Aktuelle News & Schlagzeilen

Izal - ‘Autoterapia’ & ‘El Final del Viaje/Autoterapia Vol. 2’ Tours (2019/2020)

After the success of the ‘Autoterapia’ tour, Izal was on the road again extending the tour to include 2020 dates in ‘El Final del Viaje/Autoterapia Vol. 2’, a farewell to the fans before taking a rest. Mike Behrendt, the band’s sound engineer, chose DAS Audio’s Aero-50 and UX systems for these shows.

During the ‘Autoterapia’ tour, the band has been playing through a design comprising a main system of thirty Aero-50 (fifteen per side) and twelve UX-221A (4 stacks of 3 in cardioid configuration, 2 stacks per side), along with sixteen Aero-40 for Outfill, six Aero-20 for Frontfill and six Aero-40 for Downfill.

Interview with Mike Behrendt

What were the audio requirements for the tour and how has the system performed to the band’s needs?

MIKE BEHRENDT: We were looking for a sound system that could offer a full range response, making all elements clearly audible in the mix. It was also important to have enough power or “punch” without producing unwanted distortions. Finally, we got what we were looking for. The sound system met all these requirements and tackled them in a very successful way. The system also scored a success among the tour production team who were delighted to go forward with it.

You have performed at many different venues (WiZink Center, Palacio de Deportes de Granada and the bullfighting arenas of Valencia and Alicante). How would you describe the performance of the Aero-50 and UX systems?

MIKE BEHRENDT: I have to say that, from the start, we found the right balance as soon as we started working with DAS Audio. Like all systems, you must learn to get the most out of it, and after several years of working with it (in Fluge and during this tour), we have the know-how to meet all our requirements. In all the venues where we have used the system, it has performed correctly. Once we got the system up and running and knowing the response it offered, we were able to get the right designs and quantities of cabinets for the different venues where we played.

Have you had any chance to try out different configurations with the UX?

MIKE BEHRENDT: Except flown, we have tried all kinds of configurations, although on tour we always use the same. As I see it, the best way to work with the UX is 3 stacks (3 units per stack) on each side, in cardioid configuration, with the possibility to modify the lobe directivity. This means that we can adjust different times for the side stacks (taking the central one as a reference) with very short times, from 0.2 ms to 1.2 ms. In my opinion, this is the simplest and most effective way to work with them.

When you fine-tune the system, what is your workflow?

MIKE BEHRENDT: I believe that system design is the most important thing. I like to fly the system high, if the event allows it (between 6-8 mts from the ground to the first axis), with a homogeneous vertical dispersion, and always tilted, even if the throw is long. From this point on, I pay a lot of attention to achieve a design in which the loudspeaker axes match perfectly. Then, I take several central and side measurements to check the response and make sure everything is correct. Then, I apply EQ corrections to the main system. From a central position, 10 mts ahead or behind the front of house, I level and phase align the subwoofers to the main system. Once this is done, I adjust the rest of the elements: level, times and responses.

What frequency response do you need to make your mix work?

MIKE BEHRENDT: As requested in the rider, it must be a full response (20 Hz-20 kHz) but the actual working area of our show is 30 Hz-18 kHz. If this area performs within this range, the show runs smoothly.

If you had to highlight one aspect of the system performance...

MIKE BEHRENDT: Outdoors, the system is at its best. Its performance, depending on the design you make or the limitations you have, is fairly homogeneous in all the areas of the venue.

Setlist (Palau Sant Jordi - Barcelona, Spain - February 2020)

Autoterapia
Ruido blanco
Prólogo
Copacabana
La piedra invisible
Los seres que me llenan
Arte moderno
Pequeña gran revolución (with Rozalén)
Agujeros de gusano
Tu continente
Temas amables (with Sidonie)
Oro y humo
Canción para nadie
Despedida
Qué bien
Hambre
Hacia el norte
Asuntos delicados
El temblor (with Mäbu)
Pánico práctico
Epílogo III - Resurrección y venganza
La increíble historia del hombre que podía volar pero no sabía cómo (with Zahara)
Magia y efectos especiales

Bill Murray
El pozo (with Miguel Ríos)
La mujer de verde
El baile
Pausa (with Bunbury)

www.dasaudio.com

© 1999 - 2024 Entertainment Technology Press Limited News Stories