Going into the Chili Peppers tour, how did you approach that, especially since they had previously been mixed on an analog board? With Beck and Rihanna you’ve got your Profile show files and you’ve got snapshots and all of that.
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Sitting behind it for months at home was more than enough time to get a feel for the basics: layouts, how to navigate internal plugins, locating the fine/config/undo/layer buttons. This console and Pro Tools allowed me to sit at home in my studio and get my act together. On the first day, I got the rhythm section for a brief sound check-so I had to be ready.
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My first time hearing them as a full band was going to be in front of an audience. I had almost a month in my studio with a pair of Genelec 8040s, a 7070 sub and the console to get my RHCP show dialed. Their engineer, Jason Gossman (who records and post mixes all their shows for their website), had recorded on a Profile on the last leg of the tour. After I got the call for the Red Hot Chili Peppers tour, I first asked for any recent shows they might have and they sent me a total of four. I wanted to be proficient I didn’t want to switch to a new console and then sit there thinking, “I don’t know how to use this.” Eighth Day was gracious enough to let me borrow it and told me to have at it. Of course, muscle memory of where buttons are and how I’m going to use them was another thing. As much as I loved Waves, I wasn’t interested in dealing with the current route. So I went out and bought all the AAX DSP bundles, and I figured out what McDSP, Brainworx and Sonnox have to offer basically tried to figure out how I could get around Waves. I don’t like the concept of it not being controlled by the desk-it’s a lot of extra effort to build snapshots, calculate delay compensation, compared to the Profile. The biggest challenge was which plugins to use I liked using Waves, and with the TDM it was so easy to use and very nicely integrated that I really didn’t want to go with the SoundGrid MultiRack option, as it’s all external.
All I did was track with it, and then I’d take it home and work on my show. Even though I already had a Profile, I’d split the inputs to the S6L to get recordings with the Stage 64 rack. For rehearsals I would load it in my truck and take it to work. I had a one-off with Rihanna in Abu Dhabi, and a few one-off gigs with Beck. I borrowed one from the vendor I have been using, Eighth Day Sound. What was the process to transition over to S6L from the Venue Profiles you’d been using? I caught up with Sully Sullivan at the end of the first leg of the Red Hot Chili Peppers World Tour to find out how he was getting on mixing the band on the new Avid VENUE | S6L system, supplied by Rat Sound:
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