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!
Stompboxtober Day 29 is live! Enter today to win a pedal from StewMac—more chances to win tomorrow!
StewMac International House of Overdrive Pedal Kit, With Bare Enclosure
The IHOO is based on the Crowther Hot Cake, an overdrive that became available around 1976. It was one of the earliest hand-made boutique effects pedals available. The circuit was designed to be what is now referred to as a “transparent” overdrive. An effect that enhances the player's sound while keeping the original tone intact.
This circuit has undergone many changes since its inception, and we have further expanded on the design by returning to an earlier version most revered by players and removing the buffer, which resulted in a reworked circuit that is true bypass but still retains the charm of the design.
We also include the original LM741 IC chip found in the originals, as well as the TL071 that is found in later versions so you can experiment with which IC best suits your playing style.
Handcrafted in the USA, the JEL-50 features 50 watts of all-tube power, two channels, and a transparent effects loop. The JEL-212 Cab is loaded with Celestion Creamback speakers.
Jake E. Lee ranks high on the shortlist of influential gunslinger guitarists that emerged as the heroes of a new generation in the early ‘80s. Best known for the burning guitar work and innovative songwriting, Lee contributed to two of Ozzy Osbourne's most revered albums, 1983’s Bark at the Moon and 1986’s Ultimate Sin.
With Ozzy, his post-Ozzy band, Badlands and most recently, with his own group, Red Dragon Cartel, Lee’s playing embraced the athleticism of the ‘80s while remaining firmly rooted in the hard rock fundamentals of the ‘70s. Jake’s tonal choices provide the evolutionary glue between the sonics of those two great eras. Jake E Lee and Dave Friedman combined their legendary ears and talents to create the new Friedman JEL-50, a signature amplifier that offers Lee’s ultimate tones in a boutique hand-wired package.
In Lee’s own words, “this amp puts the two specific tones I use to create my sound in one head: The sweetness and warmth of a classic Plexi and the more aggressive slant of the master volume amps of the ‘80s -- all tweaked to my taste. Dave has an innate understanding of where I’m coming from as a player and we’re alike in the way we hear tones. Dave doesn’t hear things as a technician, he hears things like a musician, and that made him really easy to work with. I grew up in the ‘70s and those muscular, articulate rock tones were the tones I always sought, but I made a name for myself in the ‘80s when you needed a little more aggression and a little more scream. I’ve always tried to retain a little of that ‘70s heart and I still do, and that’s what this amp does -- though it’s got plenty more on tap if you need it!”
The JEL-50 was specifically designed to take pedals well especially boosts, ODs, phasers, flangers, tremolos, and wahs. The ultra-transparent buffered, series effects loop takes time-based effects pedals and rack units equally well. This is the exact same FX loop Friedman uses on all its amplifiers including the legendary BE-100. The head cabinet features beautiful red tolex, white piping and solid Baltic Birch construction.
SPECIFICATIONS
- 50-Watt all-tube head
- Two channels
- Handwired in the USA
- Custom USA made transformers
- 2 x EL34 power tubes
- 3 x 12AX7 preamp tubes
- JEL channel - Gain, Master, 3-way Bright switch
- JEL Channel Hi/Lo (Push pull gain switch)
- Plexi channel - Gain, Volume, 3 way Bright Switch
- EQ- Bass, Middle, Treble shared with Ch1 and CH2
- Ultra-transparent series effects loop
- Thump knob - ( Rear ) Varies lowered response of the amps power section
- Presence - ( Rear) Varies high end content of the amps power section
- Single button foot switch for channel selections
- 4, 8 and 16 ohm Impedance jacks
- Limited Lifetime Warranty
- Dimensions: 8.75″ (D) x 24″ (W) x 10″ (H)
- Weight: 33.5 lbs
2x12” Celestion Creamback Loaded Extension Cab
The Friedman JEL 2x12” is a rear ported closed-back extension cabinet which utilizes tongue and groove Baltic Birch construction to deliver the bass, mid response and great sound you would expect from a Friedman cab. The JEL 212 Cab features red tolex, white piping and black grille cloth, designed to cosmetically match the Friedman Signature Jake E Lee heads.
At the heart of the cab is a Celestion G12M-65 Creamback 16 Ohm speaker. The G12M Creamback is perhaps the definitive vintage Celestion ceramic magnet guitar speaker. Developed in the mid-sixties, it was quickly adopted by players like Hendrix, Beck and Page, who typified the louder and more aggressive blues-rock playing styles that came to characterize that era. The higher power handling G12M-65 Creamback used in the JEL 1x12 produces that familiar woody tone, making it ideally suited when both vintage and modern tones are desired. The increased power handling brings with-it low-end grunt complementing the warm and vocal mid-range, crunchy upper mids and sweet, refined highs.
As with all Friedman cabinets, oversized 12-gauge speaker wire is soldered between the speaker and terminal, assuring you capture every ounce of valuable tone. This compact monster not only excels in the studio, but the perfect compliment to your stage rig. The Friedman JEL-212 Cab is handcrafted with pride in the U.S.A. and designed to withstand the rigors of the road.
SPECIFICATIONS
- Hand crafted in USA
- Cosmetics to match the Jake E Lee Signature Heads
- 2 x Celestion G12M-65 12" Creamback Speakers
- Nominal impedance - 8 Ohms
- Closed back -rear ported cabinet design
- Limited lifetime warranty
- Dimensions: 12" (D) x 30" (W) x 20.75" (H)
- Weight: 58 lbs.
The Friedman JEL-50 Head carries a street price of $2999.99 and the JEL-212 Cabinet carries a street price of $999.99.
For more information, please visit friedmanamplification.com
Friedman Amplification - All new Jake E Lee 50-Watt Head featuring Jordan Ziff - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Friedman JEL-50 Jake E Lee Signature 50-watt Tube Head and 2x12" Cabinet
Jake E Lee 50W Tube Head 212 StkThe Boss GX-10 Multi-FX Processor offers 23 guitar amps, nine bass amps, and 170 effects for versatile sound creation.
Boss announces the GX-10, a powerful new amp and effects processor for guitar and bass. Equipped with the core sound engine and color touch display from the acclaimed GX-100 released in 2022, the GX-10 offers players the same inspiring experience in an even more portable footprint. Adding in multi-mode footswitches, an integrated expression pedal, and USB audio connectivity, the GX-10 seamlessly transitions from nightly stage performing to desktop recording, song creation, and daily practice sessions.
The GX-10 delivers a universe of ultra-responsive tones in a travel-ready size. There are 23 guitar amps and nine bass amps to choose from, including high-gain X-Ultra, X-Optima, and X-Titan types crafted with the latest BOSS modeling technologies. Players can color sounds with 170 different effects, including overdrives and distortions, mod effects, delays, and reverbs, plus dedicated bass effects and BOSS classics like Slow Gear, Octave, Slicer, and more.
The GX-10 enables fast sound creation with an inviting color touch display and four dynamic parameter knobs. Up to two amps and 15 effects are supported in each memory, and it’s easy to change effect order and create series or parallel routings by dragging blocks with a finger on the screen. Send/return jacks are available to integrate favorite pedals or an amp’s effects loop into the GX-10 signal flow.
The GX-10's clever control options provide versatile real-time sound adjustment possibilities while performing. Multiple control modes and user-assignable settings offer maximum flexibility with just three footswitches. By default, the expression pedal toggles between volume and wah and activates the tuner when the pedal is pulled back. But it can be customized to control nearly anything using the GX-10’s assign matrix.
Boss Tone Studio allows users to edit sounds and load their own speaker cab IRs from a Mac or Windows computer. The GX-10 also supports the optional Bluetooth® Audio MIDI Dual Adaptor, which unlocks on-the-gig wireless editing via the mobile version of the app.
Boss Tone Studio includes additional tools to organize GX-10 sounds for different gigs and playing situations. It also provides direct access to Boss Tone Exchange, an online platform for downloading professionally created sounds and sharing GX-10 Livesets with the global BOSS community. GX-100 Livesets are fully compatible with the GX-10 as well. In addition, there’s a built-in USB-C audio interface for capturing high-quality guitar tones in music production apps on computers and mobile devices.
The new Boss GX-10 Guitar Effects Processor will be available for purchase at authorized U.S. Boss retailers in October for $399.99.
For more information, please visit boss.info.
BOSS GX-10 Guitar Effects Processor | Colorful Tones, Portable Design - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Blackberry Smoke will embark on their Rattle, Ramble and Roll Tour in 2025, featuring stops at Worcester’s Palladium, Burlington’s The Flynn, New Orleans’ The Fillmore, Austin’s ACL Live at the Moody Theater, among many others.
Tickets for the newly added dates will be available for pre-sale starting tomorrow, Tuesday, October 29 at 10am local time, with the general on-sale following this Friday, November 1 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
Throughout their career, Blackberry Smoke has released eight studio albums including their latest, Be Right Here. Produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell), the record was released to widespread critical acclaim earlier this year and debuted at #1 on the Current Country Albums chart, Americana/Folk Albums chart and Current Rock Albums chart.
Since forming in 2001, Blackberry Smoke has continued to tour relentlessly, building a strong and loyal community of fans. In addition to their work as musicians, the band is deeply committed to charitable work and formed the Brit Turner Family Fund, a non-profit supporting several national foundations committed to curing children’s cancer. With these efforts, the band has raised over $1,000,000 to date benefitting children’s cancer research. Most recently, Blackberry Smoke raised over $26,000 with their hometown show at Atlanta’s Cadence Bank Amphitheatre at Chastain Park earlier this summer, which celebrated the life and legacy of the band’s late drummer, Brit Turner.
BLACKBERRY SMOKE CONFIRMED TOUR DATES
October 30—Bakersfield, CA—Fox Theater~
October 31—San Diego, CA—Humphreys Concerts by the Bay~
November 1—Las Vegas, NV—The Pearl Concert Theater~
November 2—Riverside, CA—Fox Performing Arts Center~
November 7—St. Augustine, FL—St. Augustine Amphitheatre^
November 8—Clearwater, FL—Ruth Eckerd Hall^
November 9—Fort Myers, FL—Barbara B. Mann Performing Arts Hall^
November 10—Pompano Beach, FL—Pompano Beach Amphitheater^
November 14—Royal Oak, MI—Royal Oak Music Theatre%
November 15—Marietta, OH—Peoples Bank Theatre%
November 16—Shipshewana, IN—Blue Gate Performing Arts Center%
November 21—Carterville, IL—Event Center at Walker’s Bluff Casino Resort
November 22—Tulsa, OK—Cain’s Ballroom**
November 23—Shawnee, OK—FireLake Arena**
December 5—Mobile, AL—Saenger Theatre††
December 6—Augusta, GA—Bell Auditorium##
December 7— Fayetteville, NC—Crown Theatre##
December 8—Savannah, GA—Johnny Mercer Theatre##
December 31—Macon, GA—Macon City Auditorium^^
January 30—Morristown, NJ—Mayo Performing Arts Center
January 31—Bensalem, PA—XCite Center at Parx Casino
February 1—Worcester, MA—The Palladium
February 2—Patchogue, NY—Patchogue Theatre for the Performing Arts
February 5—Portland, ME—State Theatre
February 6—Burlington, VT—The Flynn
February 7—Providence, RI—The Strand Ballroom & Theatre
February 8—Williamsport, PA—Penn College Community Arts Center
February 13-17—Rock Legends Cruise XII
March 6—Rockford, IL—Coronado Theatre
March 7—Peoria, IL—Peoria Civic Center Theater
March 8—Evansville, IN—Aiken Theatre
March 27—New Orleans, LA—The Fillmore
March 28—Houston, TX—713 Music Hall
March 29—Helotes, TX—John T. Floore’s Country Store
April 25—Miramar Beach, FL—Moon Crush “Pink Moon”
May 8—Austin, TX—ACL Live at the Moody Theater
May 9—Dallas, TX—Majestic Theatre
May 15—Maryville, TN—The Shed
May 16—Maryville, TN—The Shed
May 17—Maryville, TN—The Shed
~with special guest Kelsey Waldon
^with special guest Southall
%with special guest Sam Morrow
**with special guest Taylor Hunnicutt
††with special guest Georgia Thunderbolts
##with special guest Tishamingo
^^with special guest Robert Jon and the Wreck