So Much for (Tour) Dust
Alt-rockers Fall Out Boy consist of lead vocalist/rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman and drummer Andy Hurley. With four #1 albums and six consecutive Top-10 albums on the charts to their name, this arena rock band puts on a fantastic show, bringing with them several revolving set changes and lots of fire. Did I mention fire? There’s plenty of that in the show — added to great singing and musicianship. We spoke with the audio crew about the successful 23-date U.S. leg of this world tour, which wrapped up last month at the Target Center in Minneapolis, MN, before the band moved on to perform at four cities in China during May 2024.
At the FOH Position
FOH Engineer Chad Olech started working with Fall Out Boy in 2013, then admitting he hadn’t really known a lot of their music. “I knew who they were but hadn’t heard a lot of their songs. On a flight home from a previous tour, just before the Fall Out Boy show, I listened to and analyzed their potential set list, noting each song’s effects and cues. This was during their comeback after a hiatus, starting their first big arena tour in about five years, using their older equipment. At the time, they had just moved from a basic iPod setup for playback — tracks on the left, click on the right — to a stereo setup with click integration in Ableton Live. When I joined, one of my first tasks was to split the playback tracks into stems, which gave me more control over the mix.”
Over the years, the band has put a lot of effort and money into updating their sound and equipment, notes Olech. “We’ve gone from having a pretty loud stage with live speaker cabinets to a quieter setup with isolated cabinets, and now we’re using amp simulations. Singer Patrick Stump and guitarist Joe Trohman really know their stuff when it comes to studio work, which has been incredibly helpful. It’s great to brainstorm new ideas with them for our signal chain or dive into the technical details of their studio work, so I can try to recreate their studio sounds in a live setting.”
Around 2014, it was clear to Olech that they needed to move away from the old Profile platform. “I traveled to the Clair shop in Lititz, PA to test out six different mixing consoles over three days. Spending 3-4 hours with each board, the DiGiCo SD5 console stood out as the best choice for me and provided outstanding sound quality. Its layout and assignment capabilities match perfectly with how I think. In 2023, I upgraded to the DiGiCo Quantum 5. Additionally, with the large number of talkbacks we now use (19 in total) and the complex routing needs, I don’t think we could manage as effectively with any other console. The DiGiCo’s features and flexibility have become essential parts of our setup, making our work smoother in challenging environments.”
Currently Olech is not using any onboard effects or plug-ins. He does use the console’s preamps, EQs and some compression on his less critical inputs. Over the past few years, his collection of outboard gear has grown a lot, becoming the main hub for his signal processing workflow. “Some standout units in my setup include the Rupert Neve Designs Portico II, Stam Audio’s SA-4000 MK3 and Sonic Farm’s Creamliner III on my mix bus. For Patrick’s vocals, I use a Neve 1073LB 500, Pultec EQP 500a, Rupert Neve Designs 545 and an Inward Connections Brute — which is similar to his studio setup. Joe’s vocals go through an API 512c, Rupert Neve Designs 545 and a Stam 76a. Pete’s vocals are treated with a Rupert Neve Designs 545 and a dbx 560a, all in my top 500 rack.”
Olech’s drum processing setup in another 500 rack includes an SPL TDx and Rupert Neve Designs 545 for gating, with additional compressors on kick and snare using the Empirical Labs Pump, a great new addition, he says. “The final 500 rack features a Stam SA-4000mk2 for drum crush, an RMX16 500 for snare reverb, a dbx 510 sub-harmonic synth for added low-end, plus more SPL TDx and Purple Audio Action compressors for Pete’s bass.”
Olech runs Patrick Stump’s guitars through BSS 901 II multiband compressors and a Rupert Neve Designs 5254 compressor, while Joe’s guitars use UAD live rack with SSL Channel Strip, Distressor and DeEsser plug-ins. “I also have various effects processors like the Eventide H8000 for micropitch shift, Lexicon PCM 91 and PCM 80 for vocal and tom reverbs and a TC Electronics M3000 for delay. To manage all this gear, I route everything through an Antelope Audio Galaxy 64, which works seamlessly with my Optocore DD2FR, letting the Quantum 5 control all inserts from one central hub. This setup gives me precision and flexibility in my mixing process.”
Olech says being the production manager as well for an act of this size is typically a full-time role in itself, and managing both the PM and FOH engineer responsibilities can pose significant challenges. “I consider myself incredibly fortunate to have the autonomy to assemble my own crew. For the past decade, Sean Bates has been indispensable as our stage manager — he’s essentially my right-hand man on the floor, handling everything related to trucks, the dock and stage logistics. With him overseeing these critical aspects, I can focus on my FOH duties without any concerns.”
Additionally, Olech says having a stellar production coordinator like Sean Quish on the road with them is essential. “Sean ensures that nothing slips through the cracks or catches me off guard while I’m filling my FOH role. His expertise and diligence contribute immensely to the smooth operation of our shows. Without such an exceptional team supporting me, I wouldn’t be able to fulfill both roles effectively. As the saying goes, ‘It takes a village,’ and our extended family includes our remarkable vendors who consistently provide stellar teams for our tours. Their dedication and professionalism are integral to our success on the road.”
Olech considers himself incredibly fortunate to have worked with Clair Global for nearly 20 years and says this tour has brought one of the finest crews he’s ever had the pleasure of working with. “I previously toured with Steve (Hupkowicz) when he was monitor tech for Shinedown and I served as the PM/FOH for that production. When I learned he had transitioned to a system engineer role within the company I immediately placed him on my shortlist — and I’m immensely grateful I did. Steve has consistently exceeded expectations every night on this tour. His expertise and precision are such that I now find myself listening to the P.A. before line check almost just for enjoyment — it’s that reliable and finely tuned. Steve possesses a keen ear for understanding exactly how I want the system dialed in, and it helps that he is fun to be around. Having a seasoned pro like him on the team enhances both the technical quality of our production and the overall camaraderie on the road. Working alongside individuals of his caliber truly makes touring better.”
The Systems Approach
System engineer and crew chief Steve Hupkowicz notes that Fall Out Boy has been a Clair Global account for some time now and has known Chad Olech for several years as well. “We first worked together back in 2019 with Shinedown when I was a monitor tech. We talked about coming out for Fall Out Boy’s ‘Hella Mega Tour,’ that was originally scheduled in Spring of 2020. I made the move to this end of the snake last year and Chad requested me for this run.”
Consistency has been the biggest thing that Hupkowicz and Olech aim for. “I do my best to make sure I’m handing over the same tuned system each day, I take my tablet and walk the venue from the front row all the way up to the last row. A couple fine tune adjustments are made and that’s when I turn the reins over to Chad. At that point we listen to some virtual playback, confirm my adjustments for the day and we’re off to the races.” During the show, Hupkowicz will monitor or adjust any final adjustments to correct for the bodies in the venue. “I’m usually already about there and make some of those corrections as the night goes on with the other acts on stage. When Fall Out Boy is on, there’s usually a minor change or two we address within the first couple songs. From there on, it’s monitoring Lake and Dante Controller and making sure everything’s running smoothly throughout the show.”
“We’re carrying a Clair Cohesion rig. We have 16 deep CO-12’s for the main hangs, 14 deep CO-12’s for the sides and 12 deep CO-10’s for 270 hangs. Front fills are four CO-8’s and subs are six flown CP218’s and three floor-stacked CP218’s — all in cardioid. The system was designed by Randy Lane of our engineering team in Lititz. After receiving all the system information Chad and I confirm all the necessary details together”
Monitorworld
Mixing monitors is Rob Smuder using the DiGiCo SD7, which he’s been on for a while. “I enjoy the layout, I like the availability of the nodes, even though I don’t use them on this tour. The number of matrixes is a big winner for me. We have a lot of talkback mics all over the stage and at FOH and the matrixes help me dial in who gets which talkbacks on top of whatever mix they are listening to.” Smuder says he hasn’t really changed anything over the course of the tour’s two legs. “The band likes things to stay the same as much as possible from show to show and I haven’t felt the need to alter anything. Most of their mixes are largely static. I’ll add a new macro every now and again to refine my workflow, but that’s about it. When it works, there’s no need to change things.”
None of the band members care for reverb or effects in their mixes, so Smuder notes that things are pretty simple and straightforward at monitorworld. “Aside from engaging the Digitube on Pete’s vocal for about 30 seconds and to make Patrick’s voice a little crunchy at one point in the set, we are pretty effects-free on stage. The only piece of outboard gear I use is a Neve 5045 Primary Source Enhancer for Patrick’s vocal, and he’s the only one who hears that, as it helps to cut down on cymbals bleeding into his mix.”
At this point, all of the live guitar and bass cabinets have gone away — there aren’t even any isolation cabs. “Everything is direct out of their individual rigs,” Smuder explains. “Patrick Stump has been using a Neural since the start of this album cycle and Joe (Trohman) has been using a Fractal. Pete’s bass output has been a DI out of his Line 6 for a while now.”
The band has been endorsed by Shure for some time. “Patrick and Pete are on wireless KSM9 vocal mics while Joe uses a wired KSM8 and Andy is on a Beta 56,” notes Smuder.
“Andy’s drum mics are all Shure as well. We have Beta 56’s on the snare top with a KSM32 on the bottom. Then a Beta 52 and 91 on the kick; KSM137’s on the hi-hat and overheads and then Beta 98’s for the toms — all of them always working out and sounding great.”
A Team Effort
“Working with this band for nearly 11 years has been an absolute pleasure,” Olech concludes. “The four band members are among the kindest individuals you could ever hope to work with, and few artists treat their crew as well as they do. Moreover, they’re open to suggestions and willing to engage in detailed discussions about improving the show — not just for themselves, but also for the crew and the audience. It’s refreshing to collaborate with artists who value input and strive for continual improvement in all aspects of the production. This positive and inclusive approach fosters a creative and supportive environment, making every show a rewarding experience for everyone involved.”
AUDIO CREW
- Sound Company: Clair Global
- FOH Engineer/PM: Chad Olech
- Systems Engineer & Crew Chief: Steve Hupkowicz
- Monitor Engineer: Rob Smuder
- Monitor Tech: Jamie Nelson
- Tour Manager: Josh Scott
- Production Coordinator: Sean Quish
- Stage Manager: Sean Bates
- P.A. Techs: Tania Martinez, Bryan Nutting
- Guitar Techs: Ben Young, Daniel Wates
- Bass Tech: Josh Newton
- Drum Tech: Scott Hall
P.A. GEAR
- Mains: Cohesion Audio CO-12 (16/side)
- 270 Hangs: Cohesion CO-10 (12/side)
- Side Hangs: Cohesion CO-12 (14/side)
- Subs: (6) Cohesion CP218 flown, (3) CP218 ground
- Front Fills: (4) Cohesion CO-8
FOH GEAR
- FOH Console: DiGiCo Quantum 5
- Stage Boxes: (2) DiGiCo SD Racks with 32-bit mic pres
- Outboard Effects/Plug-ins: Rupert Neve Designs Portico II, 5254 compressor, 545; Stam Audio SA-4000MK3, SA-4000mk2, 76a, RMX16 500; dbx560a, 510 sub-harmonic synth; Sonic Farm Creamliner III; Neve 1073LB 500; Pultec EQP 500a; Inward Connections Brute; API 512c; Empirical Labs Pump; SPL TDx; Purple Audio Action compressors; BSS 901 II multiband compressors; SSL Channel Strip; Distressor and DeEsser plug-ins; Eventide H8000; Lexicon PCM 91, PCM 80; TC Electronics M3000; Antelope Audio Galaxy 64; Optocore DD2FR
MON GEAR
- Monitor Console: DiGiCo SD7
- Outboard Effects: Rupert Neve Designs 5045
- Vocal Mics: Shure KSM9 on Axient, KSM8 hardwire, Beta 56
- IEM’s and Transmitters: Shure PSM1000’s
