Hundred Waters is an American indie band formed in Gainesville, Florida in October 2011. The band was built slowly over time as Trayer Tryon, Zach Tetreault, and Paul Giese grew musically together in various groups. They eventually joined vocalists Nicole Miglis and Sam Moss while playing for Levek, a musical project of a mutual friend. After participating in that project for a little over a year, the group of five began writing their own music in a shared home. After much work and re-work and Nicole Miglis’ lyrical and vocal narration, they ended up with a group of songs that worked well together as an album that they felt compelled to run forward with. “We wanted to share it,” says Paul Giese, electronics and guitarist for the band.
Hundred Waters became the first indie act to sign with Skrillex's OWSLA record label in August 2012, which was immediately followed by the release of their first EP Thistle (Remixes), followed by their debut full-length album Hundred Waters on September 25, 2012.
Band member Paul Giese explains the band’s needs for their live rig and how Focusrite has contributed to that process.
“When the Hundred Waters live show began to bloom, we were faced with an interesting conundrum; how do we create all of the music that we recorded with no intention of playing it live? The timbres and sounds heard on the album were all crafted in various methods and software, so the representative live instrumentation was not as straightforward as in our previous projects. This lead us to use computers, samplers, synthesizers, and audio processing to translate our self titled album into a live show.
Given our perfectionism with the sound, and the complexity of what we were throwing at a sound engineer every night (who likely has no inkling of what we think our music should sound like), we decided that sub-mixing our instrumentation was the safest route to a great sounding and predictable show every night- which led us to the acquisition of a couple of Focusrite Saffire interfaces, to output different conglomerations of sound from our laptops, which are integral to our live performance. We were initially interested in using it because of its fire-wire connection (high speed/reliability), affordability, multiple inputs and outputs, and compact-ness (we needed to fit 2 interfaces in our 'Brain', the sub-mixing box we use on stage).
The Saffire PRO 24 proved versatile for my needs- I used the inputs to route and split Nicole and Sam's vocals, affect them using various effects in Ableton Live, and the outputs to send my internal mix from Ableton Live and Mainstage to the sound engineer. Recently, I have been using the MIDI interface built into the Saffire as a more reliable connection then USB, which has worked without any hiccups, and integrates with the software we use nightly with sonic predictability. We have used the Saffire interfaces in over 180 shows in the past year and a half, not once considering that our current needs would require us to replace them with something else.