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Horrors Head Out With Audio-Technica

Horrors Head Out With Audio-Technica

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Leeds, UK, 24-10-11: Currently on tour in the UK before taking their swirling guitar noise and 80s synth tones to Scandinavia and Europe, The Horrors’ distinctive live sound is delivered by an array of Audio-Technica microphones. Introduced to their current mic line-up by front-of-house engineer Will Nicholson (whose CV also includes Brit rapper Example and indie rockers Frightened Rabbit), the band employ a variety of models from Audio-Technica’s Artist Elite and Artist Series ranges.



“I was at the Summer Sonic festival in Japan and I hadn't taken any of my own mics out with me,” explains Nicholson of his introduction to Audio-Technica. “The festival was sponsored by Audio-Technica and they were providing all the microphones that were used on stage – the experience just opened my eyes to what the company were good at. When I got home, I bought two AT mics and went from there. 



“I've now got three AT4050 large diaphragm condensers, one for guitar and two that I use as overhead mics. I've got some AE3000 condensers that I use for close miking on percussion and ride cymbals. I've got the ATM450 pencil condensers which I use on hi-hats and I'm a big fan of the ATM350 clip-on cardioid condensers for toms and the AE6100 hypercardioid dynamic for vocals too.”




Faris Badwan, The Horrors’ enigmatic singer, has also become a devotee of Audio-Technica’s AE6100, as Nicholson reveals.



“I was using another well-known brand for a while but neither Faris nor I were happy with it,” he says. “I suggested we try an AT microphone and went for the AE6100. It made a huge difference. The Horrors' stage sound is very loud and Faris has quite a conservative voice, he doesn't like to force it. The AE6100 allowed him to sing in his natural tone, to hit the levels that he wanted to hit and to get across what he wanted to communicate. In return, I got intelligibility and a reliable gain structure. It was a real eye opener because, suddenly, I didn’t have to drive the mic overly hard to get Faris’s voice into the mix and I also didn’t need to compress it too much. It was totally the most appropriate choice for the job - Faris won't do a show without it now.”

 


A full version of this interview is available at:

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