Gotye Live at Red Rocks

Oct 1, 2012 9:00 AM, Mix, Text and Photos by Candace Horgan



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Front-of-house engineer Lachlan Carrick is on his second tour with Gotye.

Front-of-house engineer Lachlan Carrick is on his second tour with Gotye.

Gotye likes to use a lot of samples in his songs, triggering them onstage in Ableton Live using three Novation Launchpad 64-button controllers and an Alternate Mode MalletKat Pro MIDI percussion controller. Carrick mixes in stereo with a general stage representation, but the soundstage gets more detailed attention because of all the samples.

“Keeping up with Wally is the most challenging part of the gig, for sure,” Carrick says. “He’s extremely detailed in what he does in the studio, and he applies that to his live shows. He’ll often come out front and have a look at mixes during soundcheck. I use a lot of snapshots tune by tune, and they are all tempo-mapped. The delays I use [Waves H-Delay] are set to follow the tempo, so I then work with them as measure rather than milliseconds. I really like the way you can do tempo-guided release time with the H-Compressor. So with kicks and stuff, you might have an eighth-note release time on the compressor, which is quite a musical sound. So then I don’t have to fine-tune the release times like I would in the studio.

“I use a heap of Waves stuff, actually, like the SSL Master Bus Compressor, the C6 multiband and the L3 Limiter, but I don’t slam the mix very hard, and I don’t mix super-loud, either. I try to mix with a lot of dynamics, so there can be loud parts of the show, and when they kick in it’s quite dramatic—hopefully. Wally’s vocals can be extremely quiet, right through to very loud belting; he’s sort of a chameleon of a vocalist, so working the dynamic of the show around that is paramount.”

Eighth Day also provided the P.A. system, a d&b audiotechnik J Series, and Eighth Day’s Dave Ely was out on the road to help Carrick with system tuning.

“We are using 10 of the J8s, which is the nine-degree box, and then four of the J12, the 20-degree box, on the bottom, to fill in,” Ely explains. “The subs are the d&b B2, a nice punchy box. We have what we call a Q box, a smaller version of the J, and we use the Q for side hangs. We don’t have them up here [at Red Rocks], but I have three of them stacked on top of the subs. We use those for in-fill. The nice thing about d&b is all their boxes work well with each other. It’s not like you have a really good box and then the other doesn’t fit with it. We use the D12 amps, and then we have a Lake Controller just for EQ, basically. Either myself or Lachlan will do the system tuning. There’s quite a lot you can do with the d&b software. It lets you monitor the amps, but you can really fine tune things with it. We can do the timing with either the Lake or the d&b.”

Gotye sings into a Sennheiser 935 head on the latest Sennheiser transmitter. The other microphones were mainly a combination of Earthworks, Sennheiser and AKGs, with a sprinkling of Radial DIs for the computers and the keyboards and a Radial JDX box on the bass amp. The guitar amps are miked with Sennheiser e609s.

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