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.

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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

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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

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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. To aid his mix Hillyard went on to explain the key elements that SSE kept in mind the engineer also used a Bricasti Design M7 on hand to add to the internal throughout the project was that this system had to be ‘tourable’ keeping reverbs. pace with successive dates. Overseeing the load-in of the audio system With no stage wedges present, the musicians and crew utilised Shure each day was Pete Hughes who was enthused about the package. “The only PSM1000s, which marked a first for Tempany. “I’ve been impressed, real issue we have had during the UK run was in the Royal Albert Hall which especially with their charging system which you can monitor very easily,” had more to do with the fact we had configured the system for arenas and commented the engineer. For the moulds, the band opted of Ultimate Ears had to condense the system – other than that its been amazing,” stated the UE11s. Audio Crew Chief. RF management was a shared task between Tempany and Byford. Looking at the system that hung in Manchester Arena, with close to 150 “We’ve had Mission Control provide us with all our frequencies which mean speakers in the air, you may think that Hughes would require a larger crew both Ben and I can come in first thing in the morning and do a scan of the than three. “It’s all down to the incredible design of the system,” beamed area – afer 40 minutes or so we are ready to go.” Hughes. “We’ve got a rigging structure that makes our day much easier. Corinne Sutterby from Mission Control discussed how they were We tend to split the truss in half so we have to hangs of three which we can brought into the fold. “We were asked to take care of the licenses for the work on separately.” The Audio Crew Chief also chuckled that there was tour’s stage RF and walkie talkies. Alongside the licensing we liaised with a time where the audio department actually had more point in the roof SSE and provided an outline of the expected whitespace at each venue, to than lighting. “Although that has changed as we have taken away some of ensure they had equipment in suitable ranges.They had a large number of the subs and going from 31 to 25 points. It’s still more than average tours shows and we arranged licenses for 45 diferent dates, including the first

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Monitor Engineer, Ben Byford and Monitor Engineer, Gavin Tempany; Audio Crew Chief, Pete Hughes and System Technician, Max Menelec.

license we have arranged in Slovenia.” The company dealt with 14 diferent really do replicate what is being played on the guitar which means nothing licensing bodies and kept each one informed throughout, including all the is ever consistent – in the same way it never is with an amp.” promoters. “We are delighted to have been a part of this successful tour With what looked like most of the stock from the local music shop out and have particularly enjoyed working closely with Kevin Hopgood, Gavin on the road with the band, most of the 50-stong stringed arsenal were used Tempany and Ben Byford,” concluded Sutterby. through the Kemper system. “The exceptions are the electric bass that still Along with the IEMs there were also a selection of wireless instruments uses the amp,” stated DD. The “folky” sting section and guitars Richard including a saxophone, a trumpet and a traditional Irish bodhrán drum. Bennett’s acoustics utilising Audio Sprockets ToneDexter preamps. While discussing his collaboration with the Monitor Technician, Tempany was more than complementary to his stage counterpart. “Ben LIGHTING really is amazing. Without him, coming into this tour would have been very Lighting Designer and Operator Tellson James, spoke to TPi about the dificult.” visual treatment of the tour. Similar to the last run in 2015, famed theatre This tour marked the change over to Kemper, a move that many guitar designer, Mark Henderson, created the design for the tour with James then enthusiasts may have found surprising. “I don’t think anyone was as taking those designs and programming the show in WYSIWIG. “One of my surprised as me though,” laughed DD, recalling the time last term when biggest obstacles at the start of the design process was the front truss that it was suggested Knopfler would move over to the digitals amplifier. “I’ll had to cater for the large about of black boxes in the air.” The solution was a admit, I wasn’t completely convinced it would happen leading up to the front truss that was placed 3f upstage which gave James some cross light tour but I’ve been gobsmacked by what he and his Guitar Tech, Glenn options. Saggers have been able to get out of the system.” Although stating that The front section contained Martin by Harman MAC Viper Profiles the Kempers did mean it was one last mic on stage to deal with, the FOH and Chauvet Professional Nexus Aw 7×7s. “The advantage of the Nexus is Engineer did explain how they still required careful treatment. “Kempers that you can put efects across them and the pixel mapping on them is

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really efective,” commented the LD. Also on the rig we a selection of GLP Hawthorn and SSE providing their own sections,” continued Ashton. “Then impression X4 Bar 20s, “a gorgeous fixture,” according the LD. “The ability to keep it in the metric system we have Hawthorn providing all the steel. they give with the zoom to give a nice curtain of light. I’ve been able to For the lights we are using Prolyte Prolyf quarter, half and one tonnes. create some amazing looks with them.” “The main issue we have been seeing looking ahead on this tour is venue The entire rear wall was and a whole rear wall of Martin by Harman height,” continued Ashton. “The minimum we need is 18m from the floor. MAC Auras. The rear was split in two sections which gave James several Any less the we have too look at reducing the PA – but the audio guys have configurations where he would either use the top half or the bottom half of been really accommodating with any of these changes,” he enthused.” the rig. An extra addition that was added later in the process was the PRG LOGISTICS GroundControl Followspot System. “This is the first time I’ve used it on a Fly By Nite provided six trucks while Coach Service provided three buses. tour but it’s been very good. We brought it in as Mark was struggling with “They’ve both been with us for the last few tours,” commented Hopgood. the followspots in his eyes. Now that we have got this system they are “Virtually everything I do is with Fly By Nite, having their rehearsal studios coming in much deeper.” For all other follow spot duties – specifically solos really pushes them firmly in my number one spot.” form the other musicians, the crew utilise Robert Juliat Cyrano 2500ws. Also key to the logistic element of the tour was Captured Live that A High End Systems Hog 4 was the LDs choice control. “I’ve been with provided all the provide cars for the band. the Hogs for a very long time and they do everything I need,” stated the LD, Keeping each one of the crew and band fed throughout the tour were content with his currently live setup. “There is no timecode on this one and Eat Your Heart Out. FOH Caterer Steve Bond commented: “These guys I’m firing all the content manually.” are nice and easy to cook for,” but explained that the mission each day is All the lighting equipment for this latest run was provide by Hawthorn still to ofer a large variety of options for the men and women on the road. thanks to a previous relationship with Hawthorn Head of Concert Touring, Head Chef, Chris Desmond also spoke of his experience on the tour as he Mick Freer. “He used to work with a previous company that had been with was busily prepping that evenings delights. “It’s been a bit hectic here in us for years,” explained Hopgood. “The company were in the middle of Manchester as we also have Spice Girls in town, using many of the same developing their rock ‘n’ roll side of their business and we’ve stayed with haunts for their supplies. It’s happened a few times on this tour, playing cat them ever since.” and mouse.” “It’s been fantastic to continue our relationship with Mark Knopfler,” With the UK contingent of the Knopfler fan club satisfied with the latest commented Freer. “It’s a privilege to be involved with an artist of his stature audio ofering, the crew made their way over to Europe. “Mark has been and as a live music experience. He sets the bar pretty high. It’s also been a very happy with this latest setup,” concluding DD, giving his final thoughts pleasure to supply equipment to the specification of Mark Henderson. He’s on the tour. “There are only a few people in the world that he will listen to really passionate about what he does and takes a collaborative approach about sound and he’s getting glowing reports all round.” to ensuring he gets the right equipment to deliver his design. The end result TPi is stunning.” Photos: Sarah Askarof, Kitty Riddell, GPC Media and TPi. www.markknopfler.com RIGGING www.sseaudiogroup.com Head Rigger, John Ashton detailed the various demands of the rigging www.hawthorn.biz system. Having been a regular of Knopfler’s camps since 2005 he explained www.flybynite.co.uk his approach to this latest campaign. “Due to the scale of the PA, we www.fbnstudios.co.uk developed three version on this one to give production a few options,” www.coachservice.com stated Ashton. www.musicbank.org The Rigger talked through his day-to-day routine, which involved a www.captured-live.com 7am mark out with all rigging being completed by midday. “We have both www.missioncontrolltd.com

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