Shure Blog


By Richard Sandrok|  Comment(s)

Primus Can Still Bring the Odd

For a good few years of my life, Primus was my favorite band.  They simply did things that no one else would…maybe even could.  With their newest tour in the planning stages, they reached out to Shure.  Last Sunday I got to go visit the band, take a walk about the stage, and see some of their 3D Tour setup.

I was met at the venue by their Monitor Engineer, Tomasz, who has worked with other Shure endorsers, recently Dawes.  He was engaged in a closed sound check, so it was a brief hello before running downstairs to set up for our interview with Les Claypool and Larry LaLonde.

520DX (for dirty vocals) on the left, KSM141 with windscreen (clean vocals) on the right.

520DX (for dirty vocals) on the left, KSM141 with windscreen (clean vocals) on the right.

After the sound check wrapped, Tomasz came down to make a more formal introduction.  Our chat segued in to an interview when Les and Ler walked in.  After some introductions we sat down and chatted for about ten minutes.  The interview will be posted after editing, but among the topics discussed were some of their more unusual choices in mics.  Les had been a fan of the SM57 on vocals (but it must have the windscreen) for years.  However, he had more recently taken to using a KSM141 in the 57′s place, both in stage and studio.  The 57 was still there, but it had made it’s way in to the horse’s head.

You can just see the windscreen...where the. uh, tongue should be

You can just see the windscreen…where the, uh, tongue should be.

Yeah, it’s…well, very Primus.

ler-cab-313Another cool thing, though not actually all that different is Ler’s cabinet mic.  He’s using the KSM313 ribbon mic (front side, if you know the model and are curious).  Interesting point: one of the advantages described to me was that this model, in addition to sounding great (as told to us by the man himself), is better for him because it is a side-address mic.  Ler likes to go back to his amps regularly to make all that fantastic feedback happen.  End-address mics (for example, an SM57) would be more likely to get bumped or moved by one of his frequent trips.  It’s also the reason you see a gooseneck rather than a typical mic stand.  Unobtrusiveness is the name of the game.

Hey, drummers!  Don’t think I forgot about you.  Here’s a pic I snapped of Jay Lane’s lovely kit.  I do apologize about the low light level.  Beta 98AMPs are everywhere, as are KSM137s.  However, among the more unique miking solutions are SM57s on the kick drums, and one of the kicks had an SM7B on the beater side.  Jay was also using two PG56s – one for a floor tom and another for vocals.  Tomasz and FOH Jason were using the PG56 drum mounts to place the Beta 98AMPs.


Don’t ask about the stuffed puppy.  I don’t know what’s up with that.

I managed to hang around long enough to catch the first few songs.  I wish I could have stayed longer.  It was my first 3D-projection concert.  I’m looking forward to more of those.





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