Veteran Front of House Engineer Dan Hallas has spent over three decades crafting the live sound for a diverse roster of world-class artists. Having mixed for hard rock heavyweights like P.O.D. as well as acclaimed jazz, world, and folk artists including Esperanza Spalding, Dianne Reeves, Angélique Kidjo, Valerie June, Lizz Wright, Joshua Redman, and Matisyahu, Hallas requires equipment that translates seamlessly across musical genres. Throughout his prolific career, AUDIX microphones, have been his trusted tools for capturing pristine, reliable sound on the world’s biggest stages. Currently touring arenas with P.O.D., his microphones of choice include the OMX-T, D6X, D4, MicroD, i5, and SCX1.
Hallas’ journey into live audio began with his first tour in 1989 as a backline technician for The Call. “One fateful night at First Avenue, the club in Minneapolis famous for its relationship with Prince, the monitor engineer had to bow out because he was ill and I stepped in for him,” Hallas recalls. “I finished that tour as monitor engineer, and I’ve stayed on the road doing live sound ever since.”
He first discovered AUDIX after seeing their OM2 and OM3 microphones used widely at venues. “When I finally started working with them, the incredible amount of noise rejection they achieved from stage wedges completely sold me on the brand and I’ve chosen AUDIX ever since,” he shares.
Hallas even played a role in shaping the iconic AUDIX D6 kick drum microphone. While working on the 2002 Ozzfest tour with P.O.D. and Drowning Pool, he tested a prototype for the brand. “I remember specifically suggesting a higher frequency bump around 4-6kHz,” Hallas notes. “That turned out to be the D6 and when it was officially released, they generously sent me a couple of microphones inscribed with my name.”
Today, Hallas relies on a comprehensive suite of AUDIX gear to execute his mixes. For vocals, he currently turns to the OMX-T dynamic vocal microphone, while mixing P.O.D.’s arena tours. “I like the OMX-T because it features a tight pickup pattern, which is essential for capturing clear vocals and rejecting drum bleed when the singer is close to the kit,” he explains.
His drum setups are equally precise. He uses the versatile new D6X dynamic kick drum mic for its range of tonal possibilities. “The new D6X is incredible because it offers so much breadth. You can easily adjust the settings to capture a more natural sound or emulate classic vintage kick microphones,” shares Hallas.
For his toms, Hallas prefers the low-profile MicroD miniature condenser instrument microphones “They clip securely onto the drums, eliminating the need for obtrusive stands, and capture a massive, full-bodied sound with perfect low-end and attack. It sounds so good it’s like a sample.” Rounding out his kit capture, Hallas chooses i5 all-purpose professional dynamic instrument microphones on the top and bottom of the snare, and SCX1 omnidirectional professional studio condenser microphones as cymbal overheads. He also utilizes the compact D4 professional dynamic microphone directly on the voice coil of guitar cabinets to achieve a “wonderfully full-bodied yet present sound.”
Reflecting on his relationship with the brand, Hallas emphasizes how crucial AUDIX’s reliability is for top-tier touring acts. “The consistency of the microphones are unmatched. AUDIX has managed to engineer their microphones with tighter pick-up patterns and better rejection than just about anything I’ve encountered,” he says. “With bands like P.O.D., who rely entirely on in-ear monitors, the musicians are very sensitive to any sonic changes. Since switching to AUDIX, they have been exceptionally happy because their in-ear mixes sound great and consistent every single night.
