JPS Australia

History

Bryan Ferry

Brian Ferry 2

Bryan Ferry has a reputation as a very artistic performer who cares deeply about his music, constantly changing arrangements and songs.

With an outstanding ear for the songs’ musical arrangements, both Bryan’s FOH and monitor mix require constant, active mixing throughout each song at a very detailed level.

Davide

FOH engineer Davide Lombardi has worked with other iconic British singers such as Kate Bush, Ed Sheeran, Gary Barlow, Tom Jones and when the tour finishes, he hits the road with Dido who after 15 years has finally released another album.

This tour has been going for a while but then again, Bryan never really stops,” remarked Davide. “He goes out every year but never for a long time, a maximum of four weeks at one time

The tours utilized an L-Acoustics K1/K2 PA system with SB28s subs and a front face of ARCs and 108s, all controlled by Lake and LA network. At the ICC in Sydney the set up was 12 K1s and four K2s on the main hangs with side hangs of 12 K2s, four subs flown, four ARCs per side as outfills, two ARCs per side as infill and 218s as front fills.

The venue here is very steep so we’ve had to fly quite high in order to cover the very top seats,” said Davide. “We spend a lot of time tuning, making sure that there is a good balance between delays and gain structure in order to get the image back to where Bryan is. Also, Bryan is not a powerful singer so the more coverage there is, the better it is to control his vocal.

Out front Davide was mixing on a DiGiCo SD10 saying the way he mixes is pretty simple with little in the way of routing. He doesn’t use plugins and the only external effect he had was a Bricasti M7 reverb, which he loves, and a tc electronic D2 delay unit especially used for the saxophone to recreate an 80s sound. An SPX 2000 is used for effect in just one moment of one song.

It’s really very simple,” added Davide. “Everything is routed into groups going to the matrix and then out of the matrix into the Lake and then out into the LA Network. I get a lot of precision from stage which is why it is simple. Before making changes on the console, we work a lot with the band adjusting levels with them when we can so we don’t change the sound too much. I try to leave it as natural and organic as possible.

Davide’s biggest challenge is getting Bryan’s vocal above everything else as he is a gentle singer and talker, and can sometimes mumble!

As well as Bryan, there are eight people onstage and with his music being very busy, there is not much space left for his vocal to cut through. However Davide says that is something Bryan seeks as he wants to express himself with his music rather than his voice. The result is a lot going on for Davide with a ‘proper’ live mix.

There are constant changes and we can’t rest for one second,” he said. “There are layers and layers happening all the time.” Bryan uses an Audio Technica 6100 microphone, a dynamic mic that has condenser characteristics according to monitor engineer Tom Howat.

It’s an interesting mic although you could potentially get a lot of spill in it so a lot of what we do is containment,” Tom commented. “It’s a good choice though because it’s not a condenser mic but you still get a quality output from it and Bryan really like it.

Modeling amps are used for the guitars so there are no guitar amps onstage to help keep spill under control with Davide saying it sounds better.

Sax mics are from SD Systems, again they are dynamic but have tripod prongs that clip onto the bell of the horn.

TomThey give you a very nice rich sax tone,” said Tom. “We have DPA’s for the violin and the rest is pretty standard although the Shure SM57 on the washboard is a highlight of the show.

Tom mixed monitors on an Allen and Heath dLive, his console of choice but fessed up to having a history with it as he was part of the development team!

It’s a great sounding console, is very powerful and is good for IEMs,” he added. “We did some orchestra shows last year and I completely maxed it out, used the modularity of the system to expand with it which is all very cool.
Everyone was on IEMS Sennheiser 2050s, with Tom having has 16 transmitters and only the drums were hard wired.

Mixing monitors for Bryan is a very parallel equation to Davide – precision, accuracy, coping with what he’s hearing and wanting to hear,” said Tom. “And also like the FOH mix, you’re riding every solo and readjusting all the time. The band basically get my attention during the soundcheck and I’m pretty much pinned on Bryan through the show. It’s mix, mix, mix and without snapshots I’d be lost on this one. The musicians play different instruments so there’s a fair bit of rotation there. Arrangements are everything with Bryan and I have to mix monitors as if I’m mixing out front, you can’t leave it alone for a minute. With the vocal you’re riding that fader up and down, pulling it back every time he’s not singing – so the finger grips that fader all the time.

Tom reveals that he has to watch Bryan closely taking cues from whatever he is looking at, maybe something has to go up or down depending upon the look on his face. Reading his body language is a key part of Tom’s job.

Davide discovered that the ICC room had specific places that sounded quite different and he was interested to see how it changed once the audience were in the house.

The corridor by the FOH has a cancellation about the low end at 40 – 50 Hz so we’ve been measuring that with Smaart,” he said. “You can see when you move the microphone you see a big scoop coming on 50Hz. We’ve tried to fix it but you can’t, it’s a natural thing but hopefully it will be better when the audience are in.

I always make sure that the mix is not exactly perfect at the FOH, walk around the venue a lot during soundcheck to make sure I find a good balance between everywhere. That takes a long time but it’s worth it.

 

The music comes at them at such a complicated level it pays off to keep the technical elements as simple as possible whilst using the power of technology to simplify the process.

Smaart, snapshots ….. all great examples of using technology to enable us to do what we need to do mix wise because that’s where it is all at for Bryan,” added Tom. “It may sound like it’s straightforward but it’s not, you bury the technology so the actual hands-on bit really counts. Its old school but using high tech.

JPJ Audio supplied the gear and crew with Davide and Tom commenting on how well they work together as a team.

This article first appeared in the print edition of CX Magazine April 2019. CX Magazine is Australia and New Zealand’s only publication dedicated to entertainment technology news and issues. Read all editions for free or search their archive www.cxnetwork.com.au

 

Maroon 5

Maroon 5 2

Photo: Vince Casamatta and system engineer Mathew McQuaid

Vince Casamatta learnt his trade mixing bands in small, Chicago dives eventually expanding to going on the road. At the same time he had his own studio and truthfully, he always wanted to be a studio mixer.

But this is just what ended up working out!” he said. “I still occasionally mix an EP or album but mainly for indie artists.

On the Maroon 5’s Red Pill Blues tour, Vince is the new guy although he has been with them for nearly a year.

This is one of those camps where people have been around for a really long time,” he added. “I think a lot of people have many opinions on what Maroon 5 should sound like so initially it was challenging to navigate my way through that, but these guys were all very good at giving me space to do my own thing. Although Maroon 5 write a lot of pop-leaning songs, they are very much a rock band and want to be treated as such live.

Maroon 5 7Vince was clearly enjoying mixing for a real rock band that can all play together without any backing tracks, saying these sort of acts were becoming less and less.

It’s very much a rock mix that I want out of the gates to grab you and be surrounded in,” he elaborated. “I don’t want it to be a wall of sound that just hits you for an hour and a half. I don’t think anybody enjoys that. I try to find places to work with the dynamics of the musical arrangements and sometimes accentuate them so you can hit hard for a bit and then pull back. These guys are really aware of those things anyway with their set list choices and live arrangements, I’m just trying to present that the best way I can.

As a fan of DiGiCo consoles, Vince opted for an SD5 favouring its’ work flow and complexity. As well as some outboard gear, he had a Waves SoundGrid server running up on the SD5, with anything that needs to be automated going on the server and anything that is static for the entire show in his outboard rack. The Waves plugins mainly group compression and parallel compression which gave the mix flavor and texture as the DiGiCo is such a neutral surface to begin with, according to Vince.

The API 2500 is a great compressor and the SSL Quad compressor is always good to add parallel compression to drum busses,” added Vince. “I really like the API 560 EQ plugin on the kick and snare buss; as it’s a live drummer his dynamic changes throughout the set, and the API 560 allows me to re-tailor how the drums are sitting in the mix on the fly.

On the road, you don’t know what kind of support you’re going to have so I like to keep things as simple as possible so if things go wrong, you can troubleshoot them easily,” he said.

Maroon 5 6Outboard gear included a Bricasti M7 for Adam’s main effect reverb with Vince using Midi triggers from the snapshots to change patches in the Bricasti. A Tube-Tech CL 2A is used for a compressor on Adam’s vocal and spare vocal, whilst a Neve 5045 primary source enhancer saves Vince a few headaches as most of the show designs feature Adam in front of the PA for nearly the entire set. However in Australia the set was scaled back with a design that kept Adam behind the PA!

He’s always in a different place with respect to the PA, L-Acoustics being so tonally linear as you walk through it is helpful but the Neve 5045 is super helpful,” explained Vince.

Maroon 5 5PA was an L-Acoustics K1/K2, K1 main and sides with K2 below with the sub configuration often changing depending on the venue.

We are flying K1 for main and side hangs with K2 below, so that we keep the coverage consistent close to the stage,” explained Vince. “Rear hangs are almost always K2 only. K1SB are always flown directly behind the main K1 hang for added low extension and punch. We also use a cardioid sub arc on the floor. All powered by LA12x wherever possible. One of our main concern in design is how to keep low end off the deck so the band aren’t rattling around up there. Mathew McQuaid is responsible for overseeing the entire design process and has done a great job of maximizing FOH coverage while nulling the low end on the deck.

Systems engineer Mathew McQuaid used Soundvision, L-Acoustics’ proprietary acoustic prediction software, and Rational Acoustics Smaart 8 to align the system each night.

There are a lot of good PAs on the market and you can have a great show with many of them,” said Vince. “This is the most vocal forward mix I have ever had and the L-Acoustics has made me feel like I’m not fighting myself as far as where the vocal sits in the mix. I want a really cool, rock-sounding mix but I don’t want to sacrifice the fact the vocals have to be over top, in fact the vocal presence has been pretty easy to dial in.

The band are Shure endorsees with lead singer Adam Levine using the Shure Axient system and singing into a black SM58, a no frills approach that Vince admires and although Adam beats the mic and tosses it into the crowd every show, it always holds up.

It’s the right approach to pick a microphone that is tried and true, meat and potatoes, nothing fancy as he basically uses it for everything but a hammer,” laughed Vince. “With this show, I have been less concerned with microphones than with other acts and I don’t really know why that is. I have the new D12 kick mic, a dynamic microphone that, when supplied with phantom power has a few different EQ curves. I have a 57 on snare top which sounds great, all no frills. If you have a good band with good tones and a great mixing console, a lot of it is just getting out of the way and letting it happen.

The band changed a lot of the guitars to Fractals from Royer Ribbon mics, which Vince says sound way better and sit in the mix well taking up less headroom. With seven people on stage headroom becomes a real challenge quickly.

Monitor engineer Bill Chrysler mixed on an Avid VENUE S6L-32D with the latest version of Waves SoundGrid. Most of the plugins he used were in the console, with the exception of Adam Levine’s vocal reverb, which is a Waves TrueVerb.

Everyone has both IEMs and wedges, except the bass player who has no IEMs and Adam who only has IEMs.

The wedges help to retain a bit of vibe onstage as stages become quieter and more isolated, it’s a way for the band to feel connected,” commented Vince.

JPJ Audio supplied the tour.

Maroon 5 4

This article first appeared in the print edition of CX Magazine April 2019. CX Magazine is Australia and New Zealand’s only publication dedicated to entertainment technology news and issues. Read all editions for free or search their archive www.cxnetwork.com.au

Cher – Here We Go Again Tour

Cher 2018

The Here We Go Again Tour is the seventh solo concert tour by Cher in support of her twenty-sixth studio album Dancing Queen. The Australasian tour was a brand new production and as Cher shares the same management as Pink, some of Pink’s crew stayed on for the tour.

JPJ Audio supplied an audio package and crew for the tour including an L-Acoustics K1/K2 PA system.

I do like the L-Acoustics K1/K2 PA and although there are many good PAs on the market, I believe it to be the best sounding,” commented Cher’s audio engineer Tony Blanc. “The setup on this tour is pretty generic from the board out, it’s exactly as L-Acoustics recommends; the cable lengths, the hangs and the combination of the K1s, K2s and the KS28 subs. It’s configured off LA Manager and I’m fortunate to have Johnny Keirle with me and he is probably the best system tech in the business. He knows how to tweak the PA. He sets the PA everyday depending on the parameters of the room, the sizes, the elevation of the seats and the throw. I am in the driving seat and it feels like a Ferrari.

Tony reports that the K1/K2 combination allows him to precisely ensure that all the seats have the same energy. Quantities of PA varied a little at each venue depending upon the ceiling height and how far round the seats had been sold. However, the specified system had 24 x K1, 36 x K2, 24 x KS28 and 9 x Kara.

For FOH control Tony ran a DiGiCo SD7 console which he said is worth twice as much as his original house!

It’s an amazing console,” he said. “Before I started with Cher, I had three or four years on budget tours and I got quite used to Waves as a source. I had it with this console but after a day, I turned it off as it just changed the way the console felt. The only auxiliary gear I have are six channels of Summit DCL200 compressors to warm things up and a Lake EQ inserted on Cher’s vocal subgroup. I also have a couple of Bricasti M7 reverbs.

With a fifty year career, a Cher show covers many different genres of music including ballads, sixties pop, rock and disco, all of which keeps Tony on his toes.

Monitors were run by Martin Pare also on a DiGiCo SD7 console with a TC Electronic M6000 MKII system. All of the band, and Cher herself, wore Shure PSM 1000 IEM systems with L-Acoustic ARC sidefills to give the dancers some audio to dance to.

Cher’s customized, handheld microphones were Sennheiser SKM5200s. Guitars and keyboards are all direct outputs. The kick drum had a syn901, plus the Audix D5, the snare an e905, toms e904 and cymbals ATM450s.

Tony made special mention of the two JPJ crew out on tour with him – Kellie McKee and Joel ‘Cellphone’ Pearson – praising their work effort.
Cher 2018

Stage is covered by Hilario Gonzalez, a Solotech audio crew chief tech who works on the Vegas show, and his main concern being prepping Cher.
Cher 2018

 

The Killers produce a Killer Tour

The Killers 1

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.

The Killers 1Outboard 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.

 

Robbie Williams World Tour 2018

Robie Williams 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.

Russell Peters Qudos Arena Sydney

Russell Peters 1

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!!!).

Russell Peters 2This 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.



Russell Peters 3The 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.

Russell Peters 4

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

 


SIA Nostalgic for the Present tour

SIA 2017 1

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.

Don Henley 2017 Tour

Don Henley 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.

 

Australia Day 2017 at the Opera House

Australia Day 2017 1

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.

Australia Day 2017 2That 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

A Day On The Green

ADOTG 1

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.