All Access: Nick Waterhouse—Stage and Studio

Feb 1, 2013 9:00 AM, Photos and Text By Steve Jennings


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photo of Chris Preston

FOH engineer Chris Preston

Front-of-house engineer Chris Preston, a Santa Cruz native and partner in Live Oak Audio, was behind the console for Waterhouse’s New Year’s Eve show. The two had met when Preston was mixing Black Mountain and The Allah-Las in Los Angeles at the 2012 FYF Fest.

“At Bimbo’s, I used a Midas XL200 console—awesome boards, give me one every day!” Preston exclaims. “They have a great selection of processing tools at FOH there at Bimbo’s, but still, the only unit I used was their Yamaha SPX 2000 for reverb and my [DeltaLab] Effectron for delay. I used two channels of dbx 166 to crush the vocals for some double-bused grit without overdriving the preamp. Mixing Nick and the band it’s pretty much a case of ‘good input equals good output.’ Everybody in the band knows their part and how to play it. They make my job easier.

“Nick’s vocal mic, the Ampex 3001 from 1966, was an eBay score last year that has proved its worth a hundredfold. It was new, never used, in the original box and actually smells like 1966. This mic works perfectly for Nick’s style; plus, it comes from about the right time period as the overall sound should feel. If I can find a few more I’d use them on the girls as well. Unfortunately, the only other 3001 I know about is part of the collection at MoMA in New York.”

photo of John Anaya

Monitor engineer John Anaya

Bimbo’s monitor engineer John Anaya is mixing on an analog Soundcraft MH3 console. “There were no effects requested, so I’m utilizing some of our rack gear, the TC Electronic EQ station—smart and easy EQ on every send to the stage. We also have external compressors and gates and Lexicon effects for stage mixes. The stage wedges for the show were Radian MicroWedge. I used nine mixes to the stage for this act. We also have a Meyer powered sub for the low end of our drum mix.

“As for microphones, Chris [Preston] brought a vintage Ampex 3001 for Nick’s vocal,” Anaya continues. “Pretty standard fare otherwise. Specials were M88 on tenor sax and a 421 on baritone, 421 on bass cab with a Countryman DI; it was one of the cleanest and better-sounding bass rigs I have seen at Bimbos in some time—Mesa head and Ampeg small cab. For the drums we had EV 868 on kick, Beta 56 on snare, 57s, 604s and a pair of Shure small-diaphragm condensers, KSM 137s. For Nick’s Silverface [Fender Twin] amp we had 57s, and for the background vocalists we had 58s.”

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