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"Then a really big thing for me is its low latency. Ultimately, it boiled down to three determining factors: "Firstly, you get a consistent high-quality sound every night,” he explains. "I had my Apollo sitting on my desk and thought that it might solve the problem, because I could pre-program it with three different drum and vocal reverbs and a delay, and fire them up at venues instead of having to dial them in every day on different units.”īefore taking the Apollo out live, David did a lot of research to determine whether or not it would be reliable enough. It's not such a problem using digital boards because I can usually pre-program a file and load it onto the board as a preset, but the O'Brother tour was pretty small, so for the majority of it we'd be in venues with analogue consoles and hardware effect units like the Yamaha SPX 900, 990 or TC Electronic M-One. A delay cue is a simple tap-tempo change, but I wasn't sure I'd have time to set up all the reverbs for different instruments and song sections.
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The guy who mixed their last record used a ton of different delays and reverbs, and as I was preparing for that tour, I was wondering how to do all the changes. "It started with a band called O'Brother, from Atlanta, Georgia.
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"The Apollo was something that I bought for the studio but decided to take on the road,” says David.
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The most significant piece of studio gear that David uses live is the Universal Audio Apollo Firewire audio interface, which is a 1U hardware host for UAD plug-ins, remotely controlled by a software mixer called Console.ĭavid's Apollo is the eight-in, eight-out quad-core model fitted with four DSP chips, and he runs it at 96kHz for shows. It wasn't long before he decided to bite the bullet and start taking some of his studio gear into the live environment, and he hasn't looked back since. At the same time, he was taking on a little live-sound work at small venues, but became frustrated with the limitations imposed by the gear he was using.
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"It's now feasible to use good microphones, plug-ins that emulate 1176 compressors and Neve gear, and do all kinds of crazy things to sound that, until recently, you could only do in a studio.”ĭavid's original dream was to become a studio engineer and producer and, after working as an intern at 301 Studio in Brisbane, Australia, he began investing his hard-earned cash in some professional recording equipment. "It's a really exciting time for live sound, and I think that is one of the reasons why I have continued doing it rather than recording,” says David Williams, live sound engineer for progressive punk act La Dispute and other bands such as Title Fight, Deer Tick and O'Brother. Front-of-house engineer David Williams talks to SOS about why mixing with a DSP audio interface is worthwhile, despite the dangers of using a laptop on stage.