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Audio-Technica & Allen & Heath Float Ferry's Boat

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During an extensive tour that will see him play headline shows and festivals across Europe and the US, Bryan Ferry is relying on Audio-Technica AE6100 hypercardioid dynamic microphones to deliver his distinctive vocals.

Other Audio-Technica models are in service for his ten-piece backing band, while monitoring duties for the tour are handled by Allen & Heath's dLive S Class mixing system, distributed in the UK by Audio-Technica.

Monitor engineer Tom Howat, said: "The AE6100 made a great impression on Bryan as soon as we started using it in rehearsals. He loved the sound of it – which is almost condenser-like in its openness. But because of the hypercardioid pickup pattern it minimises on-stage spill. We're using two AE6100s, one for his main vocal and one at his keyboard position and it's really an excellent choice.

"We're also using the new Audio-Technica ATM350a cardioid condenser mics for toms and saxophones – we have soprano, alto, tenor and baritone saxes – and they sound very full but natural on everything. We love those mics and the drum mounts in particular are fantastic."
Supplied by Britannia Row Productions in Europe and Clair Bros in the USA, Howat's dLive system comprises a S5000 Surface with DM64 MixRack, DX32 Expander Rack, and two IP8 controllers for remote access. Howat has used dLive on previous tours, including Paolo Nutini and Morrissey.

Howart continued: "Once again, the dLive delivers clarity and precision. Mixing in-ear monitors for a 10-piece band comprising some very well-known and experienced musicians requires a monitor desk that will deliver a detailed, full sound. dLive's built-in compression and FX make a huge contribution towards achieving this, along with plenty of scenes - 50+ and counting!"
dLive's recent firmware updates, v1.4 and now v1.5, have provided new features that have freed up Howat's time and enabled him to focus on Bryan's mix during the shows. He is using the new Dyn8 units, new FX units, tube pre-amp modelling features on all four saxophones and the extended choice of compression – 16T on most instruments and Peak Limiter 76 on all vocals.
"I'm loving the new features, particularly the Dimension Chorus on acoustic guitars. The enhanced level of recall filtering in v1.5 is a major step forward in the flexibility of the scene automation," continues Howat.

"Bryan's monitor mix requires constant, active mixing throughout each song at a very detailed level. Bryan has an outstanding ear for the songs' musical arrangements and dLive is really helping me deliver this.

"I have once again deployed the excellent IP8 controllers, one hooked up to the monitor desk which enables me to make known and calibrated changes to other musicians' mixes whilst staying on Bryan's mix on the main surface. The second IP8 is deployed as a back-up for the FOH system, featuring most of the input channels mapped over the six fader banks contributing to a pre-fade stereo mix," concludes Howat.
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