s a website called Turn Me Up! that I think a lot of people should check out. There’s quite a lot of musicians aware of it but there’s a thing called “the loudness wars,” which is happening and it’s a very tough to try and get people’s heads ’round what it is in the first place. A lot of people don’t know what a compressor is or a limiter and also why there is a problem. The problem is that, basically, a lot of bands and labels don’t want their albums to be quieter than the next band’s. So when you put it on, espec- ially now, like you said before, it’s all about individual songs—if your song comes on next to another person’s song, the bands don’t want—and it is down to the artist, really—their song to be quieter than the next. It’s all about confidence and as a result of that, they end up squashing it and trying to get as much volume out of it [as they can] in the mastering stage. That not only kills all dynamics in the music but it also adds various distortion. There are examples of... was it the new Bruce Springsteen album? It just sounds horrible because it’s just been squashed, and the Metallica one got a lot of bad press, you know... OTWS: That was like a poster child for overcompressed. ELBOW 28 Page 28 POTTER: Which is great, it’s great that they did it because then it got a lot more people talking about it. But if you listen to albums that haven’t been remastered, which is another worrying thing that happens, too... you know albums from the ’90s or whenever, they just have much more dynamic range and sound a lot better for it. So hopefully people can check it out. Check out www.turnmeup.org. Have a read-up about it. It’s important. It gives the choice back to artists, if they can put something on their album which says... It’s like a seal of quality, really—this is a certified Turn Me Up! album. Then maybe other bands will see that and say, “Oh, I want my album to be like that as well.” OTWS: So it’s badged? POTTER: There’s a badge, yeah. We didn’t have the badge on ours. We just had a little “this is certified…” They’re working on it at the moment. It’s not official. I think they’re still working out what the parameters should be. It’s sort of a little bit up in the air, the whole debate is. Just to get people talking about it is a good thing. OTWS: Do you think people would pay attention to making an album more dynamic? POTTER: Yeah, hopefully. People have different opinions about this. Some people think it’s really just come from radio meetings where record companies put their songs forward to try and get on the playlist. And if one song’s quieter than the other in the first ten seconds it doesn’t get noticed. There is that side of it. But I think it’s really down to the artist. If they put their foot down then most labels wouldn’t insist on getting their albums mastered squashed and sounding horrible like a lot of these albums do. OTWS: Now on the subject of volume. You Theirs On A Budget Lead Vocals KSM9 SM86 Backing Vocals Beta 58®A PG58 Overheads KSM32 PG27 Guitar Cabinet KSM32 PG27 Monitors PSM® 700 & PSM 600 PSM 200 www.shure.com guys use in-ear personal monitors. Has it helped you guys on stage versus wedges on the ground? POTTER: Four out of five us us use in-ears now. It’s helped me amazingly with vocals. Actually, now that I’m heavily involved with production and I’ve been working with other bands, it becomes something that I want to do more frequently. You have to be careful about how much volume you subject your ears to. You can have just average listening levels and you can hear everything perfectly clear. A lot of guys just can’t do the in-ears because they think they’re not used to the atmosphere changes; they can’t hear the crowd and all that. When we have them set up, we have crowd mics that we can mix in with it and I think it works perfectly well. I’m glad that I’m not getting blasted by monitors. You end up turning them up and then everyone else turns theirs up and it ends up getting like... a mess. 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM Page 29 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM Page 30 Rob Garza and Eric Hilton didn’t think any of the suits would like their music when they started on their musical journey as Thievery Corporation, so they started their own label to ensure distribution of their creative efforts. With a label in place, a few 12” singles hit the streets and the duo garnered themselves a little attention. The rest is history, although these days, Garza and Hilton are still amazed at the idea that some of their more recognizable peers are adamant fans of their work. 30 www.shure.com 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:50 AM You guys are pretty well-known for your business acumen in addition to your musicianship, so we’re going to start of with the label side of things. You guys started off creating your own label, making your own music and that has perpetuated throughout your entire career. What made you decide from square one that you wanted to go with your own label. ROB GARZA: We didn’t think that anybody would want to put out our music so we had to kind of [laughs] do it ourselves because at the time we were starting, the genre [ambient dub] didn’t really exist in the way it does today. It’s kind of like we couldn’t really be dependent on, “maybe somebody will like us and pick it up.” We just decided, “Why not just do it ourselves?” We were inspired by a lot of bands in Washington D.C. that came out on the Dischord label. I know Eric’s been really influenced by that whole scene. He started 18th Street Lounge with some partners. I was doing some business things with a friend of mine, helping him start a label, so we knew how to actually manufacture things and find distribution. So we’re like, “Let’s just do it ourselves.” OTWS: And the growing pains, was that all kind of resolved beforehand or was it a new experiment that you guys were getting in to? ERIC HILTON: Well, there were always growing pains. I mean, you have to get paid by your distributors and I think we got stiffed from one of our early distributors from Florida, which was like $2,000 or something at the time, and that was a monumental amount of money. And then later down the road, as we got bigger, around the time of Richest Man In Babylon, a distributor in Europe went... GARZA: It was about 400,000 Euros? HILTON: Yeah. Went out of [business]. [Laughs.] So that’s a tough one to write off but we do it for the love and not the money and we find that the money will somehow find us if we just do what we enjoy. So we could absorb that loss, but it’s not always a bowl of cherries. OTWS: Do you guys find a particular place— live or in the studio—to be better than the other? GARZA: Well, being in the studio is where we started and it’s what we’re about: creating music. The studio is where it all started for us. Just being in there, you know... we had basic equipment when we started off and our passion has always been about creating ON TOUR WITH SHURE: Page 31 music. I think it came as a surprise through the years that people really wanted to see the music and have an experience with it. So it’s something that we’ve grown to love more and more; being out there and having contact with our audience. But I think our main love is actually creating music. OTWS: Now when it comes to guest singers, which you have plenty of on all your recordings, is that something where you go out and pursue particular individuals, or do they come to you? Is it a mixture of both? HILTON: Usually it’s a matter of us pursuing them, when it comes to the bigger artists like Flaming Lips or David Byrne. We had “It’s very important for clear sound because we’re producers and that’s where we start from— in terms of creating a sonic experience.” –Rob Garza done a remix for David Byrne so we had a little bit of a connection there, but we asked him to collaborate. And on this past album [Radio Retaliation] we did a little short list of people that we really wanted to work with and Femi Kuti, Seu Jorge, they were definitely on that list, and... GARZA: Chuck Brown, we’ve always wanted to work with. HILTON: Chuck Brown, yeah. We thought THIEVERY CORPORATION that one was like a long shot even though he’s from D.C., and that worked out. And strangely, Anoushka Shankar, we did a remix for her. She’s Ravi Shankar’s daughter and she was very happy to come in and work with us. GARZA: And it’s surprising because a lot of these people you want to work with, they know our music and they’re fans, so it’s like a very good energy in terms of creating music. HILTON: It’s like the ultimate compliment when they actually know your music and you can’t believe it. OTWS: Do you find yourselves writing for these particular artists or do you find that they would fit in to a particular song? GARZA: With the Flaming Lips, we actually did some shows with them before and we were always kind of winding up on the same circuit. So we had this track and we’d send it to them and they would have their own lyrical ideas. Same thing with David Byrne. Other artists like Seu Jorge or Femi Kuti, they came to the studio in Washington and it would be more of a collaborative [process]. What do we think of different ideas? Femi Kuti was one experience where the lyrics were pretty much already written. Eric started these lyrics. Seu Jorge, he wrote about living in a Hare Krishna [community] when he was homeless, so he [brought] ideas. So every experience is very different from the other one. OTWS: Do you feel that having your guest vocalists on wireless helps your performance on stage? GARZA: Well it’s great. We hooked up with Shure and part of our music is about being electronic and being a studio-based band, but there’s also that live element that I think is very unique to electronic music. So we’re bringing all of these live artists in and the in-ear personal monitors help and the microphones. … I mean, it’s very important for clear sound because we’re producers and that’s where we start from—in terms of creating a sonic experience. It has to be good on stage. Theirs On A Budget Lead Vocals UR2/SM58* PGX24/PG58* Backing Vocals UR2/SM58* PGX24/PG58* Overheads SM81 PG81 Guitar Cabinet SM57 PG57 Congas Beta 98D/S PG56 Percussion Beta 98D/S PG56 Horns SM57 PG57 * wireless system On Tour with Shure 31 670_Shure.qxd: OTWS13_V5.qxd 12/29/09 8:33 AM Page ii
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