The guy who mixed their last record used a ton of different delays and reverbs, and as I was preparing for that tour, I was wondering how to do all the changes. "It started with a band called O'Brother, from Atlanta, Georgia. "The Apollo was something that I bought for the studio but decided to take on the road,” says David. The most significant piece of studio gear that David uses live is the Universal Audio Apollo Firewire audio interface, which is a 1U hardware host for UAD plug-ins, remotely controlled by a software mixer called Console.ĭavid's Apollo is the eight-in, eight-out quad-core model fitted with four DSP chips, and he runs it at 96kHz for shows. It wasn't long before he decided to bite the bullet and start taking some of his studio gear into the live environment, and he hasn't looked back since. At the same time, he was taking on a little live-sound work at small venues, but became frustrated with the limitations imposed by the gear he was using. "It's now feasible to use good microphones, plug-ins that emulate 1176 compressors and Neve gear, and do all kinds of crazy things to sound that, until recently, you could only do in a studio.”ĭavid's original dream was to become a studio engineer and producer and, after working as an intern at 301 Studio in Brisbane, Australia, he began investing his hard-earned cash in some professional recording equipment.
"It's a really exciting time for live sound, and I think that is one of the reasons why I have continued doing it rather than recording,” says David Williams, live sound engineer for progressive punk act La Dispute and other bands such as Title Fight, Deer Tick and O'Brother. Front-of-house engineer David Williams talks to SOS about why mixing with a DSP audio interface is worthwhile, despite the dangers of using a laptop on stage.
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