Bjrk

Oct 1, 2003 12:00 PM, By Steve Jennings

Polls


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Mix caught up with Björk's FOH engineer Kevin Pruce in San Francisco, when she opened the U.S. leg of her tour. Pruce has worked with Björk for 15 years, starting back in 1988 when she was with The Sugarcubes. “Working with Björk is always a pleasure, and every tour brings new challenges; there's never a dull moment,” says Pruce. “I'm using Eighth Day Sound in the U.S., whom I've used for most of my acts since 1986. FOH control is supplied by UK's Wigwam Acoustics. What we hang varies according to the venue, but we are carrying 44 L-Acoustics V-DOSC, 16 dVDOSC, 16 SB218 subs [flown], 12 d&b audiotechnik B2 subs [floor] and a d&b C6. The frontfills are dV DOSC/d&b C6; the sidefills are Turbosound Flashlight; and the floor monitors are Eighth Day 1×15s.

“I've got Björk on a Shure U2 wireless with an SM58 capsule,” he continues. “She has a very distinct voice and a great understanding of how it works, with good mic technique, plenty of level, and a nice, natural sibilance. Having tried various other mics, the SM58 is the choice. For vocal processing, I'm carrying a Lexicon 480L, Tube-Tech LCA 2B and BSS 901, with a Tube-Tech SMC 2A for system compression. All other effects and compression/gates are within the console.

“For this tour, I've chosen a Yamaha DM2000 digital, using 40 inputs from the stage. On the last tour, we had an orchestra with a 90-channel input list, so I used a Yamaha PM1D. The challenge this time was with festivals throughout Europe, so a small-footprint FOH and the simplicity of an analog snake — and A/D conversion at FOH — seemed sensible.”






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