significant factor on this run as The Ultimate
Tour features an entirely redesigned lighting
and video system anchored by a massive 56
x 32-ft. video wall that extends from one end
of the stage to the other. That means trim
height is rather strict, and in smaller arenas,
they have to adjust their counts.
The Ultimate Team
Jody Perpick – FOH Engineer
Rob Nevalainen – Monitor Engineer
Ryan Brubacher – Monitor Tech
Cole Perpick – FOH/Systems Tech
Terry Hilton – PA Tech
Dakota Poncilius – PA Tech
The Ultimate Rig
Main PA System
32 x d&b audiotechnik J-Series
w/ ArrayProcessing (16 per side)
8 x d&b audiotechnik J-Subs
(4 per side, flown)
8 x d&b audiotechnik B22 Subs
(4 per side in ground array)
Side Fills
24 x d&b audiotechnik V-Series
w/ ArrayProcessing (12 per side)
Front Fill
4 x d&b audiotechnik Y12
5 x d&b audiotechnik Y7P
Amplification & Processing
32 x d&b audiotechnik D80 Amplifiers
2 x d&b audiotechnik DS10 Audio
Networking Bridges
4 x Lake LM 44 Array System Processors
Stage Fills
2 x d&b audiotechnik J-Infra
Subwoofers
2 x d&b audiotechnik Y10P
Loudspeakers
2 x d&b audiotechnik D80 Amplifiers
FOH Console & Processing
1 x Avid S6L-24D Control Surface
1 x Lake LM 44 Array System Processor
Monitor Console & Processing
1 x Avid S6L-32D Control Surface
Shure PSM 1000 Personal Monitor
System (12 channels)
Shure AXT600 Spectrum Manager
d&b’s ArrayProcessing technology has
been particularly helpful in that regard, al-
lowing them to scale the system with ease
and without compromise, maintaining the
exact same propagation.
“We’re really happy with how that’s
been working for us,” Cole notes about
ArrayProcessing. “It’s pretty essential to our
design at this point, and we’re getting really
even coverage around the sides, even going
from the Js to Vs. If you put in the time in the
morning, you can get a seamless transition
from mains to sides, which is something d&b
does really well.”
As part of the visual redesign, the stage
on The Ultimate Tour is almost totally bare,
hosting only the musicians and their instru-
ments. No amps, no effects. That’s led to
some experimentation with guitar modelling
– a first for this trek.
For that, Jody is running Avid’s Eleven
software from FOH, “and it’s been working
really well,” he says. “I find that it works best
in a really big, cavernous arena, because
it’s nice and dry and seems to cut through
really nicely.”
Despite guitar modelling being new
for the tour, it’s not a far cry from Jody’s
typical workflow, which has long favoured
digital tools.
He’s currently mixing on an Avid S6L-24D
control surface and particularly enjoys its on-
board EQ and customizable layout – “How you
can organize your faders and channel param-
eters however you want, since everyone has
their own wa y of doing it.”
Having been experimenting with digital
consoles since the very first models, he’s
well-versed in that environment, and isn’t
carrying any outboard gear this time out.
“Over the years, I always thought if
you’re going to go digital, you might as well
go all the way,” he shares, and that’s reflected
in his reliance on his desk’s onboard offerings
to ensure a consistent experience – and a
consistent show – from date to date.
Bottom line? “I’m not precious about it,”
he says. “I don’t need the super-duper analog
tube compressor on the voice; in a hockey
rink, I can’t hear that difference, so it’s more
about consistency and reliability.”
The Ultimate Tour, like the album it’s
supporting, features songs from throughout
Adams’ extensive catalog, but Jody admits
he’s not overly concerned with reproduc-
ing their album versions from the stage.
“I’ve been with Bryan for so long that I mix
the way I hear it,” he says, noting that in
most cases, tracks get the live treatment
(L-R) GEARFORCE’S RYAN BRUBACHER, COLE PERPICK
& ROB NEVALAINIEN
long before they’re recorded. “So ‘Ultimate
Love,’ which is one of the new songs on
[Ultimate], we’d played that live probably 30
times before I heard the recording, so I’ve
kind of already settled into what works for
us live by that time.”
In keeping with the clean stage, Nevalain-
en has the band on in-ears along with some
fills in the wings to reinforce the lower-end
material. His system is built around Shure’s
PSM 1000 personal monitoring system,
which has long been his go-to platform, and
he’s using the company’s AXT600 Spectrum
Manager for scanning and analysis. All of the
wireless components – instruments and in-
ears – are networked, which once again rein-
forces the idea of consistency and reliability
being paramount for this camp.
Considering the kilometres they’ve collec-
tively logged, this audio team is about as
highly polished as they can be. Plus, as Neva-
lainen notes, Gearforce puts a lot of weight
in training for its technicians. “I think that’s
reflected in the end product,” he says. “Every-
one knows exactly what’s needed to get the
best results.”
He elaborates: “We’ve gotten to the
point where it’s fantastic every night, so now,
we’re kind of splitting hairs on how great we
can make it. In a massive arena, there might
be 30 seats in a back corner with less sub
than they’ve got 20 ft. away, and we’re at the
point where we’re troubleshooting that to
ensure that everyone in that whole venue is
getting the experience they paid fair.”
Of course, the man at centre stage has a
lot to do with that, too, and like his crew, he’s
got a longstanding reputation for delivering
the goods.
Andrew King is the Editor-in-Chief of
Professional Sound.
PROFESSIONAL SOUND • 33