Aktuelle News & Schlagzeilen

Adlib supplies equipment for All Time Low

Adlib supplied an L-Acoustics PA for US pop-punk band All Time Low, for their ‘Back to The Future Hearts’ UK tour, plus a support package for special guests Maryland Rock Band Good Charlotte. The PA system technician for Adlib was Alan Harrison, working alongside Adlib’s Hassane Es Siahi, with Jay Petch looking after monitor world. The crew worked closely with All Time Low engineers Phil Gornell (FOH) and Ricky Fernandez (monitors) plus Good Charlotte’s Jim Carmichael at FOH and Chris Cotten on monitors. All Time Low’s lighting designer was Jeff Maker.

Phil Gornell specified the L-Acoustics K1 system complimented by K2 side hangs for the (mostly) arena venue tour. The standard PA set up was 14 x K1 elements per side with four Kara downs, with 12 x K2s for the side hangs. A dispersed sub array would typically comprise six SB28s at the stage right and left corers on the floor, and between four and eight more subs stacked in twos across the front of the stage, depending on the room size and stage-width.

Two stacks of Kara front fills were utilized. As the stage set was designed with a central thrust, these were positioned on top of the mid front-stage subs in the pit. Four ARCS2s a side provided in-and-out fills at the downstage corners radiating out to the sides beneath the main hangs.

The subs were arranged for even dispersion. Alan Harrison was particularly keen to cover the hardcore fan areas either side of the thrust near to the front of the stage with sub. With that in mind, there was much emphasis on the general bass elements kicked out by the K1. The sub array was run more as an effect via a separate send from Harrison’s control rack which was available for Gornell to dial-in to the mix at appropriate moments.

The main system was driven by LA8 amps, with two dollies each side containing 14 amps for the K1, plus another rack of 6 a side to drive the side hangs. Gornell’s console of choice was a Midas Pro2 on which he used all the on-boards plus a Waves MaxxBass unit and a mix bus compressor.

Adlib provided a KT-DN9650 Network Bridge to record the show via Dante to Gornell’s laptop, and this was used daily for the virtual sound-check. One of Adlib’s LM44/LM26 processing racks was at the hub of the system for zoning and control, and the amps ran via an L-Acoustics Network Manager. Harrison used a combination of Smaart and SysTune for balancing.

Ricky Fernandez specified the stage system which included another Midas Pro2 console through which All Time Low ran their own Sennheiser G3 IEMs and their own touring mics and cables, fed via an Adlib line system. Adlib supplied a couple of SB28 subs for low end atmospherics onstage.

For Good Charlotte, Adlib’s package included a full complement of 12 x MP4 wedges plus an MP4 drum sub and a Soundcraft Vi1 console for their monitors, with a 48-way compact stage box, plus an Avid Profile for FOH. Adlib also delivered a full complement of mics-and-stands, primarily Shure, both wired and wireless.

(Photos: Shirlaine Forrest)

www.adlib.co.uk

© 1999 - 2024 Entertainment Technology Press Limited News Stories