TWIN YAMAHA CL5 CONSOLES AT FOH
57 symphony musicians , the six members of Reno ’ s backing band , three background singers , and the featured performer herself , they needed to put a second CL5 at FOH , bringing the total used for Ginette Reno Symphonique to three .
As mentioned , that third console – as with the majority of the audio system – was sourced through Omnison , which has been the go-to supplier for Reno ’ s crew for over five years . In fact , Du Berger heads up the sound department at Omnison ’ s Montreal headquarters and does system teching when he isn ’ t out on the road with Reno or another production .
“ The benefit there is the fact that they rent every kind of equipment we need for a complete production , from the latest sound , lighting , and video technologies to rigging , staging , curtains , and dressing ,” Gingras explains . “ They regularly invest in new equipment and are always ready to support us as we expand and explore new products .”
Of the two CL5s at FOH , one handled the orchestra mixes while the other combined the orchestra mix with the pop section , vocals , and effects . They also sourced a fourth Rio 3224-D through Omnison to patch the 105 total onstage mic inputs between the desks .
Omnison also has a sizeable complement of Nexo loudspeakers from various series in its inventory , and Gingras has had a chance to put every one of those systems to work over the years as a freelance engineer and systems tech .
He and Du Berger worked closely together to design the system for Ginette Reno Symphonique and based it on the STM series ; in fact , Gingras actually received his STM System Training Certification from the Nexo team just two weeks prior to the event .
Nexo ’ s STM ( Scale Through Modularity ) series is comprised of four core , proportionally-sized models – the M28 Omni , M46 Main , B112 Bass , and S118 Sub – that can be deployed in several different configurations to suit various applications .
“ I was already completely convinced that the Nexo STM would be the best system for this magical night ,” the engineer says , “ and all of my expectations were met .”
The configuration at the Videotron Centre included main left-right arrays comprised of six STM S118 subwoofers in pairs atop 15 combined STM M46 + B112 modules per side . Arrays of nine M28 Omnis covered the sides , while the lip of the stage was lined with Nexo PS15-R2s as front fills . An additional dozen RS18 subwoofers were groundstacked on the arena floor .
“ The precision of the M46 and B112 [ pairs ] gave me the same capabilities to mix this large venue as if I was in a small concert hall ,” Gingras attests . “ The sound of the powerful voice of Mme . Reno was diffused perfectly , and I was able to literally envelope each of the 8,000 spectators present in the venue . This system will certainly be my first choice for all of my future projects .”
The system was powered by Nexo ’ s NUAR amplifiers over a Dante network , and also employed a Yamaha DME-64 digital mix engine paired with the MY16-AUD cards and six SWP1-16 L2 network switches . Nexo ’ s new NEMO system software was also put to work to help drive the rig .
Gingras ’ s mic choice was informed by the fact that Ginette Reno Symphonique is essentially a hybrid of a pop and orchestral show . “ I wanted to have more control by close-miking using a good complement of mics ,” he shares . “ That ’ s why my choice for the orchestra was : a mix of DPA d : screet 4060 and Sennheiser MKE-2 [ miniature omnidirectional capsules ] on DPA MHS6001 [ mic holders ] for strings and alto ; DPA d : vote 4099 instrument mics for cello and bass ; Sennheiser e965 [ condensers ] for flute ; Sennheiser MKH 40 [ cardioid condensers ] for woodwinds ; and a mix of Audio-Technica ATM350 and Sennheiser e908 [ clip-on condensers ] for all brass .”
A Schoeps CMC6 with an MK41 capsule and C-Ducer contact microphone system picked up the harp while the piano was handled by a pair of Sennheiser MKH 800s inside the body and a pair of C-Ducers underneath .
On percussion , he had Sennheiser MD421s for timpani and Neumann KM- 184s and KM-185s on chimes , glockenspiel , and vibraphone . Finally , rounding out the orchestra package on the drum kit were Sennheiser e904s on toms and Shure Beta 52 and 57As for bass drum and snare , respectively .
As for the pop side – Reno ’ s touring band – Gingras had the guitars , bass , and keyboards going direct via some Radial Engineering Pro 48 active direct boxes . The drum kit was picked up with a Sennheiser e902 on the bass drum , Shure Beta 57A on the snare , Sennheiser e904s on the toms , and Neumann KM150 and KM184s on the hi-hats and as overheads .
The three backup vocalists were on wireless Sennheiser e965s , and the onstage talkback mics were Senneiser e935 and e845s .
Finally , the star at centre stage used one of Gingras ’ s old Neumann KMS-150s , with a second nearby for redundancy .
Du Berger ’ s RF set-up for the backing band was based on Sennheiser ’ s G3 wireless series , with musicians opting for either Shure 535 in-ears or Sennheiser HD280 headphones .
36 PROFESSIONAL SOUND