Links to interviews with front-of-house and monitor engineers at Japan’s 2010 Summer Sonic music festival.
Audio-Technica supplied more than 1100 microphones this year for Japan’s 2010 Summer Sonic music festival held in Tokyo and Osaka August 7-8. This is the ninth year that Audio-Technica has sponsored the festival, which attracts the world’s biggest international acts and a huge crowd count over the weekend.
Summer Sonic is a launching point for many new acts in Japan performing on their home turf as well as a venue for worldwide bands to showcase their talents in Japan. Big-name bands perform on six Summer Sonic stages. Besides its amazing lineup, Summer Sonic offers exhibits, a movie and photo gallery, and an incredible variety of international foods to keep huge crowds fed between acts.
We had the chance to talk with front-of-house and monitor engineers from Dream Theater, Slash, Sum 41, and Taylor Swift at the festival. Click on their names to check out the interviews.
Michael Graham, Monitor Engineer for Dream Theater: “I have yet to find an Audio-Technica product that did not perform as advertized. The gear is great and as reliable as any product out there. I am also a really big fan of the customer service the whole A-T staff provides for us out on the road. For instance, at the beginning of this last Dream Theater run, Nigel and I wanted the 450’s for our snare bottom microphones. Clair Brother’s had all the other mics we asked for except for the 450’s. A quick email to Gary Boss at A-T, and we had two brand new 450’s shipped next day and made it in time for rehearsals. You just can’t get that kind of response from anyone else out there.”
Nigel Paul, FOH Engineer for Dream Theater: “I have used most models of Audio-Technica mics on tour worldwide for years and never experienced a single failure that wasn’t the result of some kind of negligence or user abuse. I think that says it all.”
Andrea Carena, Monitor Engineer for Taylor Swift: “I’m a fan of the ATM450. We used it all last tour on snare bottom. … One of the big advantages is the ability to put it in tight places. Drum kits, where the cymbals might be low or space might be tight, that’s a really good solution to getting into tight spaces. And it sounds good. It’s a little more open and you can actually get some more bottom end definition from a snare than some of the other small diaphragm options. … The 5000 Series has been rock solid.”
John Kerns, FOH engineer for Sum 41: “4050’s are always really good. You can use them on a lot of things, even though most of the time nowadays it’s mostly overheads. I love AT4047’s on guitar. … The ATM650’s always sound fantastic. And everybody I know that I’ve turned them on to loves them as well.”
Kevin “Tater” McCarthy, Monitor Engineer for Slash: “I’d say the 3000 is my newest favorite, I mean obviously 4050 is unbeatable, but the 3000 is a really nice microphone.”
Ken “Pooch” Van Druten, FOH for Slash: “I think all time favorite for me is the 4050. It’s a microphone that I put in front of anything, and it translates. It is to me the ultimate acoustic to electric transducer. Anything you put the 4050 in front of, it sounds like you are standing there in front of it. Guitars, basses. I’ve used it for percussion, I’ve put it in the weirdest places and it just works. And it’s [tough], I mean you can use it to bang in nails. It’s really, really a great microphone.”