New York City-based Interpol will remind most post-punk junkies of Joy Division or The Chameleons. Touring under their first release, Turn on the Bright Lights, Interpol is garnering increasing attention. Mix caught up with front-of-house engineer Harley when they swung through Northern California.
“For this tour, we are not carrying production. I am renting locally for each show,” Harley says. “As a result, I've used a wide selection of boxes from all the major manufacturers. I spec a Midas Heritage 3000, but find myself splitting my time between that and the Yamaha PM4000. Being on a different desk and boxes every night has been a double-edged sword. Being flexible and knowing how to adapt to a changing situation every night has made this job both a challenge and a pleasure. They each know what they want their instrument to sound like. There is very little corrective EQ used on the desk. Generally, just the highpass filter and a small tweak here and there. They generally give me what I need and let me run with it.”
Harley is carrying three compressors from FMR Audio, using two of them in stereo — one for the L/R keyboard channels and the other on a subgroup with guitars — and the third on lead vocalist/guitarist Paul Banks' vocal. Also in his rig are two Behringer AutoCom compressors used on bass DI, mic and two channels of backing vocals; a Yamaha SPX900; and a Roland SDE 1000. As for his microphone selection, Harley employs a Shure SM58 for Daniel Kessler and Sam Fogarino's backing vocals. Lead vocals are miked with an Audix OM5, while drums receive a Shure SM91 and Beyer M88 (kick), SM57 (snare top/bottom), SM81 (hi-hat), Audix Micro-D (rack/floor). For guitars, each is miked with a CAD M37, while bass receives a Sennheiser 421 or a Beyer M88.
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