Professional Documents
Culture Documents
a pair of CMC5s with MK4 capsules on the marimba plus one each on the
crotales, vibraphone, bass drum, and for assorted percussion 'toys'.
With 66 inputs for the strings alone, it's easy to see how the total number of
inputs exceeded 120. Equalising that many channels individually would be
a daunting prospect, so where possible, EQ was applied across stereo group
channels. "I generally EQ on channels for obvious traits on an instrument for
example, cut at 2.5kHz cut for DPA mics on violins and I use group EQ for
adjusting how things sound from venue to venue, as well as notching-out
feedback. On just about every orchestral input the on-board compressors were
"tickled just for a little control. A rock concert audience also expects chestthumping low end, so the pickup and mic combination used on each of the
four-string basses and the close-miked orchestral bass drum were boosted just
enough to easily substitute for the frequency space otherwise occupied by the
kick drum and bass guitar in a rock mix.
The only effects used for the show were top-quality reverbs. A Bricasti M7 and
Quantec Yardstick provided natural-sounding spaces around Gabriel's vocal,
while reverb for the orchestra was handled by Lexicon 960s. Richard elaborates:
"The Lexicon was split into four engines: three for the orchestra, most of the
time strings, woodwinds with piano, and brass with percussion, with a bit of
swapping between songs. The fourth engine was used for the backing vocals.
Newer Blood
With so many musicians on stage, you'd expect the musical content of the tour to
be set in stone, but this was not the case. The first half was fixed the entire
Scratch My Back album was performed but the second half changed from
show to show. Arranger and orchestrator John Metcalfe and his Sibelius system
travelled with the tour, and not only were songs re-ordered, added and removed,
but arrangements were worked on and tweaked in between shows.
The equipment for the US leg of the tour was also improvised to an extent,
thanks to the volcanic eruption in Iceland that disrupted air travel. A resulting
customs impound and delay meant that a splitter system had to be constructed
from scratch to get the signals to the multiple consoles. The crew and production
company scrambled and the original, compact system (now impounded) was
replaced with about seven flight-cases' worth of equipment put together by
Firehouse Productions... and the show went on!
Following some on-tour reworkings of the orchestral arrangements of Gabriel's
own material, the team went into the studio over the summer of 2010 to
recording those tracks, which are likely to be released during the autumn of
2011. A string of European dates followed in the autumn of 2010, and the Verona
concert was filmed for DVD, although there is no scheduled release date at this
time. In March 2011, New Blood was also filmed over a couple of nights at
London's Apollo Theatre, in 3D. This time the focus was Gabriel's back
catalogue. At the time of writing, a theatrical release of this is proposed (but not
confirmed) for September 2011, with 3D and 2D Blu-ray and standard DVD
following in November 2011. This back-catalogue focused tour continues in the
USA and Canada over 12 dates with the New Blood orchestra, this June. I have
my ticket!
Many thanks to Richard Sharratt and production manager Gary Trew for making
this in-depth look at a unique show possible.
Monitor Mixing
Seventeen monitor mixes were created for the stage show, mostly mono mixes
for the conductor and orchestra members wearing headphones, plus the singers
wearing Sennheiser 2000 IEM (in-ear monitoring) systems.
Richard 'Dickie' Chappell, Gabriel's long-time studio person, engineer, and live
sound man, was mixing Gabriel's monitors for this tour. Dickie is the person
responsible for taking Gabriel's projects from the studio on to the road, helping
the tour manager Dave T to find the best sound crews, and handling the audio
logistics of the shows from selecting what mics and PA systems will be used to
how to record the show, to a myriad of other essential responsibilities! In
addition to receiving the same orchestral submixes that were sent to the Yamaha
PM5D desk, his Digidesign Venue system also received the FOH reverb outputs.
Gabriel's monitoring setup consisted of his IEM system, plus a pair of L'Acoustic
MTD108 wedges, a pair of video monitors showing a visual song form and
a vocal activity cueing system created in Logic, and another pair of video
monitors allowing him to see the conductor, who was behind and to the side of
him. Gabriel was not centre stage for the show, but downstage and house left.
Video Projection
Both live and pre-recorded video accompanied the music on the New Blood tour.
They were displayed on four transparent LED video screens, three of which were
positioned behind the orchestra and one in front of the orchestra, moving up and
down throughout the show. The video was precisely sync'ed to the music,
necessitating the orchestra following a click track. Gabriel's visual cueing system
was also synchronised to this track. Here we see the cueing system, which
reacted to the vocal performance, running in Logic, backstage.