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The Cure Live Issue 57

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The Cure Live Issue 57 FEATURE TheCure The Cure’s iconic frontman, Robert Smith, LiveMichael Brennan: “It was a lovely sound, and he If the 2007 tour is anything to is one of the instantly recognisable faces in pop. acknowledged that, but he’s so used to the sound go by, after 30 years, The Cure’s Actually, to be more specific, Robert Smith has of the 58, and he likes the growl he gets off the prognosis is good. one of the most instantly recognisable hair-dos 58. You can’t argue with Robert Smith, he’s been in pop. Some 30-plus years in the biz, changing doing it a long time.” Text: Christopher Holder fashions, and an alarming hole in the ozone Rob Elliot: “Right. And the other factor was that layer, haven’t made a dint on Robert’s love affair the flat basket of the 935 rubbed his lipstick off with Cedel hairspray. too quickly… unlike the round ball of the 58!” But whatever preconceptions you might have Perfect. That just about sums up Robert Smith had about Robert Smith – you could be forgiven – the creative force of The Cure. A musical for thinking he was more worried about his perfectionist? Yep. Vain? Well… maybe just mascara than his vocal tone – would probably be a bit! confounded after a chat with The Cure’s FOH and monitor engineers, Michael Brennan and 77 SONGS – TWO WEEKS REHEARSAL Rob Elliot. Just prior to the current world tour, Robert Rob Elliot (Monitors): “Robert’s got an amazing Smith spotted FOH Engineer, Michael Brennan, ear and he’s very hands on. The other day I mixing Mogwai in the UK. Apparently he liked touched something in the vocal channel, and what he heard and offered him the tour. Two straight away he’s like – ‘what did you do? Put it weeks of production rehearsals followed. back, it doesn’t sound as good now’. And we’re Christopher Holder: Can you tell us about those talking about maybe 1dB at 500Hz! initial preparations, Michael? Michael Brennan (FOH): “And he’ll call Michael Brennan: We set the band up in an frequencies all the time: ‘Less 300. Widen the enormous sound stage on a film studio lot. The Q a little bit… that’s it. Yeah. I’m getting too band was in one room and I was in a smaller much 3.5k’.” room with my [Digidesign] Venue console, three And then there was the time Rob and Michael L-Acoustics ARCS cabs and two 218 subs. gave Robert Smith a Sennheiser 935 vocal mic to Initially it was simply a case of getting a sound audition, possibly to replace the Shure SM58 he’d up on the board. I’d record the rough mix in used for decades. AT 40 TheCure Live ProTools, Robert would listen and then we’d CONTROL FREAK (Main picture) No, that’s not the full setlist, it’s just the encore options! (Clockwise from top right) The discuss it and tweak it. We’d repeat that process CH: Would you describe yourself as a relaxed Cure at the Rod Laver Arena – d&b M2 wedges abound. until Robert was like, ‘fundamentally that’s what operator or do you need to know precisely what’s Porl Thompson’s guitar parking lot. Michael Brennan’s Digidesign D-Show at FOH. Porl’s guitar amps – a Cornford I want’. And then it’s been a case of putting the going on all the time? rig with two Shure SM57s per cab. The mic brackets are icing on that sound – fine-tuning it. MB: I’m a control freak, no question. I’m homespun, using a mic clip connected to a spatula… true! CH: How many songs did you prepare? listening and constantly tweaking – not crazy stuff, just massaging levels. And I just can’t stop MB: Seventy-seven. He would call a new set-list thinking about everything all the time… Where each day! everything’s routed, system EQ… I’m the only CH: Woah. It sounds like Robert knows what person that knows how it should be sounding, he wants. Does that extend to keeping an eye on really. I wish I had a USB connection in my skull how the sound progresses during the tour? to download it! MB: We record a mix of the show every night, CH: Which brings us neatly to the console. “This is only our eighth and he’ll listen to my mix and we discuss it the Sounds like a digital console like the Digidesign or ninth show and I next day: ‘In the Middle 8 of Forest, do you think D-Show suits your style? the guitars are eating up my vocal a little bit?’ know we’re miles ahead, MB: Well, there’s no question that each night Stuff like that. He’s also very concerned about I’m making changes and refining the sound sonically, from where we the stereo image. We’ve got a lot of stereo things – making improvements then saving them as happening up there and the width of the songs is were last week” snapshot updates. What I’m doing is still within very important to him. Robert’s production rehearsal parameters, but CH: What sort of elements? I can hear and improve the sound every night. MB: Porl [Thompson] has two guitar cabs going This is only our eighth or ninth show and I with two mics on each – he’s panned about ‘10 & know we’re miles ahead, sonically, from where 2’. Robert’s acoustic guitar has three lines, which we were last week in Perth. Even the difference are set wide left and right and a centre, which between the first and second shows in Sydney fills out the sound. He got me to pull the left was, for me, massive. The second night was and right lines in to a ‘9 & 3’ position because he smoother – I EQ’d the system a bit more, figured that’s where they should sit… and sure produced it a little bit more. enough, he was right – it sounds better. AT 41 Michael Brennan (left) fine- tunes his D-Show prior to the Melbourne date. (Right) Monitor Engineer, Rob Elliot, behind the Yamaha PM5D. Johnston Audio supplied the PA. CH: And I notice there’s not much in your of the main mix, the V-DOSC went down to “ you’re the f***ing rack, so you’ve obviously explored the on-board about 60Hz. Now I’ve taken the V-DOSC right Ramones, why do you plug-ins? down to 30Hz and I’ve kinda butchered the EQ on the low end of the V-DOSC so it sounds MB: I have. The console came supplied with really tight and sweet. And I’ve butchered the even care!?” something called an Access Pack, which meant subs as well, so they sound fat – providing proper the dongle was loaded with hundreds of plug-ins. subsonics. It’s really tightened the sound of them. And at one point it seemed like I had every one To be honest, if I turn the subs off, there’s still of them loaded up. But then I decided, ‘hang enough bottom end there. But the subs give it the on, I don’t need this’, and I stripped things extra warmth. You feel it more than hear it. back again. But, for example, on vocals I’ve got a Line6 Echo Farm, Focusrite d2 mono EQ CH: But why couldn’t you do that with the subs and a Fairchild 660 compressor. The Fairchild being fed from a matrix send as per usual? compressor is something I just stumbled on MB: If it’s on a matrix send you’ve got every while exploring the plug-ins and it’s fabulous on channel going to the subs all the time. And Robert’s voice. because of that you find yourself filtering loads CH: No misty-eyed nostalgia about running of channels to stop certain channels’ low end racks of outboard compressors and preamps going to the subs and unnecessarily using up then? the subs’ headroom. But now, I don’t need to filter the channels, I can leave them as flat as MD: I’ve tried a lot of external compressors and I want – keeping all that warmth and body preamps on this tour. I’ve tried Ameks, Klark and tone. Once you start filtering it exposes Tekniks, Avalons, and they all do nice things, other stuff. And you have to start EQ’ing top but there’s no point; I’m getting everything I end as well, because you’ve taken out the entire need from the board. That’s the beauty of the bottom, which covers up that harshness. Before D-Show: I can go wherever I need to go, hire you know it, you’ve lost all your tone and you a board locally, put my mix in, and I’ve got start to push faders to +6… and then you’re everything I need… I don’t need any external really chasing your tail. This way, I can adjust processing. And you’re up and running, ready the subs constantly from song to song – using to roll. And because each time you’re using the Bass foundation fantastically, because the subs creatively. Michael Brennan: The there’s no real bottom end same console, configured in the exact same way, sound of Simon Gallup’s on it and no need to filter your mix is constantly improving. ENCORE ENCORE it or anything, while the bass guitar is absolutely A Cure concert takes the audience through the 87 provides all the tone SUBS OFF AN AUX SEND? fundamental to The full gamut of emotions – sadness, depression, Cure sound.
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