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TPIJUL19 Mark-Knopfler-Extract.Pdf 66 PRODUCTION PROFILE Opposite: Caption. AN EVENING WITH MARK KNOPFLER During his latest live outing, the singer-songwriter and guitar virtuoso ofers fans a brand new audio experience with an immersive audio package that leaves audiophiles across Europe speechless. TPi checks-in with Mark Knopfler’s touring production to find out more. 67 MARK KNOPFLER Lighting Designer and Operator Tellson James; Production Manager, Kevin Hopgood. When you look back at the career of the former Dire Straits frontman, check. Unbeknownst to the production at the time, it was that this request the word consistency comes to mind, with the musician producing an that planted the seed which led to the audio juggernaut which hung in album every two to three years over the last few decades. This year in the Manchester Arena. quest to keep improving the live experience for his loyal fans, Knopfler “My mix for Mark has always been relatively mono,” stated the engineer. and his wider production team set out on a tour with an innovative “I’m only ever able to pan elements a few degrees. We usually tour with 13 sound system in the shape of an L-Acoustics L-ISA system. Before we got musicians and I want as many of the audience to experience the full mix.” down to audio specifics, TPi met up with long time Production Manager, With Knopfler’s request of a more open mix ringing in his ears, DD, during Kevin Hopgood at Manchester Arena to discuss the innerworkings of the a break from the road, found himself at L-Acoustics’ headquarters to listen touring adventure. to what the team had been cooking up. “David Brooks twisted my arm for “I think in many ways I’m still thought of as the new guy,” joked sometime to check out the L-ISA system but the timings never worked out. Hopgood as he spoke of his 13-year history with Knopfler. “My first run with I explained that I was really looking to open my mix up. Afer hearing what Mark was in 2006 during a co-headliner with Emmylou Harris. Bar one tour, the system could do and hearing a demo, I was sold.” I’ve held the position ever since. I’m a huge fan of Dire Straits as well as With the L-ISA system in place, the engineer headed to Sarm Music Mark’s solo stuf. It was one of those phone calls you just can’t say no.” Over Bank for band rehearsals with a scaled down version that would eventually a decade with the touring party clearly has not taken the sheen away from become full scale arena set up comprising of a collection of X8s. “The first this dream job for Hopgood. “We have a lot of familiar faces on this one as thing I told the L-Acoustics team that was had on site was that my main it’s a tour that crew really like to come back to,” enthused the PM. “Also due focus had to always be on the man on stage with a guitar, not the sofware,” to Knopfler’s clockwork nature of providing new albums every few years, he stated, asserting that he still wanted to maintain his mixes integrity and means crew can ofen block-book six months of their schedule way ahead style that he’d been developing over the years with Knopfler. “Since being to the announcement.” on the road that has been the biggest question I have been getting, ‘has Supporting the 27-strong crew production as SSE Audio, Hawthorn, Eat your mix changed?’ What I keep telling people is that the sound has just Your Heart Out, Coach Service, Fly By Nite and Captured Live. opened up!” However, afer getting to ball rolling on the tour, the engineer did state how he was throwing himself into the L-ISA side of his control AUDIO ORIGINS package. “The L-Acoustics team explained that moving an instrument in TPi caught up with long standing FOH Engineer, Dave ‘DD’ Dixon, who the system also trimmed the high and low end to give a diferent image recounted a story from Knopfler’s previous tour in 2015. “It was during the placement. I didn’t really appreciate what this meant at the start but in the early stage of the tour, during a sound check when Mark suddenly said last few weeks I find myself using the touch screen interface on the L-ISA to through the mic, ‘Dave, is there any way we could have this guitar come out adjust the mix more subtly.” of just one side of the PA’,” reminisced DD. “I replied saying that it wouldn’t For control, DD kept to his favoured console, a DiGiCo SD7, which he’s be possible, as half the audience wouldn’t hear that part of the mix.” Afer used since 2013. Along with running snapshots for each song, the SD7 via a “very long” pause, Knopfler agreed and carried on with the usual sound MADI triggered various scenes in the L-ISA. “I think the hardest thing to get 68 MARK KNOPFLER your head around when first using the system is that you can’t simply plug a microphone into the desk,” laughed DD, reflecting in some of the head scratching that went on during the initial stage of the tour. Aiding DD’s mix was a selection of outboard gear including a Summit Audio TLA-100A compressor, TC Electronic Reverb 6000 and an Eventide H3000 Series. “On the whole I try to limit the number of compressors I use,” mused DD. “For me, it’s all about getting the source right rather than fixing it in the mix.” PA The PA and control package came courtesy of SSE Audio. “Our collaboration with SSE is really thanks to our ongoing relationship with Holger Schader,” explained Hopgood. “He had just moved over to Solotech which at the time was purchasing SSE Audio. It’s works well for us when we go to the States thanks to the new relationship of the two companies.” When DD went in to prep the show at SSE he was “blown away,” by the facility who prior to this tour was only really worked with Audio company on festival sites. “They have been excellent and the service has been superb. We’ve got three of their guys out with us at the moment who are fantastic.” The rig itself was always going to be a challenge. In total, nine hangs in the roof, seven of which were the primary L-ISA system. The PA boasted three hangs of 14 K2s, three hangs of three L-Acoustics KARA and two hangs of 23 L-Acoustics KARAs. Side hangs consisted of two hangs of 10 L-Acoustics K2s with near fills consisting of six L-Acoustics ARCS wide and six L-Acoustics SB18s. Finally subs consisted of two hangs of eight L-Acoustics KS28s. SSE Audio Hire Manager Miles Hillyard worked with Audio System Technicians, Ulf Oeckel and Max Menelec closely from 69 MARK KNOPFLER the beginning to develop the system. “Due to 95% of the PA being hung in though!” he enthused. the air, we decided fairly early on that we would fly the amp racks,” began “There has certainly been a lot of interest with this tour,” concluded Hillyard. “We’ve also used wireless motor controllers which are also in the Hopgood. “Lots of audiophiles have been turning up to the event and I think amp racks. This means we’re only running fibre and power up to the roof.” Mark’s work is a great showcase for the system’s musicality.” The Hire Manager commented how the build process was very much a learning experience with a system of this kind never being created. “With MONITORS the amp rack, we realised later in the process that they were not going to Underneath the large PA, TPi met Knopfler’s Monitor Engineer, Gavin hold everything we needed them to. Instead, we opted to build our own, Tempany with Monitor and Stage Technician, Ben Byford. One of the load testing the up to 10 tonnes.” newest members of the permanent Knopfler camp, Tempany took over The development of the touring rig made use of SSE Audio’s internal the reigns from long-time engineer, Kerry Lewis. “I spoke to Kerry for a long manufacturing department to develop all the various components in- time before taking on this tour,” said Tempany. “One of the key things he house. The company’s custom engineering has become very much part of told me was that Mark likes to hear his mix as it was recorded on the record SSE’s USP over the years. This included the Azimuth rigging elements that – a better place to start than any.” were created for the five hangs across the front of the truss, essential for the For control the engineer opted for an SSL L550. “Its ability to create L-ISA array. stems has been incredibly useful with these guys,” he continued. “Not just The tour also saw SSE opting to use an AVB networking. “It’s a trend for the drummer and percussionist but also for the various instruments I think we are going to see on more and more tours,” stated Hillyard in that require two microphones. Instead of having two faders I can put the regard to the new networking system, which was also deployed on them onto one.” Including reverbs and stereo tracks, Tempany oversaw Rammstein’s latest tour. 170 inputs, a task he comment the SSL was more than up to.
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