It was one of those borderline CF situations. I flew from Vegas to Cali a couple of days before the NAMM show to cover the John Legend tour. The night before I left I found out that the interviews were set up for a day that was hardly “standard” even by touring standards.
In addition to a show at the Gibson venue in Universal City, Legend was doing the Tonight Show so his sound guys were arriving at the venue and then going back and forth from Universal to the NBC lot to prep both shows, line check, two performances and then back on the bus.
I called a halt to the madness and arranged for another night later in the week, which meant driving to San Diego—an adventure in itself—but at least I was not trying to interview a guy doing two high profile shows in a day. The funny thing is that as soon as I met Gordon Mack I knew he was the kind of guy who would have made it happen anyway.
Currently driving a VENUE desk with a Sound Image-supplied Adamson rig, Mack got his start back in 1986 working with Gwen “Ain’t Nothing Happening but the Rent” Guthrie. Since then, his client list has become formidable, including Chris Brown, Ciara, Prince, Erykah Badu, Fantasia, Madonna, Chaka Khan, Keith Sweat, Brian McKnight, Usher, Q-tip, Emma Bunton of the Spice Girls, Chic…
And on this gig he is also the production manager. We got a few minutes to chat after the show.
FOH: So, you left Chris Brown to join this tour. That’s a change. Very different styles…
Gordon Mack: Yeah, but I like a lot of different types of music. I’ve worked with the Wailers. That was a very good learning experience. Taught me a lot about effects, how to set up quickly as well as how to be versatile in being able to use whatever piece of gear is thrown at you—which keeps you open to just about anything—to working with Prince or Madonna, who are very demanding artists, which keeps you on your toes. Also, I had done John before and I like John and I like the music.
How do you like the Adamson?
It is very nice. This tour is the first time I have used it and it is very nice. I love the d&b as well. It is nice to have several systems of that quality to choose from.
What is the coolest part of the John Legend gig?
The show. Once the show starts, everything else ceases. Being PM means you have a lot of other duties. So for me, once the show starts and I am at the console, everything else ceases. When the show is over, my PM hat is back on.
At what point of the day do you switch hats?
At the start of the show. When I step up to the console I am no longer the production manager. But I am PM right up until that point. There are a variety of things that happen during the day that call for my attention. It would be very difficult to break down a day’s responsibilities but from the time the truck doors open until they close, the show is on my shoulders.
Plus, John is doing a lot of extra stuff like the NFL, we’re doing a tailgate party at the Super Bowl, he’s doing the presidential inauguration, he’s also doing the NBA halftime show. He’s got his hands full which keeps me busy.
This interview was originally slated for Tuesday, the day you did the Tonight Show…
That was a busy day…
I figured there was too much on your plate…
It’s not that difficult. I hear a lot of people say it is but for me it comes kind of natural. I do it for Erykah Badu, I’m her PM and FOH. But that day was a long day. Long drive from Oakland. We had transportation waiting as soon as we got off the bus, they took us to Leno, we got that set up, stayed there until the first camera blocking then RAN over from there to Universal/Gibson. Did a quick line check/sound check, ran BACK to Leno for the show there at 4 then ran BACK to Universal for a VIP soundcheck at 5:30.
What is the most challenging part of the gig?
Making the show go, because I never know what’s gonna happen. Things change sometimes. If he’s not feeling well he might sing a little softer and I have to push him harder in the system and certain notes that he likes to hit he’ll hit really hard. And I have to compensate.
So you’re riding fader a lot?
On him I am.
The piano sounds really good, what are you using?
I have two C414s inside on the strings and a piano module, a Yamaha motif. It’s a MIDI grand. I run high/low on the mics and stereo on the module. Four total channels for the piano. What I do is get the best sound I can from the piano and blend in the module to make it stronger.
I thought the piano sounded really good.
People say that all the time. I get asked all the time how I get the piano to sound to real. I get the “woody” sound from the mics and the module is like that hidden secret. That “ancient Chinese secret.”
You are driving a VENUE?
I have been using itm but not using a lot of plug-ins. One reverb, one delay and one Smack on John, but without any compression just to get ‘that’ sound. My favorite console however is an H3000.
I saw you call up one plug-in that blew me away—it was a Line 6 Delay Farm. What are you using that on?
That is the main vocal delay.
You don’t see that one a lot. I see a lot of high-end boutique-y stuff but not a Line 6 guitar plug in.
I called it up once a long time ago and it has some nice chorus-y sounds…
And it’s simple as hell….
I’m a pretty simple person. I don’t like to have too many things going on because then you have too many things that can GO wrong. I don’t even use a lot of reverb. A little bit on John. A little bit on the background singers, a little bit on the horns and everything else is totally dry.
I was told that everyone in the band is a producer?
That’s true.
Man, I would not want your job…
No, it’s not like that. Because they totally respect me. They listen to board tapes from the gigs so they know that I know what I am doing. So if I make a suggestion they are more open to it. And all of the band guys look up to all of the artists I have worked with anyway, so it is easier to work with them.
Are you with John for the rest of the tour?
I’m with John from now until the money’s gone.
