In this interview from Sweetwater, we talk to Jared Daly, the FOH Audio Engineer for Bring Me the Horizon. BMTH are an alternative metal, metalcore, rock band from the UK that formed in 2004 and have released 6 studio albums and toured the world countless times
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hi my name is Jared Daly and I do front of house for Bring Me The Horizon so we’re using on this tour and Alan and Heath s7000 as the console with the dm64 on stage but on this tour we’ve changed to not using the preez I’m now gain sharing with the digico speed up the process when we’re going on tour it’s a little bit simpler to do a Maddie split so that’s something new that we’ve done on this tour Mage yeah shows on a 7000 we have waves super rack and I do a lot of bus processing and some vocal processing on live Professor I have an eve Portico on my left right on my final stage my final bus and there’s also uad console running a few inserts on snare drum the instrumental bus and all these vocal I
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do quite a lot of automation so once the show’s started I just live on one page of dca’s and nine times out of ten I I’m just controlling the band VCA and Ollie’s vocal everything that happens during the show is happening via snapshots which is running on Reaper so along the show I have console automation live Professor Automation and waves automation and if I stop it within one song for instance obey would be a good example So within the song these are all program changes that are happening throughout it’s quite a lot so basically that could be a pan a volume automation a gate an EQ anything that I don’t want to dive through the banks to grab so basically all that automation happens a layer below where I’m mixing so you know a guitar solo that happens
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the guitar will move the person who’s playing the soul move into the center a guitar will shift into its place and I might even duck another instrument just to find that space for it so I guess that’s something that I don’t see a lot of people do and I rely on it pretty heavily if it was to stop I think we’d have a bit of a problem um but yeah it’s all snapshot based so I have like song cues that I can get to in case I want to change a song for any reason but the snapshots themselves are all all of these are just automated basically so I don’t have to think about it so we try to do a lot from the source so the guitars now are all digital we have no cabs on stage the only live mics that we’ve got are the vocals the drum kit and the big gong mic that Jordan’s playing so the majority of the works for a Sonic differences happen before it gets to me but in saying that within each song The automation that I just mentioned is moving Kick Drum eqs
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even the lengths of like drums so the um the transients are getting played with quite a lot um Ollie is going in and out of being distorted or being clean um so yeah there is quite a lot moving around but the majority of the work happens before it even hits the consoles because it makes less work for us and less work for monitor engineer John so that’s how we sort of handle it and because the show’s so dynamic as well with volume we we sort of where they put their certain songs in the set it kind of helps if that makes sense so if they go to diamonds for instance on this tour they’ve been throwing it in and out they put it at a point where we’ve been not sonically as loud so there is an overall thought of volume through the show it’s not just loud loud loud there are songs that we don’t we push up for and the songs that you know we use other I use other like processes like oh parallel the instrument bust to sort of give you the impact but not the volume especially for this show I in within live Professor
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on the groups I would say to drums for instance I’ve been using quite a lot of Fab filter on this tour it’s just a way for me to again move the drums around and I find their EQ the dynamic EQ is nine nine times out of ten the thing I’m reaching for if there’s an issue um along with that I’m using a lot of sound toys I’m using decapitator a lot just for like a Sonic choice so yeah 90 of the time I’m watching this during the show so it helps when we’re doing broadcast that’s sort of a reference curve that I like um and if I start to push you know too much low end in I know that I’m not getting enough out of the PA and so rather diving into the show and changing you know any of the balance within there we’ll go to we’ll go to the system and say I’m pushing too much in the low end I need more sub or I need less of this so it’s sort of like a I work backwards in that sense and for the overall sound
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within console I think all of the stuff I’m doing here so I’m running a X4 within this rack that’s taking the instrumental left right the snare drum and Ollie’s vocal and I’m just doing some processing there so I reckon yeah the main Sonic difference that I’m looking for is getting done here with like the studer and the API and the manly we’ve added in on this tour just to try and get a little bit more top end in the Arenas because the Arenas you know we’re trying you’re trying to get past as much low end issues as you can um but yeah I’d say the uad stuff is really important too especially for the vocal as well like the Avalon we used to we used to tour uh a 737 a physical one but with the range and the amount of recallability of snapshots I found it easier to go to a digital route so it’s the same every day we don’t have to worry about different units in different countries or different you know rigs but uad and light Professor has been really really great
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but yeah that’s pretty much it thanks for having me I hope you enjoyed the rig for the Bring Me The Horizon live show and uh hope you like it
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