Discover how Adam Labov gets album-quality FOH and monitors over a Dante network.
From club tours to major festival stages, engineer Adam Labov has seen it all over two-plus decades behind the board. “My first live engineer gig was around 2004,” he says. “But it all really started in ’93 — my first concert was Nirvana on the In Utero tour. That changed everything for me. Later that year, I saw Pearl Jam, Soundgarden, Pink Floyd, and Phish — not a bad first five shows! When I was 20, I took some audio engineering courses to learn the basics of mixing, but started to focus on live sound versus studio engineering when I moved to LA in 2003.”
These days, Labov is running front of house for breakout pop/punk band The Linda Lindas, whose recent shows include runs with Green Day, Smashing Pumpkins, Paramore, and even The Rolling Stones.
While prepping for the group’s latest headline tour, Labov and the band wanted to give their rocking live shows a sonic upgrade. Enter Apollo x16D interfaces and UAD plug-ins, all running over a Dante audio network.
Building a Modern Live Rig for a Modern Band
“This is actually my first tour using Dante,” says Labov. “We’ve got an Allen & Heath dLive console, and three Apollo x16D interfaces — two for front-of-house, one for monitors. There’s a learning curve at first, but once you get through a few shows, it becomes second nature — and having that many ins and outs makes routing audio for all my UAD plug-ins way more flexible.
“Our last setup was just a basic Midas M32 with no outboard gear,” he continues. “It worked for a while, but this new rig with Apollo x16D and the dLive is a serious sonic upgrade. Right out of the box, I could hear the difference.”
With a 32-input setup that includes the band, talkbacks, audience mics, and more, flexibility was key. “What I love about this rig is that I don’t have to commit to complicated dLive scenes or snapshots,” he explains. “I can load the plug-ins I need, when I need them, and get consistent results with minimal risk to the in-ears or FOH.”
Studio gear in a road case. The Linda Lindas’ live rig runs on Apollo x16D over Dante for album-quality live mixes.
UAD Plug-Ins Hit the Road
While this is Labov’s first time using UAD plug-ins on a full live rig, the transition has been seamless — thanks in part to his history with the original analog gear.
“I’ve worked with a lot of the vintage hardware over the years — 1176 compressors, Neve preamps, EL8 Distressors — and UAD plug-ins sound like the real thing,” he says. “Now I can run studio-quality chains on all four vocalists, the drums, the bass — and I don’t have to compromise. It’s awesome to be able to drop a Distressor or Neve 1073 on any channel I want, without the physical gear. It opens up a new world of sound and creativity.
“Having tone-shaping tools like a Distressor or API preamp control on the road is something I’ve never had before,” says Adam Labov, FOH engineer for The Linda Lindas.
“The Linda Lindas are a punk band — no computers, no backing tracks,” Labov continues. “My job is to keep things honest, but polished. They’ve put so much care into how their records sound, I want that same vibe to come through live.”
“Right out of the gate, I could hear a difference — just loading in a few UAD plug-ins without even fine-tuning them made everything sound better.”
Adam Labov, FOH engineer for The Linda Lindas
Working with The Linda Lindas’ producer Carlos de la Garza (who is also the father of guitarist Lucia de la Garza and drummer Mila de la Garza), Labov is also incorporating preset UAD vocal chains straight from the record into his live mix. “Carlos is loading in the plug-ins he used in the studio,” says Labov. “I’ll blend those with my FOH needs to keep the sound authentic to the album while also working for a live space.”
Producer Carlos De la Garza and FOH engineer Adam Labov prep UAD plug-in chains straight from The Linda Linda’s record for the stage.
Dialing In the Room Without the Band
With Apollo x16D, Labov records a multitrack of the band live, then uses it for a virtual soundcheck — the technique of playing the multitrack back through the live console’s mic inputs to simulate a live set. This lets him to fine-tune EQ, balance levels, and dial in UAD plug-ins before the band even walks onstage.
“Last year we were doing mostly stadiums, which are sonically forgiving,” he says. “But venues vary, and virtual soundcheck lets me solo instruments, test plug-ins, and dial in acoustics without the pressure of a live crowd.”
“The Linda Lindas put so much care into how their records sound, I want that same vibe to come through live,” says FOH engineer Adam Labov.
Freedom to Focus on the Music
Handling both FOH and monitors from the same position might sound daunting, but for Labov, it’s all part of the job. “The band is not fussy about their onstage mixes,” he laughs. “It’s a four-piece rock band — no tracks, no drama. Once their in-ears are dialed in, I’m free to focus on the house mix and give the audience the best possible experience.”
Live Mixing Without Limits
“There’s definitely a learning curve running a Dante network,” says Labov. “I used to know my old rig inside and out. But with Apollo and UAD, I’m thinking more creatively. It’s letting me pull from my hardware roots, adapt on the fly, and most importantly, get the mixes I’ve always wanted to deliver.
“Dante didn’t change my entire workflow,” he continues, “It gave me the flexibility I needed to get creative. I wasn’t limited to a couple of built-in effects anymore — I could actually reinforce the tones coming off stage, not just reshape them. So after 20 years, I’m still learning every day, and I think that’s the most important thing. Know your gear, check your ego, and make sure your attitude makes you someone people want to work with.”
The Linda Lindas’ Top 5 UAD Live Plug-Ins
— Darrin Fox
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