“I use the SIA Smaart Live system religiously,” he admitted. “The
ability to use very precise pattern controlling in PA
systems with the line array is a big help. We have an
L-Acoustic V-Dosc system of which we use upwards of 48
boxes. I rely on the expertise of systems tech Carl
Gagnon to come in every day with the array software and
design the PA into the venues’s geometry. It’s a very
directional box. The software helps us decide how many
boxes we are going to hang, at what angles and what trim
height. The goal is to have the PA, which is powered by
Crown 5000VZ amps, hit the crowd and not the surrounding
surfaces.”
When it came to capturing the performances, Scovill used a
wide selection of mics on stage. “I use all Neumann KMS105s
for vocals, and for Tom’s and Scott Thurston’s guitars, I
use Shure SM57s,” he detailed. “Mike Campbell’s guitar
gets a SM57/Royer Ribbon combination, while Howie Epstein’s
bass is taken direct off an Avalon DI. Also, I use a
collection of Neumann, Shure and ElectroVoice mics on Steve
Ferrone’s drums. Scott’s key-board world is direct, and
Benmont Tench has a pair of Wurlitzers on his keyboard.
The acoustic piano has a beyer stereo mic and the Leslie
is miked with a pair of 57s.”
Another longtime Petty supporter, monitor engineer Brian
Hendry, delivered 10 mixes on stage through a 52-input
Yamaha PM4000M console. “The monitors are Electrotec
12-inch custom wedges, powered by Crown 8001s, “he stated.
“Two ARC cabinets per side deliver an overall band mix.
Tom, who used one Future Sonics personal monitor and two
wedges , has his vocals and acoustics layered on top of the
band mix. Everyone else has their instrument and Tom’s
vocals on top of the mix. His vocals are on top for
cues-he gives the band a lot. They’ll go off into these
wandering jams and the music will get real loud and then
he’ll turn around and give a wave of his guitar and
everything goes real soft again. You have to watch him
every minute.”
Hendry used a modest array of effects on stage. “I have
four Yamaha SPX1000s (one for drums, another for Tom’s
vocals, one for his acoustics and the last for background
vocals) that I use for reverb,” he said. “I match Tom’s
ear with the ambient sound in the room. When he
is standing right on top of his wedges, his one ear
couples with the wedges. As soon as he moves away from
the mic, he hears the ambient sound on stage and he
can go over to Mike’s site and jam with him, and he
still gets his own guitar sound in his ear. It works
out well for him.”
Both Hendry and Scovill described the full-blown tour as
a pleasant surprise. For Scovill, who was working
concurrently on the Matchbox 20 tour, it was a demanding,
but very rewarding summer. “It’s been great. I am a big
fan of Tom’s music and his philosophy. If you’re
interested in musicianship, this is the show to see.
They show me something new every night.”
Nothing Petty
Tom Petty News - November 2001
