All Access: Mutemath

Mar 1, 2012 9:00 AM, Photos and Text By Steve Jennings

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photo of Nate Dreger

Mutemath monitor engineer Nate Dreger

Guitarist Todd Gummerman’s amps are a ’70s Fender Princeton Reverb and Fender Blues Deluxe. Each is miked with a Shure SM57.

“The band started doing a processional through the audience as their intro to the show last fall,” Dreger says. “Paul triggers samples from the Akai MPC500 during the processional and from a rolling B stage later in the show. I Velcro’d two Shure SLX body packs to the bottom of the MPC, and that’s worked out pretty well.” .

Lampa says that Roy Mitchell’s bass pedal arsenal includes a Boss TU-3, JHS Morning Glory, Boss Super Octave OC-3, MXR Classic Distortion, Boss Equalizer GE-7, Morley Volume/Wah, Boss Digital Delay DD-7, and Boss Tap. For the Moog Voyager he also plays, Mitchell uses a Boss TU-3 and a JHS Mini Fuzz.

Monitor engineer Nate Dreger also uses a D-Show. “The sound seems neutral and transparent,” he says. “That works well, given the electronic nature of much of the band’s inputs.” Dreger makes use of the console’s built-in channel strip EQ, compression and gating, as well as a few plug-ins.

“We travel with four Shure PSM900 wireless systems,” Dreger says. “Three are dedicated to Paul, Roy and Todd. I had to get a little creative with the input routing for the fourth. I wanted a dedicated Cue transmitter, but [drummer] Darren, who is normally wired, required a wireless pack for the show intro [a processional through the audience]. To solve this problem, I bused my Cue via AES through the Venue’s PQ mixer, then set up snapshots to allow Darren’s mix to be soft-patched to the wireless for the intro, then back to Cue for the duration of the show. The Cue Mode feature of the PSM900 is great because I can still listen to everyone’s mix.” Meany listens on Sensaphonics. Mitchell and guitarist Todd Gummerman are on ClearTune monitors, while King’s stage mix is fed through Shure SRH750DJ headphones.






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