Production Services & Manufacturing

Category: Concerts

Led Zeppelin Evening as Bonham

Jason Bonham’s Led Zeppelin Evening As Bonham garnered rave reviews as it toured through the country in May. The concert celebrates the life and music of his father, the legendary Led Zeppelin drummer John Bonham, and it was clear that this was a gig FOH engineer Tim Millikan was enjoying immensely.

“I’m like a dog with ten dicks at the moment!” he enthused. “It’s astounding, if you close your eyes you’d swear it was Led Zeppelin. The set goes for up to 2&¾ hours and covers a broad range of Led Zeppelin material. Having grown up listening to Led Zeppelin, I felt that I had been mixing it forever. There were times during the first show when I had to look up to check it wasn’t Robert Plant singing.”

JPJ Audio provided a FOH control package with inhouse PA systems used around the country. Out front, Tim decided upon an Avid Profile simply due to its ease of use and availability around the country and in New Zealand.

“I wasn’t sure what to expect prior to the tour so I thought I’d best make it easy on myself,” he explained. “I also have a couple of Avalon VT-737 out front for vocals and that’s about it. It’s a pretty stock standard package without much extra in the outboard world.”

However Tim remarked that there was quite a lot going on with onboard effects including pitch shifters going into a SansAmp for some crunch and distortion on the vocal.

“I run the pitch shift return pretty hard into that at times for the vocal effects such as in No Quarter and Since I’ve Been Loving You,” added Tim. “I have a super heavy duty flanger that I run the drum kit through for the big drum fill sections in Kashmir. There’s a long delay with a single repeat at about 600 milliseconds for all the extended vocal Robert Plant stuff and the rest is all short verbs just to sweeten things up. I don’t try to effect it too much preferring to let the band do its own thing. The keyboard sounds are fantastic and he’s clearly done a lot of work to replicate the Led Zeppelin sound. So a lot of it comes to me already sitting pretty well, the balances between patches is great and there are no issues there.”

Tim added that he is not overly compressing anything, just some multiband compression to tickle groups so it doesn’t get too out of control when they’re really going for it.

He spent more time concentrating on the overhead sound of the kit in general so when Jason hits the cymbals, they’re big and rich.

“I aim for a very natural sound using very light gating on the drums. It’s so super dynamic, you can’t squash it down too much and hold it in a position. I’ve got a C6 Multiband Compressor running over my master buss and I’m using that into an L3 Multimaximizer for a little bit of mastering on the output just to keep it in check.”

As it is such a long show, Tim explained that he tries to keep the sound level at around 95dB despite having had some people say it should be louder.

“For 2 ¾ hours that would be uncomfortable,” he said. “I can tighten up or loosen up the low end of my master stage to give a little more power when it needs it and pull it back when I want to keep it under control.”

Monitors were taken care of by Conor Dunne on a DiGiCo SD10 running Sennhieser IEMs and Shure radio mics. Jason also has a robust Stereo drum fill in the form of an L-Acoustics SB118 sub with an ARC II on top.

“It’s pretty loud onstage which in smaller venues makes it pretty tough,” said Tim. “The guitar player has a pair of 100 watt Marshalls running pretty hot plus there are two Ampeg SVT 8 X 10 rigs for the bass. The keyboard rig had a couple of Nord Stage 2s then there are a couple of acoustic guitars and a mandolin.”
Jason has a Crown CM311 head-worn condenser microphone as he sings in a couple of songs but mainly talks in between songs, although sometimes he also uses a Shure KSM9 radio mic.

For the drums there is a Shure Beta 52 on the kick drum (no hole in the kick drum so it’s placed directly in front), Shure 57s on top and bottom of snare, Shure 181 on hats and ride, Sennheiser 421s on toms and 414s on overheads. Guitars are Sennheiser e906 and Audio Technica ATM450 whilst vocals are Sennheiser e945 and e935. DIs were a combination of Radial J48s and JDIs as well as Countrymans.

Tim was clearly in his element with this tour adding that the band’s crew were great and that Jason himself is a lovely bloke, in fact it’s one of the most chilled and casual tours he’s done in a while. And Tim must have done something right as he has been asked to join the American run ….. work Visa pending.
Rule number one of touring – don’t leave home without your passport!

May 29, 2018
The Killers produce a Killer Tour

FOH Engineer Kenny Kaiser has been working with The Killers since the start of their Battle Born tour, where he started out as a system tech, then moved into the role of FOH mixer towards the end of that tour.

Kenny comments that when mixing The Killers there are many, many elements to consider. As there are so many people, instruments, and inputs on the stage he aims to keep things very simple at FOH saying that he prefers to keep as little failure points as possible!

Out front Kenny was running a Solid State Logic SSL500 console which he says sounds great.

“So right off the bat that is the best feature of this console,” he added. “After that it had to do with reliability. By far the biggest thing on this console that does not get much press is the All Pass filter. It’s a game changer to me. I am also a big fan of the delays and reverbs on the L500 followed by the bus comp and the subharmonic tool.”

Outboard effects were a couple of Bricasti M7 reverbs; one for lead singer Brandon Flowers and one for the snare. Kenny admits that’s a little over kill but it does sound good on the snare!

For the Australian tour, the show featured an L-Acoustics K1/K2 PA with the mains and sides comprising of K1 with K2 underneath. The amount of K1 for each hang changes per show but it is four K2 for the under hangs. Between the main and side hang at a 45 degree angle are flown K1-SBs.

“The PA has been great with even coverage and no complaints so far, from myself or the crowd,” commented Kenny.

Monitor engineer Marty Beath also ran a Solid State Logic SSL500 console with everyone but Brandon utilizing Shure PSM1000 IEMs and Axient AXT400. Brandon used a total of ten M2 wedges with two d&b J8s on top of a single d&b J-Sub for side fills.

For microphones, Brandon favoured a Shure Beta SM-58A, all the mics on the drums are Telefunken M80s and M81s, the cymbals are Heil PR30, guitars are Heil PR30, and all the backing vocals are on Heil PR35.

“The service from JPJ Audio had been great and the crew is A-level,” remarked Kenny. “Marty and I came into this run with a little concern about packaging because there are a lot of elements to the show and being able to set everything up in time is a big deal. JPJ Audio were able to make all the carts and dollies we asked for, so every day we were able to have a little time for a coffee before the band showed up …… so my hat is off to JPJ!”

JPJ crew were Tim Seconi, Paul Kennedy, Joel Pearson and Kellie McKee.

May 7, 2018
Byron Bay Bluesfest 2018
Byron Bay Bluesfest 2018 was on again this past Easter long weekend with a legendary scope of local and global musicians across the five stages including Tash Sultana, Ms. Lauryn Hill, John Butler Trio and Lionel Richie.

As in previous years, JPJ Audio provided a complete audio solution for the three main stages Mojo, Crossroads and Jambalaya. Mojo and Jambalaya had L-Acoustics K2 PA’s whilst Jambalaya had an L-Acoustics Kudo system.

“Mojo and Crossroads are almost identical tents and the PA’s we set up are identical too,” said Tristan Farrow, monitor engineer for the Mojo stage. “We have a systems guy who makes sure they mirror each other and there’s some consistency between the two. Jambalaya is a different beast altogether as they don’t have the A/B system of control that the Crossroads and Mojo have, they just have the one set of control consoles, one FOH console and one monitor console.”

The week before the festival load in, JPJ begin prepping the gear in their warehouse but planning starts a month before when information from the bands starts coming through.
The two main stages have an A and B system so there are two FOH consoles and two monitor consoles which means upstage line checks can be done with one whilst the FOH engineer can be loading show files on the other.

“It helps the half hour changeover time between acts to run smoothly,” added Tristan. “Of course in this day and age everyone wants to have their own equipment and that’s one of the main challenge faced every year by the JPJ crew. Some bring the whole package and some a little bit of their package, or they want us to provide a console for their sole use on the site.”

However most acts don’t require much special attention, they just need to be shown where the power is so they can set up and have the talented JPJ crew on hand to facilitate whatever they need.

Festival consoles this year were all Avid Profiles for FOH and Yamaha PM5D’s for monitors, on top of those there where a few floating DiGiCo SD7, DigiCo SD10, and Avid S6L consoles.
The venues may be tents but Tristan says that they can achieve spectacular results with the L-Acoustics K2 system.

“The K2 is great for this as it has a generous dispersion and the noise limits on the site allow us to have a good rocking band mix,” said Tristan. “The aim is to have every engineer walk away smiling thinking that was a great show. And there’s no reason not to be able to achieve that at Bluesfest.”
Mojo crew

FOH Garry Hall
Monitors Tristan Farrow
Stage Kellie Mckee
Stage Nathan O’Shea

Crossroads Crew

FOH Alex McCormack
Monitors Matt Debien
Stage Joel Larson
Stage Marlon Dunn
(Missing was Blues fest regular Brendan Kean due to illness, 1st one he’s missed)

Jambalaya Crew

Stage Ryan Fallis
Stage Will Krienke
(Bluesfest employees for FOH and Monitors)
April 3, 2018
Robbie Williams World Tour 2018

Global pop phenomenon, Robbie Williams toured his mammoth Heavy Entertainment Show World Tour around the country with JPJ Audio once again supporting audio needs.

JPJ Audio supplied an L-Acoustics K1/K2 PA and amplifiers for the tour as well as PA’s for the A Day On The Green shows.

“We have fourteen L-Acoustics K1 with four K2 downs on the main hangs with the same number on the side hangs,” commented Josh Lloyd, system tech for the tour. “We also have twelve K2 to cover anywhere up to 240° upstage as well as flown K1 SBs subs in the air, twelve aside. There’s a ribbon of sixteen SB28’s underneath the stage as an arc. Then there’s an end fire array, left and right, of six SB28’s plus an assortment of Kara and Arc2’s as fill boxes.”

The whole system is run on the new LA12X amplifiers which Josh says have made an improvement in how the system sounds, as well as providing the incredibly helpful Load Checker feature that measures the attached loudspeakers to help make sure that everything is working correctly.

“With the LA12X we use the load check function which verifies the cabinets and checks the drivers are intact,” he added. “In terms of aligning and tuning the system, I use Smaart with a wireless control so I can walk the arena. We do all the control inside LA Manager, although we have Lakes we don’t use them for that but for transmitting the audio over the network with Dante as an audio over IP.”
FOH engineer Simon Hodge isn’t fazed dealing with Robbie spending much of his time out front of the PA.

“We have a great PA which makes it about as good as it can be in terms of gain before feedback,” he said. “We’re very happy with the system and the way it is lined up makes a big difference. Also, we did a shootout between lots of vocal mics and we recorded the results of him singing with them. The Sennheiser Diigital 6000 system with the MD9235-J capsule gave the greatest rejection of background noise and therefore feedback.”

The continuing reduction in RF spectrum also prompted a look at Sennheiser’s new Digital 6000 system which has helped the show as it has so much RF. According to Josh, the vocal sounds a lot more open and natural and the bleed from other sources down the mics is far cleaner and less problematic.

Simon runs a DiGiCo SD7 and with so many people onstage, he uses a lot of channels saying the show is not exactly automated although he does a fair amount of clever stuff running things to time code to make his life easier.

“The show is still mostly mixed manually but we still spit out timecode which goes on to lighting and other departments,” he added. “We also multitrack everything at FOH so in rehearsals we can playback multi tracks that then goes off to other departments so they can rehearse without the band but still do all of the show cues.”

Out front Simon also had four Bricasti M7’s with a controller which Simon describes as lovely and again it’s all automated in with the timecode cues. He also has a Transient Designer on the drum skins and an old fashioned Klark Tecnik Gate on the kicks and snares.
“I find that the Gate in any digital console is not quite up to the standard of an analogue one,” said Simon.

After many years working with Robbie, Simon knows his voice extremely well and knows how it changes through the evening. As a result, there are quite a few tweaks that he does to his voice through the show.

“It’s got to the point now that I can feel when he’s about to adlib and anticipate him,” said Simon.

Everyone onstage, including the dancers, use Sennheiser 2050 wireless IEMs with monitor engineer Pete McGlynn also on an SD7.

“We’re gain sharing significantly which a lot of people don’t do but we know each other well enough to trust each other on the gains,” explained Simon. “So we’re acting as though we are one console so we’re connected together by fibre but there’s only one set of inputs.”

Both SD7s use Gain Tracking and are on an optical loop, with two SD-Racks handling all the inputs from stage, an SD-Mini Rack handles all the Sennheiser Digital 6000 wireless microphones, which are fed in via AES/EBU, and a second SD-Mini Rack handles inserts and PA outputs at front of house. The optical loop is used not only to gain share, but to distribute comms and the comprehensive talkback system between front of house and the stage.

“Around 96 inputs come from the stage, plus a large amount of inputs for band talkback and comms, which allow the band to communicate with the techs and Pete at monitors,” said Josh. “On top of this, we have triggers on the drums just to key the Gates on the console. Before you know it, the racks are all full.”

For outputs, there are 24 channels of Sennheiser 2050 wireless in ear monitors, an Aviom personal mixing system for the drummer, a couple of hard wired mixes, various tech mixes and routing, which mean the monitor desk is also fully loaded.

JPJ provided the following crew for the two A Day On The Green shows headlined by Robbie: Conor Dunne, Lachlan Cresswell, Jesse Mahoney, Kane Phillips, and Stacey Handley. In Sydney Bianca Martin looked after delays.

March 1, 2018
Russell Peters Qudos Arena Sydney

The audio system JPJ Audio supplied for Russell Peters is amongst the largest we would routinely put in to Qudos Arena. In fact there were more speaker cabinets than we would hang for an average rock concert in the same space!

This is because comedy relies on high intelligibility in the vocal range. If the audience can’t hear every joke, in every seat, they are not going to enjoy the show. If the audience can’t hear, they won’t laugh at the jokes, and this will impact the comedian’s performance (especially if the front rows can’t hear!!!).

This clear audio is achieved through acoustic modelling of the venue prior to arrival, careful placement of the PA hangs, and having enough speaker boxes to achieve the required SPL. This is all sound checked by walking around the edge of every seating block in the venue, with a handheld radio mic and making adjustments to the different PA zones. This verifies that every seat in the house can hear every joke.

The main hangs were two hangs of 12 x L-Acoustics K1 and 6 x L-Acoustics K2 with two hangs of 12 x L-Acoustics K2 for side hangs. Frontfill was 6 x single L-Acoustics Kara, outfill was 4 x L-Acoustics Arcs and subs were 12 x L-Acoustics SB28 Subwoofer Enclosures. All powered by L-Acoustics LA-8 and LA-12 amplifiers.

A Dante drive system using Dolby LM44’s was utilized and this involved running a completely digital signal path from the FOH console all the way to the amplifiers via AES and Dante signal processing.

A seamless back-up analogue audio fallback is also in every system using DANTE. Back-up systems and engineer comfort are critical to industry acceptance, so are always at the forefront of all JPJ Audio designed systems.

FOH engineer for the tour was James Kilpatrick on an Avid Profile with Waves 9. James used a C6 multiband compressor to keep the speech clear at low level and cut the horn band back when shouting. He also had a vocal rider live in reverse to keep the mic level low in between pauses in speech to reduce room tone in the microphone.

Crew:

FOH systems engineer: Tim Seconi
FOH systems technician: Bianca Martin
Monitors systems engineer: Kellie McKee
PA technician: Ben Northmore
Special Guest Appearance Multicores and front fill trainee: Mats Frankl

February 9, 2018
Paul McCartney 2017

Two-time Rock and Roll Hall of Fame inductee, 21-time Grammy Award winner and recipient of The Most Excellent Order of the British Empire Sir Paul McCartney brought his acclaimed long-running One On One Tour to Australia this December, his first Australian tour since 1993’s The New World Tour more than 24 years ago.

The show featured nearly three hours’ worth of the greatest moments from the last 50 years of music, dozens of songs that have formed the soundtracks of our lives. FOH engineer Paul Boothroyd – known more commonly in the industry as Pab – has been with Sir Paul for a fair portion of this journey.

“I first started working for him in 1989,” said Pab. “As well as being on stage for three hours, he also does a one hour sound check every day. With line checks and system checks as well, I’m probably behind the console twiddling knobs for five hours so it’s quite an extensive day technically.”

That FOH console was an Avid Venue S6L which Pab has used ever since it was released and he describes it as one of the best consoles on the market. Pab’s S6L carries dialed-in snapshots for more than 100 songs.

“It’s very powerful and has massive capability,” remarked Pab. “My vocal chain for Paul is fairly straightforward; I’m using a Sonnox Oxford EQ and Avid Pro compressor. For effects there are some general reverbs (short, medium and large), a little bit of delay ADT and that’s it. There’s no playback or inputs from anywhere else, it’s all live.”

Plug-ins that are used sparingly include Smack!, ReVibe II, ReVibe I on drums and Mod Delay III.

JPJ Audio supplied the crew and gear for the tour including their Clair Brothers’ Cohesion Series for PA. At the Sydney show indoors at Qudos Bank Arena, Pab had sixteen CO12 L+R, fourteen CO12 LL+RR, twelve CO12 LLL+RRR, six CP218 Subs flown per side, three CP218 Subs per side ground stacked and twelve CO8 for front fill.

“It’s absolutely the PA of choice for me,” said Pab. “I find it very flexible, light, and simple to manage. It delivers great results and is very accurate.”

The stage is fairly loud with only Wixy (musical director/multi-instrumentalist Paul “Wix” Wickens) wearing IEMs. The rest of the band opts for Clair R4 sidefills with ML18 subs and SRM wedges. Monitor engineer John “Grubby” Callis uses an analog Midas Heritage H3000.

“It’s very old-school rock and roll,” says Pab. “It’s loud sidefills and wedges up there because he likes to rock out.”

Microphones were a mixed bag with Pabs never swayed by fashion or freebies preferring to apply the correct microphone to suit the job.

“I like Audix on the drums and Shure for the vocals,” he added. “Paul’s very happy with the SM58A because he’s used to it – there may be a better microphone to suit his vocals these days but he is very used to what he has had for the past thirty years. So why change?”

Having not toured Australia for a good few years, Pab says he was very pleased to be greeted with such a professional JPJ team, a very happy team who just dealt with anything that was asked.

“Thanks JPJ for the fun and hard work, greatly appreciated,” he added.

One On One Tour Crew

Back row: Joel Larson, Alex McCormack, Tim Seconi, and Andrew Dowling SE from Clair Global
Front row: Tech Sean Baca, FOH engineer Paul ‘Pab’ Boothroyd, monitor engineer John ‘Grubby’ Callis, and monitors system engineer Paul Swan.

December 12, 2017
SIA Nostalgic for the Present tour

SIA’s Nostalgic for the Present tour delivered three stadium shows: Sydney, Melbourne and Auckland.

FOH engineer Jon Lemon has known SIA for most of her life and has been doing gigs for her on and off since 2002. When he wasn’t out on tour with the big name acts he works for, he would do the clubs and small theatres with her. Today SIA is an international music star and Jon is still there at FOH, albeit mixing in a stadium rather than a club.

“It’s a very organized show,” said Jon. “The biggest challenge was putting it all together in the first place as it’s mostly playback in terms of the music. The brief I had was to make it feel like it was live but also sound like the record with SIA then singing live on top of it.
“I see it a lot with hip hop and rap where it’s just the artist and a DJ with minimum amount of stems and the engineer has just got nowhere to go and nuance it like the record. The environment changes the audio all the time, it might be a gig sucking out all the percussive stuff or over emphasizing the bass and you need control over all of those things.”

A DiGiCo guy through and through, Jon was using an SD5 with a couple of Waves Servers on it plus a little bit of outboard; Waves MaxxBass, a few Maag EQ4’s and Smart C2 compressors to keep it all in control and even the sound out. “SIA has a big voice so I use Waves Renaissance compressors as well as their 1176 limiters on her vocals as she is so dynamic,” said Jon. “It’s pretty dialed in and quite simple because we did a lot of the work beforehand, in this modern way of doing things.”

Jon has around fifty inputs on his DiGiCo SD5, all split up and presented like it’s a live band playing – with more consistency than usual and less egos!

“A lot of people may think it’s complicated but I don’t because I have been so close to the music and the process of it,” elaborated Jon. “I know how she sings and I know how to ride it around to keep it level. As everything is so consistent we have a pretty good result most of the time. A lot of modern music is about the system engineer and how the company sets up the system. When I first started out, I was doing it all but realized a few years back that the complexities of these big venues, with networking, delays, and timing, is best left to someone else so I can concentrate on the art part of it. Of course, I oversee it all and will walk the room …. but on this tour I have one of the best L-Acoustics system engineer and designers in the business which makes my life easier.”

That system tech is Vic Wagner who, alongside JPJ Audio’s Mats Frankl, ensured the L-Acoustics K1 / K2 PA was tuned, timed and ready for action. Multiple delay towers and rings were required to cover the stadium as much as possible, delivering maximum SPL possible without upsetting the EPA people.

Jon reports that he had complete faith in his support team of Mats Frankl, JPJ Audio’s Bob Daniels and Vic Wagner commenting that the entire JPJ crew impressed him.

“The L-Acoustics K1 is a really reliable PA and sounds great,” added Jon. “We had two main hangs, subs across the front, sides a mixture of K1 and K2 and then four K2 delay towers. It all worked perfectly.”

SIA has always used a trusty Shure SM58 microphone and according to Jon, she always will.

“I’d like to change it but she is so used to using the SM58 dynamically its part of the way she sings,” he explained. “That’s why I use the Maag EQ4’s as analogue inserts because they have the airband on them which means you can actually make an SM58 sound like an expensive microphone!”

Jon remarked that he had a great JPJ crew on the tour and, seeing as he worked for JPJ when it was Jands Production Services many moons ago and he knows so many staff, he sees working with JPJ as a family event …..in fact he wouldn’t even consider using anyone else in Australia.

Jon will be touring Australia with Roger Waters early next year and again he will reunite with JPJ Audio.

December 2, 2017
Ariana Grande

The world’s biggest pop sensation, Ariana Grande, bought her Dangerous Woman Tour to Australia this September and JPJ Audio joined her on the road!

Ariana Grande may be tiny, but her voice is big enough to drown out a stadium packed with thousands of screaming fans …. with a little help from a Clair Cohesion PA and her FOH engineer Simon ‘Si’ Thomas.

Toby Francis, Ariana’s usual FOH engineer, asked Si to replace him at the helm of the DiGiCo SD7 last May as he left to work on Katie Perry’s new tour.

The Clair Cohesion PA has been utilized for her entire tour, unless unavailable in a country and then an L-Acoustics K1 or d&b J series stepped in, and it’s a system that Si is more than happy to have inherited. In Sydney, Ariana played the ICC Sydney Theatre with sixteen CO-12 per side in the main hang, twelve CO-12 per side in the side hang and three CP-218 flown per side in cardioid. Another six CP-218 per side were ground stacked in cardioid. Infills were Clair CO-8.

“It’s very compact and light weight compared to other line arrays in its class and it’s got lots of headroom,” commented Si. “It has a really good high/mid which is very smooth. With this kind of music there’s a lot of odd sub content that goes down really low with which the CP-218’s do a really good job. The CP-218 sub is particularly good, it’s very powerful.” Si described the ICC Sydney Theatre as an ‘interesting’ venue but at the end of the day, he was happy with the result.

“No one had flown subs in there like we did and I believe that made a lot of difference because if there’s too much down on the floor, it’s pointless,” he said. “Once you get some sub higher up, it works really well. I had heard horror stories about the venue but it was fine and quite decent sounding. Although getting in and out of it is a pain in the arse!”

FOH there is a fair amount of analogue involvement, with Si using the SD7’s subgroups to route out through Lake Processors which convert the digital to analogue. “I then have a Neve Portico 5059 Satellite 16×2+2 Summing Mixer and within that I’ve inserted various types of compression – Smart C2 for the drums, Crane Song STC-8 for the music, backing vocals a Tube-Tech SMC 2B multiband optical compressor and for Ariana’s vocal a Rupert Neve Shelford Channel,” explained Si. “The various compressors are on the A Channel side of the Portico summing mixer, which are then all fed to the B side of the summing mixer to create a master mix which has a Portico II Master Buss compressor across it. Then that would then output and come back into the Master Buss return insert point of the SD7 with yet another Lake, converting to AES. Basically it’s a like one big insert chain.”

Added to that were a couple of TC M5000’s used for drum and vocal reverbs. Si readily admits that it took him a bit of time to get his head around what was going on but concludes that the system works very well.

Ariana uses a Sennheiser MD 5235 dynamic microphone capsule with a Lake inserted across her channel so all of her vocal EQ’s are done in the Lake and not the console. In fact a lot of the serious work is not done in the DiGiCo which is basically being used as a big router! The Digico channel expander was used on the vocal to keep the noise floor down so when Ariana is in front of the thrust and is not singing, you’re not hearing the room noise or PA.

“I’m using a Telefunken M82 kick drum mic which is really, really nice,” added Si. “I also have Telefunken M81’s for the snare drums but the rest of the mics are fairly standard.”

Vish Wadi also used a DiGiCo SD7 to run monitors with everyone using Sennheiser 2050 IEMs plus there are flown sidefills, some CM-22 stage monitors on the floor for the dancers and CP-118’s providing sub onstage for the band.

“The Australian tour was good fun and we really enjoyed it,” said Si. “To be honest, it was quite easy …. partly due to my system tech Jerrell Evans and the JPJ crew of Tim Seconi and Alex McComark, who were good lads.”

September 15, 2017
Southern Stars 2017

Thousands of performers and spectators converged on the WIN Entertainment Centre last month, as the annual Southern Stars school arena show hit town.

More than 3000 student from primary and high schools in the southern schools region performed with the show also including soloists, a 500 piece choir, and orchestra and an indigenous dance company.

Students came from about 120 public schools as far away as Bourke, and the show was touted as the biggest show so far in Southern Stars’ 17-year history.

JPJ Audio provided all things audio with a system designed Bob Daniels and implemented by George Gorga whose biggest challenge was a large orchestra mainly comprising of students!
“It takes them a while to get used to being in the arena dealing with headphone monitoring, IEMs and the PA running but there’s a point, usually around dress rehearsal, when it all comes together,” he said. “I’m also dealing with a large number of non-professional vocalists but again, it all comes together in the end. Having said that, the musical standard of these kids is extremely high and during the public shows it’s easy to forget that some of these players and performers are only in primary school.”

The stage is set traditionally at one end, albeit a bit bigger than a standard stage, and primarily accommodates the orchestra, whilst the arena floor is the main performance area for soloists and dancers. The choir sit in the seating bank behind the stage.
“The PA is a central cluster hung above the floor centre,” explained George. “There are three positions; one facing forward and two straight out to the sides. It looks a bit odd as the centre PA is about two metres behind the side clusters but it works really well and they don’t get in the way of each other. The time alignment is ‘physically’ very close to start with and it’s seamless when you walk around the room.”

Jack Richardson, system tech for the event, remarked that this is the best sounding configuration he’s had heard in this venue. George admits he had a bit of an advantage in the fact that he only had to cover the seating from a centrally located PA, but insists a lot of the success was down to Bob Daniels’ design.

“Of course the L-Acoustics K2 system is amazing too,” George added. “It’s my favourite system at the moment. This is the first time we’ve used the K2 on this event and it was a real leap ahead in quality and impact.”
FOH George ran an Avid 96-channel Profile console plus a 48-channel DiGiCo SD11. On the Profile he used just about all of the available effects adding his standard TC Electronics M5000 reverb and a Smart C2 compressor over the mix buss.

“I use those pretty much all the time and although I could use a plugin for the C2, I’ve got the real thing and it just holds everything together in the mix,” said George. “In a situation like this show where it can be quite unpredictable, the C2 can be a life saver.”

Radio microphones were twenty-six systems of Shure Beta 58 with a couple doubling up as guitar packs and DPA 4088 headset systems. Orchestra microphones were assorted with George favouring dynamic microphones such as Shure 57 and 58’s for brass and woodwind.
“In this situation, they’re much easier to deal with when you have kids using them,” said George. “I still get the sound I want without using expensive condenser mics. With the constant turn around, the radio mic tech Bianca Martin and her volunteer student crew are kept very busy!”

Monitors were taken care of by Bob Daniels on a DiGiCo SD5 with an Aviom headphone system for the orchestra and lots of Sennheiser IEM systems for the singers.

Gallery – click to enlarge

August 26, 2017
Icehouse – 40 Years Live

Photo © Troy Constable

With a career spanning 40 years, iconic Australian band Icehouse has continued to delight millions with their music, well-known and loved by audiences across generations. Icehouse began in 1977 as a Sydney-based pub rock band called Flowers, who were the highest paid unsigned act in Australia at the time.

In 2006, Icehouse was inducted into the Australian Recording Industry Association Hall of Fame, being described as ‘…one of the most successful Australian bands of the 80s and 90s’. Icehouse’s 1987 album Man of Colours remains to this day as the highest-selling album in Australia by an Australian band.

With a history like that, it’s no wonder the band have been selling out their 40 Years Live Tour this year as it travels the country … with more dates just announced!

Touring with an audio package from JPJ Audio, the tour utilized in-house PA systems where available with JPJ supplying speaker systems when required. FOH Engineer Richie Robinson, who has mixed for the band since their return to live shows in 2011, used an Avid Venue S6L saying it is one of the best mixing consoles on the market. He travels with absolutely no extra FOH equipment, which reinforces how good the console sounds on its own.

“I had used an Avid Profile since 2007 and always loved working on it,” he remarked. “However, it got to a stage where I thought ‘well that’s the sound of it’ and decided to try some other consoles that had better preamps and a more open sound stage. While I usually liked the sound of them, I didn’t fall in love with their operating systems as much as I did with the Avid Venue gear. When the Venue S6L came along and I tried it out, I was blown away with how good it sounded. It’s a real win for Avid and I think you’re going to see a lot more of them.”

Photo © Troy Constable

When Richie used to mix Icehouse on an Avid Profile, he implemented a combination of Waves plug-ins and outboard reverbs but he’s been happy with the way the onboard fx plugins sound with the new console.

“With the combination of the new audio engine in the console running at 96khz and the plug-ins running on the AAX DSP cards, even the Avid reverbs sound a whole lot better to me,” added Richie. “I’ve gone back to using the ReVibe reverb which sounds really good and other than that, I bought a few 3rd party plugins for some other eq, compression and saturation flavors. I miss some of my Waves plug-ins but it’s been cathartic to ditch what you’ve been using for so long and just go ‘wow, that sounds so good just straight out of the console!”

One 3rd party plug-in that Richie has used often with Icehouse is the Brainworx bx-console channel strip by Plugin Alliance which he implements over many channels. “There’s a subtle character thing going on with that plug-in that suited this band” said Richie.

Richie uses the Snapshot and Layout features on the console for all the songs – mainly for turning on and off required input channels and for keeping the top fader layer populated with the key input elements for each song. He also found that snapshotting the effects on the Venue S6L was a very handy tool. As Iva Davies wrote and produced so many of Icehouse’s tunes, he can be quite specific with the echoes and delays used on the original recorded versions so Richie decided to snapshot all of the echo effects. That way he doesn’t have to worry about adding the correct tap tempo to each song – when he recalls the snapshot to the next song all of the stored effect parameters are recalled.

Microphones were fairly standard with a selection of Shure wired and radio microphones, a couple of AKG414’s for drum overheads plus Sennheiser and Audio-Technica Australia microphones. “We have a Shure KSM9 for when Iva plays an oboe in Man of Colours and that’s probably the funkiest mic we have.” said Richie. “We’ve tried a few different mics on it but that’s the one we kept coming back to.”

Photo © Troy Constable

Onstage, the band are all on Shure PSM1000 IEM’s with most of them using the Shure SE846 ear buds. In addition, Iva has a couple of d&b audiotechnik M4 wedges in front of him as he occasionally removes one of his IEMs. Sidefills are L-Acoustics Arcs with dv-Subs and the drum sub is a pair of d&b Q-subs. Monitor Engineers for the tour were Paul Kennedy (now out with Midnight Oil) and Matt Debien who both used a Yamaha PM5D with an Apogee Big Ben word clock.

August 16, 2017