Production Services & Manufacturing

Category: Concerts

The Wombats

The Wombats are currently celebrating the ten year anniversary of their first album, touring Australia with Groovin’ the Moo and performing a few side shows. For the past five years FOH engineer Pete Bartlett has worked with the band as well as his other main act The Pretenders.

The band members and crew were delighted to play a couple of shows at the Sydney Opera House, performing memorable and joyous shows. Let’s face it, it’s not often you witness six full-grown humans dancing around in wombat suits on stage whilst confetti guns spray over the crowd.

JPJ Audio supplied a control package that included an Avid Profile for FOH and another for monitors. Pete was pleased to get everything he wanted!
“I always use an Avid Profile as I have loads of plugins and I’m not a big fan of anything newer,” he remarked. “I’m not a big fan of the new DiGiCo and Midas desks, and the Profile is just more reliable. In fact I’ve stood still for ten years with the Profile but it’s just so easy for me to use, plus you can get them anywhere.”

Click to enlarge.

Pete explained that he tries to turn his Profile console as much as possible into an SSL console. The reason why is that he admits to being an eighties kid who learnt all of his tricks from being in bands and sitting in studios behind eighties producers.
“I stole all my tricks from eighties producers but hey, a lot of it is all cool again!” he laughed. “Effects-wise, I use a complete mix – TC reverbs, Eventide etc, because the reverbs that come with the Profile are pretty poor.”

Pete commented that when he first started mixing for The Wombats, they had ten channels of playback so if they lost the tambourine channel, they’ve lost that instrument. He didn’t like that so he went into their studio for a couple of days to mix everything to left / right.
“We mixed the tracks really well, just in stereo, so if you lost the left you’ve still got the right,” he added. “It makes life so much easier. They run quite a complicated keyboard set up so it’s all run from Ableton and their keyboards just Midi into the whole thing, so I keep the keyboards separate. Essentially the band are a simple three piece of guitar, bass and drums … but they all sing and all play keyboards too.”

During his time in Australia Pete had a variety of PA systems, including L-Acoustics and d&B audiotechnik, but that didn’t faze him.
“Whenever I get a new PA to work with, I’ll first ask the system guys what they have done to it,” he explained. “Maybe they’ll show me a Lake EQ, and I’ll ask them to turn it off, as I like to do it myself. The last gig in Australia at Bunbury was fantastic because they had done very little to the system. Often I go into a venue to find the audio guys have hacked the PA to death. I’d rather they leave it flat so I can pull out whatever I don’t like. I don’t need anyone to EQ it, as long as it’s all time aligned and it’s correct, I’ll EQ it.”

Click to enlarge.

Pete has had a deal with Sennheiser for the past eleven years after he used them with Bloc Party, in fact he is still using many of those original microphones as they’re still going strong.
“Basically we don’t have many microphones onstage that cost more than $300, they’re all cheap mics,” he said. “A lot of people listen with their eyes and use something funky and expensive. People wander around backstage saying how clever the mic setup looks, but you go out front and they sound terrible.”

Pete commented that the JPJ Audio crew were fantastic and gave a brilliant service, saying that they made his job very easy.

July 12, 2017
Hans Zimmer Revealed

Legendary German film score composer and record producer Hans Zimmer brought his Revealed Tour to Australia with JPJ Audio tasked with supplying gear and crew for this complex production.

Since the 1980s, Hans Zimmer has composed music for over 150 films including The Lion King, for which he won Academy Award for Best Original Score in 1995, the Pirates of the Caribbean series, The Thin Red Line, Gladiator, The Last Samurai, The Dark Knight Trilogy, Inception, and Interstellar.

FOH engineer Colin Pink has worked with Hans for three years with this tour starting in April, firstly doing some dates on the West Coast of the States, before coming to New Zealand and Australia for five shows. The tour then heads off to Europe for twenty-six shows before returning to the States for another twenty-five shows finishing on the 18th August.

Nathaniel Kunkel is the Sound Designer for the tour and being based in L.A, Colin says he was the right person to do all the pre-production creation and programming for the show.

“Being more of a studio based engineer, he had the ability to refine the detail of the show before we got into rehearsals,” commented Colin. “Once I came on board for rehearsals and the tour itself, we worked very well together using my skills in the live sector, to adapt our work into a touring format.”
The show is a massive challenge from an audio point of view. There is a core band of twenty-two people, including six keyboard players who all double on other instruments. On top of this there is a choir of sixteen and an ‘orchestra section’ consisting of twelve string players and nine brass players. The total input channel count is 260 and there are 63 monitor mixes.

“To control all of this we have a Digico SD7 at FOH and monitors, plus an SD11 to sub mix the orchestra and choir,” explained Colin. “The main reason for choosing the Digico consoles was their high channel count coupled with their flexibility and ability to ‘copy audio’ over the fiberoptic network. Even with the high channel count of the SD7, I was creating ‘stems’ of the playback and certain sections for Gavin Tempany at monitors, since he could not take all the inputs directly as he had a reduced input count due to his high number of monitor outputs.”

As far as outboard and effects went, Colin has tried to keep it as simple as possible. At FOH he has a t.c. electronic M6000 doing vocal reverbs and uses an internal Tap Delay and some of the internal ‘Audio Enhancers’ inserted across the keyboards and electric cello. Although the show is quite FX heavy most of these are taken care of by the keyboard on stage and some by the playback rig. The show is performed with a full surround rig and a lot of the FX are presented in a surround format.

“I think one of the most difficult – and interesting – parts of mixing for Hans is the way he uses many layers of sound to create interesting textures,” remarked Colin. “There are often thirty or so layers of keyboard tracks which combine to make a fluid texture. In the live environment it’s very hard to achieve the right balance between the component parts and keep track of who is doing which bit!”

Colin stated that P.A systems had been very interesting on the tour so far, and for the first few venues he used ‘in house’ systems.

“We started at The Microsoft Theatre in L.A and used their JBL Vertec System,” he said. “Our second show was at the Coachella Festival on their L-Acoustics K1 system. Next stop was San Francisco using the new Clair CO12 system. Then we have a K2 system in Vegas and a D&B J Series system in Auckland!”
Once the tour reached Australia JPJ Audio provided their Clair CO12 system for the entire Australian tour and this system will also be used in Europe.

“It’s been great to have a few systems on the tour as a means of comparing them,” added Colin. “With the CO12 we ended up with 16 x CO12 a side as the main hangs, and 12 x CO12 as side hangs. As the content of this show has a very extended low end, we flew 6 x subs per side next to the main hangs and had another 12 x subs across the front of the stage. This gave us a very smooth coverage and plenty of headroom. Added to this we have a full surround system, it is soundtracks after all!”

The mic setup was fairly standard, although on a large scale. All the strings had ‘clip on’ DPA’s and the rest of the orchestra and band had standard microphones. The important part of the mics on stage was that there were no wedges (with everyone on IEM’s) or guitar cabs. All the guitars are being run through ‘Kemper’ emulators, so the only spill into the orchestral mics was from the drum kit which is heavily screened. This allowed Colin a lot more control over the mix

“JPJ looked after us for the whole of the Australian leg of the tour,” Colin said. “Their service was second to none. The efficiency of the JPJ Sydney crew of Joel and Alex meant I never had to wait for any part of the PA ahead of sound checks.”

May 11, 2017
Istoria – The Trance Project

With the express purpose of uniting the Trance scene, creating memorable experiences and spreading the love of Trance, Istoria made its’ debut at Melbourne’s Margaret Court Arena followed by a night at the Sydney Showground Halls.

JPJ Audio supplied the equipment for both events with a d&b audiotechnik PA used in Melbourne and an L-Acoustics PA in Sydney.

Operating both shows was Josh Barker who stated that nice even coverage, with a little bit more bottom end, is always a good starting point.

“Dealing with a dance party, it’s obviously about creating a good level on the dance floor without blowing the windows out when you open the doors!” he added. “Also, you don’t want it too fatiguing for those listening to it for eight hours at a time …… and that includes me!”

Josh commented that he prefers the older L-Acoustic boxes for dance parties adding that the V-DOSC works very well having two 15’s in the mid high cabinets.

“It helps keep the kick drum very punchy and all the bottom end detail doesn’t get blurred out,” he said. “I’ve worked with this PA for years so I know it very well. It is always very important to get your subs right otherwise you will be hearing from the noise police on the hour, every hour. Andrew Rogers looked after the EPA consulting in Melbourne and the Sydney show was handled remotely, via SMS. Maintaining that LEQ average and leaving yourself some breathing space for the main act is vital! Otherwise the later it gets, the quieter it gets. These events sometimes run until 6am.”

As for mixing a dance party, Josh describes it as almost like remastering the content coming from stage for a big PA in a room or an outdoor setting.

“We are well and truly in the digital era as far as the modern DJ/Producer is concerned. Most of the content has been produced and mastered ‘in the box,’ and sometimes it need some warming up on a large system, especially in the large warehouse style venues. I am making adjustments tailored to each track being mixed in by the DJ. I’m really just taming frequencies and making sure there’s a nice healthy level without hurting anybody’s ears. Being dance music, it can get quite nasty at high volume, most of the synth sounds are based heavily around the square and sawtooth VCO’s and they can really poke out when the PA is at battle-speed.”

Josh mixed on an Avid Profile console with a Waves Maxx BCL as a left and right insert, a Puigchild and some Midas XL42’s for some analogue pre amps on the front end. On board, he used a Waves C6 multiband dynamic which keeps everything in check when his hands are busy doing something else.

“I use the Maxx BCL as the last point in the chain on the output and that’s got a compressor, bass expander and a limiter all in one,” he added. “It’s really good for keeping the level where I need it, especially if the DB limit is undesirable. It allows me to make it sound big at lower levels and maintain the vibe on the dance floor regardless of the restrictions in place. I use the PuigChild over a group to soften things up when I need to without having to bring the level down. I used this mostly during breakdowns/build-ups when things can get very busy and you generally don’t have a lot of bottom end to round it all off.”

All Photos: Jimmy James Denouden

March 20, 2017
Don Henley 2017 Tour

Eagles co-founder, vocalist and drummer Don Henley returned to Australia this month for a run of indoor and A Day on the Green outdoor shows. Don was joined on stage by his fifteen-piece band for a show that has had critics raving.

FOH engineer Tom Evans has mixed for a wide variety of acts in the past including Snow Patrol and Gwen Stefani. He describes working for Don Henley as a pleasure to mix and says the band are all incredibly talented.

“The material I am being given to mix is absolutely first rate,” Tom stated. “The band consists of five horns, three backing vocalists (although all the band sing backing vocals too), two keyboard players, two guitars, bass player, drums and one member who plays a variety of instruments including pedal steel.”

JPJ Audio provided crew and gear for the tour including an L-Acoustics PA consisting of K1 over K2 cabinets and V-Dosc for outfills. The amount varies from show to show, as they are playing small and large, indoor and outdoor gigs. The maximum carried are twelve K1’s per side with K2’s underneath.

Don Henley has great attention to detail which is both inspiring and motivating for Tom, who mixed the show on an SSL Live L500 Plus console with no outboard effects.

“In the beginning I used a DiGiCo SD5 with Waves external but I find it’s really one more thing to go wrong,” he said. “Often, simpler is better. I’m pretty much using everything available with the console and have maxed out the DSP on it. I have eight Reverbs running, a couple of Delays, a couple of Doublers, some Multiband compressors, Dynamic EQs and De-essers, the SSL Stereo Bus Compressor and Transient Shaper. The standard Dynamics and EQ on the channels are great too.”

Each musician plays several different instruments which keeps Tom on his toes using snapshots and set lists to ensure the right instruments are open and muted at the correct times.

Microphones are sourced from a variety of manufacturers with Shure 58, Telefunken M81 and DPA De:Factos on vocals.

Monitors were mixed by Raza Sufi on a DiGiCo SD9 console with a combination of wedges and IEM’s used onstage. All of the band, except for one, are on IEMs although some of them also have wedges.

“The Australian tour was great,” added Tom. “The local crew and the crowds are great, and we always have a good time.”

March 16, 2017
Australia Day 2017 at the Opera House

Directed by the highly-awarded John Foreman, Australia Day 2017 – Live at the Sydney Opera House brought together a collection of Australia’s best talent, including Tina Arena, Guy Sebastian, Human Nature and Dami Im. The concert was hosted by Grant Denyer and Kerri-Anne Kennerley.

JPJ Audio provided audio production with Will King in charge of the design and running front of house. It has been well publicized that the forecourt of the Opera House is a tricky venue due to its’ strict noise control limit. Added to that was the fact that the show was broadcast live and the television producers wanted the Harbour Bridge as a backdrop.“This meant that the stage wasn’t orientated in a way that was helpful in achieving that sound level,” commented Will. “The sound was directed towards the Botanical Gardens and in places, could hit the sandstone wall. We had to do our best to deliver a sound system that would shoot down enough to not hit the wall, only the audience.”

The PA system comprised of L-Acoustics K1, ten a side, with a side hangs of KARA enclosures to cover the steps of the Opera House, as well as SB28 subs. A single mono delay hang of eight deep KUDO enclosures was also utilized. A large number of Clair 12am wedges covered the stage and the thrust that jutted out into the audience. Usually a thrust allowing performers in front of the PA can cause problems but not in this case due to the concert’s strict noise limits.

“That was probably the only good thing about having a strict noise limit!” laughed Will. “I used a DiGiCo SD10 for control and it was the first time I didn’t have a single channel to plug anything into. The entire console was full – if anyone else had turned up I don’t know what we would have done!”

It was important that Will remembered the larger audience was at home watching the concert on the television and he had to be careful not to do anything that would affect the broadcast.

“For example, feedback is an absolute no-no on TV,” he elaborated. “If it happens once or twice at a gig, you can get away with it but with television it’s very noticeable in the quiet of your living room as opposed to a noisy gig.”
Those who have seen the broadcast of the show will remember what appeared to be a momentous audio fail when Grant Deyner’s microphone didn’t appear to work for what seemed like an age. However, JPJ are relieved to be able to state that the microphone was working perfectly at the gig.

Tristan Farrow ran monitors using a DiGiCo SD5 console.

Photos:

©Troy Constable

February 20, 2017
Coldplay 2016 Australian tour
JPJ Audio supplied Coldplay with a massive d&b system for their four stadium shows in Australia and for their Mount Smart Stadium show in New Zealand.

JPJ has a great relationship with the Coldplay production team and it was a pleasure to be asked again to supply audio for their tour. Dan Green pulled an amazing sounding show out front with the system in full array mode. A big thanks to, Tony Smith and Nick Mooney the chiefs of CP audio and the entire Wigwam crew for making it a seamless show for us. Looking forward to the next one.

The local JPJ crew worked around the clock to get the system ready in 4 days and a big thank you for the effort. A great result for JPJ and the Coldplay tour.

The System

It was the largest D&B “J” system yet to be seen on our shores. With 176 x J8/12 boxes and 60 subs, a mix of J-sub and Infra. We also used some Q’s for some front lip fill.

The system design also incorporated array processing to cover entire stadium, which required over 120 x D80 amplifiers! Wigwam supplied the touring consoles and infrastructure and we supplied the entire speaker system with all the opening act kits required. There were also some ring delay systems for the Etihad and Alliance shows. A mad amount of speakers.

Crew list
- Josh De Jong
- Craig Gordon
- Murray Lewis
- Conor Dunne
- Adrian Roach
- Bonar Darmawan Abraham
Read more

Coldplay’s A Head Full of Dreams tour. CX Magazine article by Cat Strom

Gallery
January 30, 2017
Clair Cohesion Series makes Australian debut with Keith Urban

All photos ©Troy Constable

Although the venue is equipped with a d&b audiotechnik PA system, Keith is a long time Clair account and so JPJ Audio provided their new Clair Cohesion PA system, purchased just in time for Keith’s Australian Ripcord Tour. Seamless integration within the Cohesion Series, assures uniform coverage in multiple venues regardless of acoustic challenges or sightlines. The Series provides higher output, reference quality sound within a smaller footprint; in truck space and in the air.

Keith’s FOH engineer Kirk Kelsey has mixed for a wide variety of acts including Live, Creed, Three Doors Down, and The Smashing Pumpkins. He readily admits that he has been blown away by the Cohesion Series. “The new Cohesion system is a totally different animal to anything else Clair has produced,” commented Kirk. “It’s also totally different to anything else that I have mixed on such as d&b, Meyer or Adamson. Whilst all of those systems are high quality, Cohesion just keeps going – it never compresses itself, has tons of headroom and it throws a very good distance. The clarity and vocal intelligibility of it is outstanding whether you’re in a theatre, arena or stadium.”

Kirk reports that as there is a large amount of low frequency in the hanging PA, he doesn’t have to fly subwoofers. “There’s not a lot of processing in the Cohesion as I believe that Clair wanted to give engineers raw power,” he added. “One thing I learnt with the Cohesion PA is that you have to build your show in this system for it to be able to work. I can’t just come in after an L’Acoustics or d&b show, and plug into the system. The Cohesion system will show all the flaws in the mix so you have to undo everything.”

At the ICC theatre there were twelve Cohesion CP-118™ self-powered sub bass loudspeakers run in a cardio pattern of two blocks of six onstage. Kirk reports that they are really, really efficient and that they deliver tons of output, in fact he actually has to run the subs at -10 compared to the rest of the system.

The main hang comprised of sixteen Cohesion CO-12 cabinets, Clair’s next generation of versatile, reference quality concert loudspeakers, with a further twelve CO-12’s for side hang. “The side hang is a 120° splay and the main hang an 80° splay,” Kirk clarified. “We also have a centre hang which consists of four Cohesion CO-8 cabinets and that covers the thrust that comes out from the centre of the stage. We also have CO-8’s stacked in various places across the subs or the stage to fill out little gaps.”

Kirk revealed that they had just played Canberra’s GIO stadium with the same configuration of sixteen Cohesion CO-12 cabinets and they were able to reach back of stadium with no problem.

Out front Kirk was mixing on an Avid Profile with a large number of inputs including eight inputs for Keith’s electric guitar alone. For this, Kirk uses many different microphones, blending them to try get the sound as big as possible, as one microphone would not do justice. “Danny Raider our stage right guitar player also plays a lot of auxiliary instruments and then Nathan Barlow upstage right, is the EDM factor to Keith’s new album which has electronica influence,” added Kirk. “Nathan has built this thing that he calls The Phantom that consists of four iPads triggering different types of samples as well as keyboards and pads plus a guitar. There’s a lot of talent of stage and they’re a really tight band. I got lucky with this band – I didn’t have to come in and fix anything!”

Kirk describes mixing Keith’s show as like mixing a rock show and that he just follows his lead. Initially he built snapshots for every song but discarded them after the first show as Keith is very much a free spirit on stage.

Although Kirk wasn’t using any outboard effects on this show, typically has eight RF vocal mics active for Keith as he can pop up anywhere on stage or out front at any time. “It didn’t seem cost effective to build money channels for each one of those RF microphones and as a result I came up with a scheme so next year I can go ahead and route them through their own separate mixer. I use a lot of Waves as well as Brainworx, SPL Transient Designer and Echo Farm.”

Monitors were mixed by Phil ‘side fill’ Wilke on a couple of Midas H3000 analogue consoles with a bunch of outboard effects. Keith and his band use both IEM’s and wedges, with Keith typically using just the one IEM as audience microphones don’t give him the same feel as wedges.

The Ripcord tour has been on the road for several months and fans regularly post to Keith Urban’s facebook page and there is rarely any mention of audio quality, which we all know is a good thing!

Gallery

All photos ©Troy Constable

December 14, 2016
A Day On The Green

Promoters Michael and Anthea Newton of Roundhouse Entertainment began A Day On The Green in Victoria with the first show on Australia Day 2001. Since then it has grown to become firmly established as one of Australia’s most successful and respected outdoor concert events.

A glittering array of International and Australian stars have performed during the past fifteen years providing unforgettable musical memories. A Day On The Green runs in the summer months from October – March with around thirty concerts per season in the all major wine-growing regions around Australia.

This year kicked off at Bimbadgen Estate with the Monster National Tour featuring an all Australian line up including You Am I, Something For Kate and Spiderbait. As in previous years, JPJ Audio supplied crew and gear for the tour.

FOH Systems Tech Ryan Fallis has done ADOTG for the past eight years and has experienced everything that nature can throw at an outdoor show. The Bimbadgen show was no exception with high winds at midday causing the stage to be shut down for over an hour, just when acts were about to sound check. Added to that was a large bushfire nearby that threatened to have the show cancelled.

“There’s been some terrible weather at ADOTG shows over the years,” remarked Ryan. “One year at Sirromet Wines in Queensland we had a lightning storm and we had to evacuate the stage – that was pretty dicey! There’s always some sort of weather event around ADOTG, one year the stage was actually under water but they still managed to get the gig going.”

As the ADOTG gigs travel the country the PA system is provided through the three JPJ offices in Sydney, Brisbane and Melbourne whilst the FOH package is toured. At Bimbadgen an L-Acoustic K1 rig out of Sydney was used comprising of twenty-four K1 boxes in the air for the mains, eight K1-SB in the air, twelve Kara underneath the mains, twenty four SB-28s on the ground, four Kara infills and for the sides ground stacked V-Dosc.

“It’s quite a few boxes but that’s needed to cover a field of that size,” added Ryan. “In Queensland we’ll have their V-Dosc system which sounds really good too. It’s a similar system box wise but we add a couple of rings of delays as well to get some extra coverage. In Melbourne we’ll pick up the d&b audiotechnik rig.”

At each ADOTG show engineers request the mixing console they require, in this case there were two Avid Profile consoles with JPJ’s Adrian Roche mixing monitors on a Yamaha PM5d.

Gallery – click images to enlarge.

November 20, 2016
Little Mix tour Australia

Little Mix toured Australia last month with audio and crew supplied by JPJ Audio. In Sydney they used an L-Acoustics K1 PA, in Brisbane an L-Acoustics V-Dosc PA and in Melbourne a d&b J system. All venues had L-Acoustics Arcs side fills and control was two DiGiCo SD10 consoles.The band utilised a Sennheiser IEM system with Sennheiser SKM 5200 Radio Mic Systems.

Monitor engineer Craig Pryde

Monitor engineer Craig Pryde has used DiGiCo consoles since 2008 and has worked with Little Mix since they won the X Factor three years later. “The SD10 sounds great. It’s extremely flexible in its set up and having so many output busses available makes it really easy to provide all the extra mixes required for this kind of show, including understage cues, integration with show radios, the video team, etc,” he said. “Rehearsal time was extremely tight for this tour and the fact that the offline editor is exactly the same as the console meant the vast majority of work could be done before arriving at rehearsals.”

The DiGiCo consoles were handling 43 MADI inputs and six Sennheiser SKM5200 handheld wireless microphones for Little Mix, plus further playback, piano, acoustic guitar and six wireless microphones for the opening acts. Both Craig and FOH engineer Mark Littlewood took advantage of the options offered by Waves Audio SoundGrid, which allows Waves integration into DiGiCo consoles.

“Using Waves delivers very polished results,” says Craig. “Using Waves Tracks Live multitrack recording software during rehearsals also allowed for making fine tweaks in the breaks. It meant Mark and I didn’t have to interrupt rehearsals from an audio point of view.”

May 14, 2016
Big Day Out 2014
Australia’s foremost music festival, The Big Day Out, debuted on the 1992 Australia Day public holiday in Sydney and expanded to Adelaide, Melbourne and Perth by the following year. The Gold Coast and Auckland were added to the schedule in 1994. As of 2003, it has featured seven or eight stages (depending on the venue) accommodating popular contemporary rock music, electronic music, mainstream international acts and local acts.

JPJ Audio (previously trading as Jands Production Services and Johnston Audio) has provided the sound systems for every Big Day Out show since 1992 and 2014 was no exception. The festival usually takes place in late January and this year was held in four Australian cities: Gold Coast (Jan 19), Melbourne (Jan 24), Sydney (Jan 26), Adelaide (Jan 31) and Perth (Feb 2).
Orange / Blue Stages – FOH Speaker System

68 L-Acoustics V-DOSC Enclosures

48 L-Acoustics SB218 Sublow Enclosures

18 Amplifier Rack, L-Acoustics (4x5002VZ)

4 Amplifier Rack, L-Acoustics (2x5002VZ)

FOH Speaker System Delays

18 L-Acoustics Kudo Enclosures

2 Amplifier Rack L-Acoustics LA-RAK (3xLA8)

FOH Drive

1 Midas PRO1 Digital Mixing Console

1 L-Acoustics V-DOSC Drive Rack (4xDolby)

Blue Stage FOH Control

1 Digidesign Profile Control Surface

1 Digidesign Venue FOH Local Rack

5 Digidesign DSP Mix Engine

1 Midas PRO2C Digital Mixing Console

Monitor Speaker System

18 d&b M2 Monitor Enclosure

2 d&b Q-SUB Sublow Enclosure

6 L-Acoustics ARCS Enclosure

4 L-Acoustics dV-SUB Sublow Enclosure

3 Amplifier Rack, 4mix d&b D-12

12 d&b D-12 2ch Amplifier

2 Amplifier Rack, ARCS (2xLA48+366)

Monitor Control

1 Yamaha PM5D-RH Digital Console

Orange Stage Control

FOH Control

1 Digidesign Venue Digital Console System

1 Digidesign Profile Control Surface

1 Digidesign Venue FOH Local Rack

1 Digidesign Venue Stage Rack

Monitor Speaker System

16 Clair Bros 12AM Monitor Speaker Enclosure

3 Amplifier Rack, 4mix 12AM (Crown 3600)

2 Clair Bros ML18 Sublow Enclosure

2 Amplifier Rack, ML18 (Crown MA9000i)

6 L-Acoustics ARCS Enclosure

4 L-Acoustics dV-SUB Sublow Enclosure

2 Amplifier Rack, ARCS (2xLA48+366)

Monitor Control

1 Yamaha PM5D-RH Digital Console

1 Yamaha PM5D Power Supply Rack

Red Stage

FOH Speaker System

18 JBL VERTEC 4889

16 JBL VERTEC 4880

FOH Control

1 Digidesign Venue Digital Console System

1 Digidesign Profile Control Surface

1 Digidesign Venue FOH Local Rack

1 Digidesign Venue Stage Rack (48in, 32out)

Monitor Control

1 Digidesign Venue Digital Console System

1 Digidesign Profile Control Surface

1 Digidesign Venue FOH Local Rack

1 Digidesign Venue Stage Rack (48in, 32out)

Monitor Speaker System

14 Clair Bros 12AM Monitor Speaker Enclosure

1 L-Acoustics dV-SUB Sublow Enclosure

1 Amplifier Sleeve, dV-SUB (1xLA8)

2 Amplifier Rack, 4mix 12AM (Crest)

Sidefill

6 L-Acoustics dV-DOSC Enclosure

2 L-Acoustics dV-SUB Sublow Enclosure

1 Amplifier Rack, L-Acoustics 115XT HI-Q (4 mix LA8)

Boiler Room FOH Speaker System

18 L-Acoustics V-DOSC Enclosure

6 L-Acoustics dV-DOSC Enclosure

8 L-Acoustics ARCS Enclosure

16 L-Acoustics SB218 Sublow Enclosure

6 Amplifier Rack, L-Acoustics (4x5002VZ)

4 Amplifier Rack, L-Acoustics (2x5002VZ)

1 L-Acoustics V-DOSC Drive Rack (4xDolby)

FOH Control

1 Digidesign Venue Digital Console System

1 Digidesign Profile Control Surface

1 Yamaha O1V96 Digital Console (16 Mono + 4 Stereo)

Monitor Speaker System

14 Clair Bros 12AM Monitor Speaker Enclosure

2 Amplifier Rack, 4mix 12AM (Crown 3600)

4 Clair Bros R4 Mk III Speaker Enclosure

1 Amplifier Rack, R4 (Crown MA9000i)

6 Clair Bros ML18 Sublow Enclosure

2 Amplifier Rack, ML18 (Crown MA9000i)

Monitor Control

1 Yamaha PM5D-RH Digital Console

1 Yamaha O1V96 Digital Console (16 Mono + 4 Stereo)

DJ Monitors

9 L-Acoustics dV-DOSC Enclosure

6 L-Acoustics dV-SUB Sublow Enclosure

2 Amplifier Rack, L-Acoustics 115XT HI-Q (4 mix LA8)

2 Amplifier Sleeve, dV-SUB (1xLA8)
JPJ Crew

FOH System Engineers

John Kerns

Tim Millikan

Brendan Keane

Tim Seconi

Monitor System Engineers

Paul Kennedy

Tristan Johnson

Tristan Farrow

Josh Andre

Stage Technicians

Duncan Kaye

Dean Marquis

Matthew Morrison

Alex McCormack

Aaron Casley

Wayne Mulder

Jorgia Galbraith

Tim Jones
Gallery – All photos ©Daniel Boud
January 27, 2014