All Access: Norah Jones

Jul 9, 2010 12:38 PM, Photos and Text By Steve Jennings

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Grammy-winning singer/songwriter Norah Jones is back on the road to support The Fall. Accompanied by a stellar backing band, this usually mellow artist brought an energetic, riveting and incredible-sounding show to San Francisco’s Fillmore.

Front-of-house engineer Brett Dicus mans a 48-channel Avid D-Show Profile configured with five DSP cards, HDx and ECx. “I chose this desk because of its reliability, automation, plug-ins and the very useful and utilized feature of it being a VNC server, which provides control from any of my computers or tablet computers. We use every channel, plus I have a few pre’s for additional channels of audience mics.” Onboard plug-ins include Waves C4 (vocals/bass), McDSP, Elysia, Crane Song and Flux. “These give me the control I need to consistently adapt to the wide range of rooms we are playing,” Dicus explains.

Front-of-house engineer Brett Dicus mans a 48-channel Avid D-Show Profile configured with five DSP cards, HDx and ECx.

Front-of-house engineer Brett Dicus mans a 48-channel Avid D-Show Profile configured with five DSP cards, HDx and ECx.

The Audio Analysts–supplied Meyer Sound P.A. comprises 24 MICA line array boxes, six HP700 subs, 12 CQ-2s for near- and side-fills, and six M1Ds as front-fills. According to systems engineer Spencer Ellis, “We are feeding all of the separate zones via AES into two Galileo 616s [main and spare] with a backup analog feed coming from monitor world.” At FOH, Ellis’ workstation includes two Apple Mac Minis running Windows: Computer A has Smaart and Meyer Sound’s RMS; Computer B runs Meyer Sound’s Compass, which he uses for system EQ and delaying zones. He sends two RTA mics to Smaart via Sound Devices’ USBPre: one hardwired and one via Lectrosonics wireless.

Four members of the band do a little jam at the end of the show surrounding a Neumann TLM103 mic. Dicus has a Waves Q10 inserted on the channel, as well as the strip EQ to help eliminate feedback and then to contour the tone.

Four members of the band do a little jam at the end of the show surrounding a Neumann TLM103 mic. Dicus has a Waves Q10 inserted on the channel, as well as the strip EQ to help eliminate feedback and then to contour the tone.

According to tech Kelly Macaulay, Jones also plays a Wurlitzer 200 that is run through a Sans Amp Classic to get the overdriven sound into a Keeley-modified Ibanez analog delay pedal into her Vox Pathfinder 15R amp.

Smokey Hormel’s guitar runs through about 14 pedals, including a Fulltone wah, Hot Cake and analog delays. That signal is driven by two amps: a ’63 Fender Deluxe with a Shure SM7 mic and a ’73 Fender Twin with a Shure SM57 mic.

Jones uses two Vox Pathfinder 15R amps: one at the guitar position (miked with a TLM103) and the other at the Wurlitzer position amp (Shure KSM32). These are mounted to the amp with a custom Audio Analysts Z-bar. Vocal mic is a Neumann KMS104.






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