Professional Sound - October 2018 | Page 33

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