Tori Amos Ocean to Ocean Tour 2023
September 25th 2023
22live provides services to the Tori Amos Ocean to Ocean tour 2023 in Europe and the USA.
Tori Amos has been touring the world with her Bosendorfer grand piano, and wowing audiences with her unique and exquisite style now for more than 30 years. Her popularity is as strong as ever with a loyal following of fans paying homage whenever she graces stages nearby, and a growing audience too as demonstrated by the success of her latest European run of the Ocean to Ocean tour. As always, a Tori Amos show has high production values, particularly when it comes to audio and 22live were very privileged to be asked to be the provider to all of her 2023 shows.
With both the European and US legs of the Ocean to Ocean tour now complete, Mark Hawley, FOH engineer, explains how the approach to 22live came about. “Our relationships with everyone at 22live go way back and we had every confidence that they would be able to provide the tour with everything we needed. We knew we could rely on them and they have exceeded our expectations.”
Mark Hawley, FOH Engineer
“We had every confidence that they would be able to provide the tour with everything we needed. We knew we could rely on them and they have exceeded our expectations.”
John Witherspoon, Tori Amos Manager, spoke with similar sentiment; “For his sins Alex Penn came out on tour with us back in 2001, from which I am sure he learnt a lot about the touring world. I have a 30 plus years relationship with John Penn too, so it seemed completely natural for Alex to be looking after the tour for us now on behalf of 22live. We are very comfortable with their setup and we knew instinctively they could deliver what Mark wanted, it really was one of the easiest decisions I have had to make”.
It was important to all involved on the Tori Amos Production that the same team that has been together now for a number of years (some longer than others) would once again be kept together to deliver Ocean to Ocean 2023. The audio team includes Mark Hawley - FOH Engineer, and Miles Barton - System and FOH technician, while on stage Neil Heal - Monitor engineer, and Andy Yates - Stage and monitor technician. Mark comments “Once we had all paid a visit to 22live and saw for ourselves the company that they were building, any small concerns the guys may have had, were eased, and needless to say all involved got on on board very quicky”.
L-R Miles Barton, Mark Hawley, Neil Heal, Andy Yates, Alex Penn
John Witherspoon, Tori Amos Manager
“We are very comfortable with their setup and we knew instinctively they could deliver what Mark wanted, it really was one of the easiest decisions I have had to make”
A key change for the 2023 tour was Mark’s choice of loudspeaker, which for the first time was the new d&b audiotechnik XSL system. Mark comments “The XSL was interesting to me for several reasons, but the main one being that it is a cardioid system. This has benefits for on stage which has a big impact in our show as the stage is so quiet. I also find that the directivity of a cardioid system seems to make it more resilient to challenging acoustics which has been another benefit to us.”
The tour took 22live’s new d&b XSL system on its first outing around Europe which comprised 12 x XSL12 and 20 x XSL8 Loudspeaker enclosures. The whole system is powered by D40 amplifiers (and D80 for SL-SUB) with capacity for ArrayProcessing and has an integrated Dante network for audio transport. The complete setup was also shipped to the USA for dates across June and July 2023.
Miles Barton comments as to the practicalities of the d&b system. “In Europe we visited a multitude of venues from 18th century theatres to 21st century music halls of all shapes and sizes. We had to carry a variety of products to cope with the different challenges of each room.” 22live also provided 14 x d&b T10, and 4 x d&b Y10P with a selection of stands and brackets to cope with multiple deployment options. Barton continues “Some days I’d be flying 7 x T10 a side as side hangs/outfills, other days I’d need to be putting smaller quantities on cluster brackets to cover a balcony. 22live also provided some cool little problem solving stand solutions which gives me more options for infill as well.”
Miles looks after PA control from a 22live drive rack at FOH comprising an Outline Newton, d&b R1, and Smaart combined with a MIPRO ACT-848 4 channel receiver with 4 x TA-80 plug-on transmitters to run the analyser mic inputs. The drive rack also features both a Mac Mini and a Microsoft Surface Tablet for control of the Newton, access to d&b R1 , and Smaart with Networking using Netgear switches. The Dante network sits across FOH mixing console, MON mixing console, Drive Rack, PA Racks, Dual redundant playback systems triggered by band members, additional playback and record capabilities via Mac mini’s at either end of the multi and interfaces with the Green-Go comms network.
Miles comments as to the use of the d&b exclusive featureset on the tour; “ArrayProcessing is used to provide more consistent tonal balance across the venue, and it allows us to make changes post deployment to adjust the PA coverage, which has been another advantage to us of switching to the d&b. The system feels like a next generation product that’s demonstrated through both the control element and the sonic performance which has allowed us to deliver consistently optimised results.”
With regard to his workflow Miles also advised “I use the Outline Newton for overall EQ, and the d&b R1 and amplifier DSP for specific control of elements within the system. With Smaart V9 we’re running a live average transfer function across 6 analyser mics during setup to ensure the best feedback and to allow us to accurately tweak the system.”
Miles Barton, FOH and System Technician
“The (d&b) system feels like a next generation product that’s demonstrated through both the control element and the sonic performance which has allowed us to deliver consistently optimised results.”
FOH Mixing duties come via the SSL L200+ console which has now been used by Mark for the last 3 tours. “The SSL has become my new favourite. I always like to challenge myself with new kit and keep pushing forwards with new technology, partnering with 22live has enabled us to push further than before.” Comments Mark Hawley. “I’ve been known for taking a different console every tour. Traditionally I was a Midas advocate, and I’ve also used DiGiCo in the past, but since turning to SSL I haven’t looked back.” 22live supplied the SSL L200+ for the first time for this tour with the SSL Dante stageboxes. This has enabled a more integrated system as the monitor DiGiCo Quantum 338, operated by engineer Neil Heal on stage, also shares the inputs from the SSL stageboxes via a duo of DiGiCo’s DMI-Dante cards.
Mark’s background as a studio engineer can also be seen at his FOH position, as an imposing pair of Genelec 8351Bs and Pro Tools rig allow him to refine his mix for every show. “Because I am from a studio background, I find fine-tuning compressors and all the rest of it, much easier. I don’t know how live guys do it when they’ve had no experience in studios. I find it really difficult to judge compression and stuff in a big room… there’s a lot going on there. So, I spend most of my time in the day working on the band and the loops and sorting out her vocal effects with the Genelec’s. Then I spend the whole show really keeping my eye on her,” he explained. “No two shows are the same, with a back catalogue the size of Tori’s we have so much material changing every night, it’s a lot to stay on top of. We so far have around 100 tracks programmed on the tour and the list grows daily!”
This raised the question to whether Mark was trying to achieve a studio mix or was the show a purely live experience? “It’s purely a live scene because the versions are so different,” he confirmed. “I work like I’m in a studio, but I’m not trying to recreate what we did in the studio – I’m just trying to get the best out of what they’re playing. Also, some vocal effects for example, are a signature part of the song, so I recreate that, but mainly it’s just getting the best out of what they’re doing on stage,” Mark said.
As well as relying on the onboard SSL processing and FX, Mark has a raft of outboard including UA LA-610 and 6176 pre-amps, SSL Bus+, GML EQ and an SSL Fusion, which he has across the master buss. “The master bus goes into my old crutch, which is the GML EQ. I could probably do away with it now, but I’ve used it for so many years. The Fusion is great – it’s one of those mystery boxes,” he said.
Mark Hawley, FOH Engineer
“I work like I’m in a studio, but I’m not trying to recreate what we did in the studio – I’m just trying to get the best out of what they’re playing. Also, some vocal effects for example, are a signature part of the song, so I recreate that, but mainly it’s just getting the best out of what they’re doing on stage,”
At the next stop on the Dante line was Monitor Engineer Neil Heal, who took over from 17-year tour veteran Monitor Engineer Marcel van Limbeek. “I think I got put forward because I do more FOH than monitors,” he explained. “Her mix is very much a FOH mix. She has delays spinning in, spinning out, chorus coming in, coming out. She has EQ changes on her vocals which are specific to musical notes that she’s pitching to,” he continued. “I’m using the UA Teletronix LA2A as the vocal compressor, and a mix of supporting effects come from both my Eventide Eclipse and Bricasti M7.”
Heal moved to a DiGiCo Quantum 338 for this tour. “We switched to Quantum this time because of the changes in the EQ on her vocal from song to song. Some of it can be fairly extreme. So, instead of having to duplicate the channels, I can send to the drummer and the bass player her vocal pre-EQ, pre-dynamics on the same channel without having to duplicate channels. The 338 also allows me to keep a screen completely dedicated to Tori which enables me to jump on things quickly as required. I’ve also really enjoyed some of the newer Quantum features in this desk.” he detailed.
The stage is, like many these days, a pretty quiet affair, with Amos and drums on the fairly niche Albatross Audio PH9B hardwired ears and two, “very low level” d&b M4s for bass. The change of PA to the cardioid d&b XSL system, has also improved our quiet stage. The only other noise source is Amos’s Leslie speaker. “The piano gets sent to that but from a send from my desk. So, it turns it on and off for me, for FOH, and for her through that send. On some songs it’s on all the way through, on others it’s only on in the choruses or for three lines. It’s fairly unusual,” Heal concluded.
Neil Heal, Monitor Engineer
“The 338 also allows me to keep a screen completely dedicated to Tori which enables me to jump on things quickly as required. I’ve also really enjoyed some of the newer Quantum features in this desk.”
Infrastructure wise 22live has also invested in a large 45kVA Transformer allowing the whole European setup to be powered via US style Camlocks and therefore enabling versatility of the mains system to be deployed in the USA as it was in Europe.
Alex Penn comments “It was important for us to deliver everything the tour required, and more. We wanted to deliver the products that the tour wanted, put together with our new 22live infrastructure and packaging solutions to deliver a higher quality package than they’ve received prior. This meant sourcing the right bits of outboard, providing the right headphone amps, but also ensuring that the riser spec was met, the motors were carried and the tour were even furnished with the right swag! We just wanted to make sure that we delivered on all fronts so that there could be no question as to whether choosing 22live was the right decision.”
Providing the d&b XSL system to the Tori Amos tour in 2023 establishes 22live’s position as a d&b rental partner and demonstrates that the company is ready to work at the highest level. 22live intends to continue to build on its initial successes and support global acts on touring work going forwards. We hope to continue to work with Tori Amos and her production team for as long as they are happy to keep delivering to audiences worldwide, and appreciate the faith that they have had in our team.
Alex Penn, 22live Commercial Director