December 15, 2004
Static-X has taken the music scene by storm with its blend of techno, metal and gothic influences - what the members of the band lovingly refer to as “rhythmic trancecore“. Having performed on the same stage with Fear Factory, Godsmack, Incubus, Methods of Mayhem, Ozzy Osbourne, Pantera, Slayer, Slipknot and System of a Down, Static-X has been touring relentlessly since the release of their seminal effort Wisconsin Death Trip in 1998. According to the band’s FOH engineer and production manager, Bruce Reiter, the band’s often lauded, excellent live sound can be attributed in part to the sound reproduction quality of EV microphones.
“Not only does Static-X prefer EV mics on stage, they are currently putting them to use in the studio to record the follow-up to Wisconsin Death Trip with engineer/production guru Ulrich Wild.”
Reiter’s experience as FOH engineer and production manager spans nearly 12 years, and having worked with the likes of The Darling Buds, Killing Joke, Limp Bizkit, The Pale Saints, Rancid, Slayer, Slipknot, and Social Distortion, Reiter’s experience is highly sought. His choice of EV microphones is based on extensive tour and studio experience with bands that are notorious for being hard on equipment; equally so, given the extremes of this kind of music, the finest in sound reproducers are also demanded - enter EV N/DYM® and RE series condenser microphones.
On stage, Static-X employs nearly the entire line of N/DYM® mics, characteristically known for their outstanding vocal clarity, ultra-low handling noise, minimal proximity effect and ultra-high output. On drummer Ken Jay’s kit we find a N/D468 on the rack tom; on the snare top and bottom we find two N/D468’s; N/D868’s carry the kick drum and floor toms; an RE200 is used under both crash cymbals; and a set of RE1000’s is used for overhead/hi hats to mic the whole drum kit. Of using the RE1000 as an overhead, Reiter remarked, “It creates a really nice wash from the snare and adds excellent attack to the toms.“ Additionally, Reiter applauded the RE1000 for its sound quality in the band’s ear monitor system: “Wayne Static really noticed an improvement in sound quality when we switched from another product to the RE1000.“
To mic the bass on stage, Reiter employs the N/D478, an interesting choice given its primary applications are percussion, guitars and vocals. When asked why he chose the N/D478 over the lower frequency response of the N/D868, Reiter responded, “It is a non-traditional choice, but I’m kind of non-traditional. It turned out to be an excellent mic to capture Tony’s attack. I wanted to get the string noise and his fingers on the strings. Tony also occasionally uses distortion. With the N/D478 I could get that bite without filling the room with unnecessary low-end.“ Tony Campos, bassist in Static-X, also uses the N/D767a, a microphone celebrated for its clarity, minimal proximity effect and tendency against P-popping and boominess, for all back-up vocals.
Not only does Static-X prefer EV mics on stage, they are currently putting them to use in the studio to record the follow-up to Wisconsin Death Trip with engineer/production guru Ulrich Wild. Again, on the drums we find an assortment of EV mics. To sample the kick drum and toms, the RE20 is utilized. On the cymbals you’ll find an RE1000. In order to capture the low end of the band’s low-D drop tuning, the N/D868 is utilized in conjunction with the swivel-headed N/D468. And, although German condensers were considered for some vocals, the RE1000 is still the studio favorite for the majority of the band’s vocals.