Ben Findlay: Crafting Live Sound for Legends
From the studio to the stage, Ben Findlay has worked with some of the world’s most iconic musicians, including Jeff Beck, Sting, Paul McCartney, and Peter Gabriel. After years behind the desk at Peter Gabriel’s Real World Studios, Ben transitioned to live mixing, quickly becoming a sought-after FOH engineer for top-tier artists. We caught up with him during a sound check at New York's Beacon Theater, where he was mixing Jeff Beck's Rock and Roll Party tour featuring Imelda May.
Mixing for Legends on Tour
Can you tell us about the current tour with Jeff Beck?
This tour is an extension of Jeff Beck's Rock and Roll Party Honoring Les Paul, based on a tribute concert we recorded at the Iridium in New York. We made a DVD and a CD of that show, and now we’re taking it on the road to support the DVD. The tour also features Imelda May and her band, and their chemistry on stage is just fantastic—powerful, funny, and deeply emotional. It’s a real roller coaster of a show.
You’re mixing on an Avid Profile console?
Yes, I’ve been using the Avid Profile since 2006 when I was out with Peter Gabriel. I started on the Venue and moved to the Profile, which has some great features, like the single row of controllers that make it very ergonomic and easy to navigate. I’m quite happy with it.
From Studio to Stage
You started your career in the studio, right?
That’s right. I began with some live work, but my goal was always to be a studio engineer, which led me to Real World Studios. I worked there for eight years before going freelance, handling studio and radio broadcast mixes for Peter Gabriel. When his live engineer, Jim Warren, went out with Radiohead, Peter asked me to step in and mix his live shows. It was a bit of a leap since studio engineers don’t always transition well to live mixing, but I took the risk, and it paid off.
What other recent tours have you worked on?
In December, I was with Sting in Russia promoting his Sting Live in Berlin DVD and mixed the TV broadcast of his concert in Milan. Then, after finishing a South American tour with Jeff Beck, I got a call out of the blue to mix the audio broadcast for a Paul McCartney concert in Sao Paulo, Brazil. Luckily, they were using a Profile console, so I was able to load up my Oxford plug-ins.
Integrating Sonnox Plug-ins into Live Mixing
You’ve been using Oxford plug-ins for quite some time, correct?
Yes, I first encountered them on the Sony Oxford console at Real World, where I worked for many years. Peter Gabriel and I both loved the sound of that console, and when we moved to live mixing, the Venue was the only console that supported plug-ins like the Oxfords. On tour, I heavily use the Oxford EQ and Inflator. The GML version of the Oxford EQ is my go-to EQ.
How do you apply these plug-ins in your mixes?
I use the Oxford EQ on critical channels like Jeff’s guitar, Imelda’s vocals, Daryl Highman’s voice, and across the drum kit. I also EQ the matrix feed to the main PA speakers separately from the EQ used for recording, ensuring that adjustments for the live mix don’t impact the recorded tracks. This approach allows for precise control over both the live sound and the recordings.
I use the Oxford EQ on critical channels like Jeff’s guitar, Imelda’s vocals, Daryl Highman’s voice, and across the drum kit.
The Inflator is another favorite of mine. It’s great for binding elements of the mix together, especially when the instruments feel too separate. I use it across the mix and on the drum bus to enhance dynamics without losing cohesion. It’s incredibly effective at making the entire kit feel more dynamic and integrated.
What keeps you loyal to Sonnox plug-ins?
Simply put, I love their sound. They’re subtle and don’t get harsh even when you push them hard. I’ve been using them for over 15 years, and they’ve always felt like an old friend. They consistently deliver the quality I need, whether in the studio or on stage.