Front-of-House engineer Johnny Dodkin started working with Jessie when she was a backing singer with Jack Penate. When she was signed in January 2012, she asked him to work with her on her own project.
"We have always used a 2000 Series wireless system along with a 945 capsule for Jessie until this run of shows, when I changed to a 965 capsule," says Johnny. "I love the 945; it's great as it has a tight pattern and presence with the top end. But when Sennheiser's Relations Manager Mark Saunders popped by rehearsals for this tour, we started talking about the 965 capsule, as I have created a quiet stage with all amps off stage and the drummer screened, so we switched.
"The 965 is a lot more sensitive and has an even smoother response around the 4-5k frequencies and Jessie's mic technique really works with the 965 head. She always sings on axis and stays very close to the capsule, so I don't need to gain the mic up heavily, which means feedback isn't a problem. As a result, I have found myself doing less system EQ because I haven't needed to compensate for the mic like I have had to with other wider patterned mics. Being able to change the pick-up pattern is also really useful."
"I feel the 965 gives a sweeter clarity and better on axis detail," adds monitor engineer Steve Donovan. "Having moved from the 945 during rehearsal it gave me a chance to really compare the two mics. The 945 was working well with Jessie, but the 965 seemed to settle in with her voice and gives a more natural response. Like Johnny, all that I need to do now EQ-wise is high pass and roll off a small amount at 180-200."
Monitoring comprises eight ew 300 G3 IEMs, which are networked along with the radio mics, ensuring a quick and thorough set-up process.
"The UK leg of the tour went really well, with two sold out Brixton shows that were spot on," concludes Johnny. "Adlib did a great job and, with the combination of Sennheiser and the L-Acoustics K1 system, I think it's the best I have ever heard Brixton Academy sound."
(Jim Evans)
