What’s your method for Soundchecking different arenas?
I record every show and I play it back so the artist doesn’t have to show up for soundchecks, we do it for him because he’s a busy guy. I’ll play him through my speakers the night before, and then i’ll play it through the PA and tune the room accordingly.
I see the room as a speaker box. I grew up watching my dad tune speakers. I even started a small little thing with him at the studio doing installations of subs in cars and stuff. I learnt a lot in that respect, tuning a box, tuning a speaker and that’s how I look at each room.
The only variance is bodies and insulation. So the insulation that we put in the box isn’t there. So I have to guess what that insulation, those human baffles, are going to do to the room to absorb certain frequencies. I’ve pretty well got it dialled in for arenas and you know there’s slight difference in every venue because of the shape. You can do a lot with guesstimation. It’s important when tuning a room to not ‘tuna fish.’ That’s all I’ve got to say on that. You can’t go crazy with trying to tune a room, you have to trust your instincts.
Production manager Dennis Daneels stops by...
Joe: This is Dennis - he’s our production manager, he lets me do a lot of stuff.
Dennis: Yeah -
Joe: He let me bring a lot of subs on this tour and a lot of PA you know...
Dennis: - He means I put up with a lot of stuff!
Joe: Not everyone understands what it takes to have a linear sound to the audience and he does. He has a heavy background in a every department which makes it very convenient for the workers because he gets it. He lets us do our gig but he can oversee it in a well way because he’s versed in it which is very important. And that’s why I love working with this camp and I love Dennis! (put that all in).
Dennis: Put that all in there
Joe: Yeah really good guy though, really good guy.
What are your plans for 2019?
I’m going to South America for Lolapalooza with Posty, I’m just doing Posty and then like, I’m doing very little for other artists right now. I’m going to do the sound design for Migos for their next tour. When I’m at home I’m trying to remix and master for their live show along with final mixes for people for the studio. I can’t spend too much time because I have a family. But at the end of the day I do want to help artists get their sound.
My priority is Posty you know, that’s my main priority and other than that we’re waiting to do another US tour. I’m not sure when that’s going to be announced or when its happening, but we have enough shows to stay busy with.
Anything else you’d like to say?
@joehellow on instagram and if anybody has a question, I’ve really studied this and put it into practical use and I’m willing to help because Apogee…
*BANG* - one of the pyrotechnics lets off a firework.
… ohh, break the mic, that was 136db! Um.. Apogee has supported me and I’m willing to put it forward if anybody needs some help from a practical engineer that’s out there using this gear, I’m willing to help as well. We can make this thing happen and help people, cos it’s a really good product and I believe in it.
Thanks again to Joe Hellow and the rest of the Posty Co. Crew for having us!