
Audix microphones are a crucial part of the historic rock band’s sonic formula. Tappero and front-of-house engineer Colin Loynachan explain why … and how.
Great songs and chops are crucial to any band’s musical success, but they don’t mean much if the band doesn’t sound equally great live and on album. Part of that is gear—guitars, amps, stompboxes, and everything else in your signal chain—of course. But audiences and fans don’t really hear gear. They hear the sound captured on recordings and in the front of house at shows by microphones—an absolutely critical but sometimes overlooked component of making a great band sound as great as they truly are.
Soul Asylum’s bassist Jeremy Tappero knows this, as both a stellar player and an experienced engineer. He shares the stage with the Minneapolis-based band’s founder Dave Pirner, guitarist Ryan Smith, and drummer Michael Bland, of Prince fame. And they—along with Soul Asylum’s front-of-house engineer Colin Loynachan—share an enthusiasm for Audix microphones. Especially for vocals and drums, which are the two main focuses that mixes are typically built around.
Tappero and Loynachan took a deep dive into how they use Audix mics in the studio and onstage, but not until Tappero—Soul Asylum’s newest member—shared some deep background on his musical journey.
Jeremy, how did you join Soul Asylum?
Jeremy Tappero: I did the indie rock touring van thing for a long time. I was in a band called Gratitude that got signed with Atlantic Records. After a few years, that band got let go, and I found myself back home but itchy to get back on the road. Soul Asylum is obviously a staple here in Minneapolis.
I grew up in Madison, Wisconsin, and one of the big reasons I ended up in Minneapolis was the larger music scene there. As Soul Asylum were going back on the road, they were looking for a guitar tech. I jumped into that role. Later, they found themselves on the hunt for a bass player and I watched them audition a lot of people who would go on short runs or not really cut it.
I started thinking, “I can do better.” It was a hurdle because when you come into a group as a crew member, that’s how you’re perceived. Long story short, after they went through several bassists, I insisted on auditioning and wound up with the gig! I’m almost five years with the band now. Not only are they one of the better bands out of Minneapolis, but I think [lead singer] Dave Pirner is one of the better songwriters of his generation.
Would you describe your early musical background?
Jeremy Tappero: I started playing as soon as I was old enough to hold a guitar, I’d say as early as 5 years old. I remember my dad putting one in my hands and trying to get my fingers to stick in an E major chord. When I finally got it, I probably strummed E major for three hours.
My dad is also a bass player and played in bands as I was growing up. They rehearsed in our basement and when they were gone, I would go downstairs and play all their instruments. I really wanted to be a drummer, so I’d play their drums as much as possible.
It just so happened that the drummer for the band my dad played in was Butch Vig. I idolized him growing up, and used to tell people I wanted to be Butch Vig long before he was, you know, Butch Vig.
What was your point of entry into the music business as a professional?
Jeremy Tappero: I’m not sure that’s even happened yet! [laughs] My first paying job was in high school. There was a teen center in Madison, Wisconsin, called the New Loft. They’d have after-school activities during the week, and then bands playing on the weekends. At some point, they got a real booking agent and national touring bands would come through as well as local high school bands. I started being the sound guy there, I think in 10th or 11th grade. I got to meet a lot of the bands. I met Josh Freese when he was with the Vandals. I got to see a lot of punk, ska, young acts. You learn a lot when you get three or four bands up and down in a night.
You said you moved to Minneapolis for the music scene. How would you describe it?
Jeremy Tappero: There’s a ton of bands. There are giant rehearsal spaces with long waiting lists to get a spot. Rock bands, pop, funk—everybody is playing. The hip-hop community is going great. I don’t know if it’s our long winters, but maybe the idea of being indoors and making a record is part of it. Obviously, people think of the big three of R&B in Minneapolis: Prince, Morris Day, and Jam & Lewis. For rock, it’s the Replacements, Soul Asylum, Hüsker Dü, and so on. Everything cross-pollinates here. No matter their style, everyone was aware of what Prince was up to, and Prince was surprisingly aware of the local scene. There are all kinds of places to play, from fancy venues to kids doing $5 basement shows.
So, you’ve mentioned you’re an Audix devotee. Which Audix mics are you using and on what applications?
Jeremy Tappero: The D6 has been part of our package for quite a while now. We’ve been through a few vocal mics, but a few months ago, Colin, our sound guy, said, “I’m really fighting bleed when it comes to background vocals.” He was the one who drove us trying OM7s onstage. Colin had used them in various applications over the years, and Chris DeNogean [Audix artist relations manager] was nice enough to send us some. Colin was happy in the front-of-house, and our instruments had never been clearer in our in-ear monitor mix. The OM7s really rejected background sound well, and cymbals, guitars, and vocals were all very individuated and clear.
Colin Loynachan: As Jeremy said, the thing I love about the OM7 on vocals is its lack of bleed. Out of all the different mics I’ve used and different acts I’ve worked with, the OM7 is unparalleled in that regard. I can just leave them hot all the time. There’s also no mistaking the D6 on kick drum. We use it outside the drumhead, and it has such a clean attack on transients.
Jeremy Tappero: Everyone in the band except Dave is on in-ear monitors. Changing to the OM7 was a night-and-day difference in terms of the clarity of vocals in our in-ear mixes. The crispness of the high end and the rejection as well … I could crank up a vocal in my in-ears without bringing up the roar of the stage behind the mics and without competing with things like cymbals.
How did you first become aware of Audix microphones?
Colin Loynachan: You know Peter Greenland? He was Willie Nelson’s front-of-house guy for a long time, and he’s sort of a legend in Minneapolis. He’s worked with the Commodores and Phil Collins, too. He was an early adopter of Audix in the late 1980s. Whatever their first live vocal mic was, he bought a bunch. Later, he brought several OM5s to a couple of gigs we were doing. After that, I knew we had to get Audix for Soul Asylum.
What else strikes you about their sound for particular uses?
Colin Loynachan: Working live, we go as fast as we can. Especially with Soul Asylum, we do maybe two songs max at sound check. We don’t want to be up there three or four hours troubleshooting some little resonance in the floor tom, for example. More like 20 or 30 minutes. We’re focused on the big picture. Out of the box, I’m 90 percent of the way to the sound I want if I choose the right Audix mic for the source and place it properly. I don’t have to spend a bunch of time creating that sound after the fact.
Jeremy Tappero: A lot of their mics have a signature frequency shape, which is nice. When we got the OM7s, we just plugged those into the same signal chain as always. There was no EQ change, and the first time I heard them, everything was instantly clearer.
Soul Asylum “Somebody To Shove” Live @ Manchester Ritz 11/11/22
Jeremy, how do you balance touring with owning a recording studio and producing bands?
Jeremy Tappero: I think one helps the other. When I’m working a lot in the studio, I look forward to getting out on tour, and when I’m on the road I look forward to getting home. It also focuses me in terms of scheduling. If I have to tell bands I’ll be gone for a month here or two months there, it narrows down the possibilities and everyone seems to get more serious. So, each keeps the other fresh.
We know you have a blast onstage. What’s your favorite thing about producing and recording other bands?
Jeremy Tappero: I really enjoy working with a band for whom it’s their first time in the studio. I remember how magical that felt when I was young. Now, to be able to be the person who’s mentoring a young musician through their first recording.... It’s really rewarding to see their music come together in a way they maybe didn’t imagine.
Can either of you speak to Audix’s durability? How do the mics handle the rigors of the road?
Jeremy Tappero: I’ve had an i5 as long as I can remember. I think you could literally punch a hole in drywall with it and it would work fine. Put it this way. I’ve never seen an Audix in anyone’s dead mics box. And both Colin and I have extensive boxes! [laughs]
What future projects or applications for Audix mics are on your radar?
Jeremy Tappero: We’d like to try the SCX25A—the “lollipop” mics—as drum overheads. In the studio, I could see them going anywhere, like on a grand piano. We also have some “unplugged” style shows coming up later this year, with a string quartet and some other acoustic players, so maybe we’ll even use them in that context. I’m sure Colin’s wheels are already turning as to which mic to put on which instrument!
Colin Loynachan: I’m also pumped about the SCX25A. We first tried them on a show when an audio production company brought them in. We put them on overheads, and they were very smooth, almost like ribbon mics but not as dark. For the unplugged shows, they’d probably be my first choice on acoustic sources.
Let’s wrap up a little differently. Tell us about a nightmare gig and how you survived it.
Jeremy Tappero: Soul Asylum did a big festival in Mexico City. Anything that could go wrong, did. It started off with our tour manager’s passport going missing. We made it to Mexico City, and the next morning, the van that was supposed to take us to the venue became unavailable at the last minute. [The next van] was three hours late and the driver had no idea where he was going. We were literally driving off the road through fields at one point. The band Filter was playing their final song when we arrived. We had literally minutes to set up. Somehow, we pulled through, started and ended on time, and had a great show. But getting there was more Spinal Tap than Spinal Tap!
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!