Tour Profile: Tool

Apr 1, 2014 9:00 AM, Photos By Steve Jennings // Text By Matt Gallagher

Audio That Supports Raw Power, Tight Arrangements, Dramatic Visual Effects


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photo of Tool

Tool, from left: Adam Jones, guitar; Maynard James Kennan, vocals; Danny Carey, drums; Justin Chancellor, bass

In mid-March Mix took in an electrifying pair of sets along with a packed house in San Francisco’s Bill Graham Civic Auditorium from Los Angeles’ powerhouse art-metal band Tool—Danny Carey (drums), Justin Chancellor (bass), Adam Jones (guitar) and Maynard James Keenan (vocals). This was one of two shows in BGCA from the quartet amid a brief West Coast tour, which sees Tool reemerge for the first time since the summer of 2010. Although this tour does not support an album release and Tool has not introduced new material, rumors have been circulating in early 2014 about a possible new album release.

The band treated longtime and new fans alike to songs drawn from across its catalog, spiced up with some new arrangements, musical surprises, Carey’s debut performance on a modular synth rig, and moments of improvisation. Additionally, Tool stepped up the visual component of their show, creating an intense stream of jarring, nightmarish computer-generated imagery accompanied by laser beams and occasional confetti blasts in order to fully immerse the audience throughout each set.

photo of Nobby Hopkinson

Front-of-house engineer Alan “Nobby” Hopkinson mixes Tool on an analog Midas XL4 (at left) and a Midas PRO2C for overflow channels.

“The visual element is always at the heart of this show,” says veteran front-of-house engineer Alan “Nobby” Hopkinson, “obviously with audio being the silk stitching to complete the purse! Ha. We try to position audio to facilitate what the video and lighting departments are trying to create. All three departments have worked together for the 13 or 14 years I’ve been here—some [for] longer—so we have a pretty good understanding of each other.” Hopkinson has been involved with live sound since forming a small P.A. company with his friends and band mates that served the punk rock community in London circa 1980, and joined Tool’s audio crew after mixing Rage Against the Machine for their Battle of Los Angeles world tour in 1999 and 2000.

photo of P.A. system

The P.A. system is a d&b audiotechnik J-Series line array.

Tool is carrying full production for these West Coast dates—including mics, in-ear monitors and a custom-built rack of outboard gear—and Eighth Day Sound is providing the audio system. The P.A. system is a d&b audiotechnik J-Series line array. The main hang comprises 16 J8 and four J12 loudspeakers, and six J-Sub cardioid subwoofers per side, while the side hang comprises 12 J8s and four J12s per side. Eighteen supplemental B2 subwoofers on the floor help deliver and enhance the band’s thunderous aural assault. “We carry enough P.A. to beat the crowd hands down, so there is no fight [with excessive audience noise]!” Hopkinson says.

Hopkinson mixes Tool on a Midas XL4 analog console and also carries a Midas PRO2C to handle overflow channels and mix the opening acts. Hopkinson mentions that he tried mixing Tool on a Midas PRO9 digital console “a couple of years ago but somehow couldn’t get the ‘Tool’ sound out of it. I mix many other bands on digital consoles, but [digital consoles] just didn’t sit right in this camp. So I went back to the XL4 and all the associated gates, comps and FX you have to bring along, too.” The FOH rack includes a dbx 120XP Subharmonic Synthesizer, two TC Electronic Dynamic Digital Delays, Eventide Ultra-Harmonizer, Yamaha SPX900 and Lexicon 224X Digital Reverberator.

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