 EVANESCENCE RELIES ON AUDIO-TECHNICA MICS FOR OUTSTANDING PERFORMANCE ON THE ROADAudio-TechnicaPosted 2004-08-12 Evanescence is renowned for transcending the ordinary, both in the context of their exceptional studio recordings and live performances. The chart-topping band is currently touring in support of Fallen, which earned the distinction of best-selling debut album in 2003 and this year passed the $13-million mark for sales. Wanting to bring the enveloping experience of the album, produced by Dave Fortman, to audiences around the world, Evanescence hit the road in January 2003. With the last date scheduled for August 14, 2004, the tour will have run for the better part of 20 months. Evanescence has again achieved its lofty sonic aspirations, helped along by a hard-working complement of Audio-Technica microphones and wireless systems.
On tour, Evanescence uses A-T’s acclaimed AEW-5255 Artist Elite® 5000 Series UHF Wireless System, with AEW-T5400 transmitter, for powerful vocalist Amy Lee. Drums are miked employing an AE2500 on the kick, an AE5100 for the ride cymbals, a pair of AT4050s on overheads, an ATM23HE on the snare, and ATM35s for the toms. The guitar cabinet is miked with another AE2500, while the bass cabinet uses an AT4047/SV. The AE6100 ensures background vocals come across clear and crisp.
“We switched mid-tour to Audio-Technica, and we’re glad we did,” says Josh Swart, who mixes monitors for Evanescence, teamed with FOH mixer Eddie Mapp. “These are all beautiful-sounding microphones,” Swart remarks, and he singles out the AE2500 as “one of the few microphones in the world that you can just put up there with virtually no EQ and it sounds phenomenal as is.”
Evanescence is remaking its live show to enhance the band’s ability to bring the studio experience to the stage, and A-T is a key ingredient in this strategy. Another important component is the Iso-Cabs the band is having custom made — acoustically designed road cases for guitar amplifiers that create each amp’s own isolation environment, allowing live sound engineers to mic those cabinets as though they were recording in the studio. “Everything is acoustically sealed, and one side is concave to allow you to place a microphone on the guitar amp just as you would on an amp surrounded by gobos in a studio,” Swart explains. “Imagine having microphones as good as the AE2500 in a great acoustical environment on a stage. It’s the best of both worlds. Combine that ability with wireless systems like the Artist Elite 5000 Series — we’re using the 5400 capsule on Amy’s vocals, which gives us a studio-quality condenser microphone on the road — and the line between studio and stage really begins to blur.”
Finally, Swart says the other impetus to switch from the band’s previous choice of microphone brands to A-T came down to customer service. “Before, there was virtually none,” he states. “With A-T, those guys are there for us when we need them. It’s light years ahead of where we were. Between great sound and great customer service, we’re sold on A-T.”
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