Entec offered a flexible, cost-effective, quality technical package and illustrated how thorough planning can enable a high profile and ambitious one-off to be delivered to the best standards in a single day.
The show was the latest in a series of Asian megastars visiting the UK and Europe that have used Entec. Sound
Entec's sound department was crew chiefed by Ed Hammond, They drew on their vast experience of producing similar shows in Wembley combined with the spec from Jam Hsaio's engineers David Wang (FOH) and Alvin Kuo (Monitors).
A d&b J-Series was supplied comprising 10 x J8 speakers with two J12 down-fills per side for the main hangs plus side hangs of six V8s and two V12s, the latter being at the top of the array.
Eight J-SUBS a side were arranged in a distributed bass array, and for in-fills, four Q7s and two Q10s were positioned across the front of stage.
David Wang chose an Avid Venue D-Show console, which he combined with four Teletronix LA2A outboard compressors and a selection of Waves plug-ins for the Venue system.
A Yamaha PM5D was the monitor console. Eight d&b M4 wedges were positioned along the front of stage for Jam Hsaio himself, and an Aviom personal monitoring system was provided for his 12 piece band. Jam also used a Sennheiser G2 in-ear system.
The sound crew of five - Kev Smith (FOH), Chris Trimby (monitors), Adam Draper (patch) and technicians Sam Maningly and Danilo Zuccaro - plus Ed Hammond got in at 7 a.m. on the day, and were ready for a 1 p.m. rehearsal followed by the show that evening.
It was the first time that Entec has used its new d&b V-Series speakers in the venue, which worked extremely well in providing flexible and dynamic side hangs.
Entec Lighting crew chief Pete 'Pepper' Schofield worked with a team of five technicians to lighting designer Alan Wu's plot. The framework of this was an architectural style trussing structure based on three chevrons over-stage, which were constructed from Entec's new JTE Supertruss.
Hanging off the chevrons was a selection of angled trusses made from standard A-Type trussing product.
All the trusses were toned with i-Pix Satellite LED 'bricks', 40 in total.
The core moving lights were 30 Vari*Lite VL3000 Spots and 24 Martin Professional MAC 700 Washes. Six of each type were on the floor and the rest in the air.
Added to these were 14 8-lite Moles, 12 ETC Source Four Profiles with 10 degree lenses on the chevrons and 12 Martin Atomic 3000 strobes. Two Cirro Lite hazers and two ZR 33 smoke machines aided the atmospherics.
Alan Wu's console of choice was a grandMA full size, and Entec also supplied a grandMA light onstage at the dimmers, which was used as a technical desk.