Adlib supports Daryl Hall and John Oates tour
- Details
After the UK tour, an Adlib control package and video servers went on to the Latin American leg of the tour, and then returned to Europe with the addition of a full audio package for the third segment and euro festival run.
Adlib’s Craig Hamilton - based in the Glasgow office - project managed and co-ordinated all things sonic, liaising closely with Daryl Hall & John Oates’ audio team of FOH engineer Chris Salamone, monitor engineer George Squires and US supplier Firehouse’s stage tech, Jeff Child.
Adlib’s Billy Bryson was the system tech, Jay Petch was the monitor and stage tech for the UK section of the tour and Billy was also the tech on the European festival dates.
They again chose to work with an L-Acoustics PA to achieve the precise sound they wanted, deploying 12 K1 plus 4 K2 down-fills for the main arrays and 12 K2 for the side-hangs.
For lip fills across the stage six L-Acoustics X8 were utilised, with out-fills comprising four ARCS II per side.
Subs were 16 x KS28, deployed in four blocks of four, tipped on end. The onstage sub in each stack was reversed and run in cardioid mode, at the request of Chris Salamone in continuity with the setup on their most recent US tour.
Adlib specified an Outline Newton multisource processor which matrixed between the main DiGiCo SD10 FOH console, the DiGiCo S21 backup console and the Allen & Heath S7000 dLive supplied by opening act KT Tunstall.
The monitor console was a Yamaha PM7 chosen by George Squires, driving 12 x Firehouse F12 wedges, which together with their associated amps were part of the band’s ‘universal’ touring system.
Adlib provided a 60-channel line system and power distro all built into one of their renowned ‘Monitor Wardrobe’ cases, designed and built to make setting up monitor world exceptionally quick and straightforward each day.
The original production design for the tour was by Paul “Arlo” Guthrie. Jesper did the retrofit for Europe which was directed and operated on the road by Chris Lose, who liaised with Adlib’s Dave Eldridge on how to replicate the rig they had been using in the US.
It was based on a large block of LED video screen upstage and then a pros arch - two legs and a border - of LED downstage of that, altogether totalling 150sq.m of Unilumin UPADIII H05 driven by NovaStar MCTRL 4K processing.
Sub-hung trussing pods were rigged with Martin MAC Aura LED washes and Claypaky Mythos over the stage, more Mythos on side torms with some MAC Viper Profiles to fill in the gaps.
A curved front truss featured more MAC Viper Profiles, Aura XBs and Mythos and on the top rail, an eye-catching arc of 11 Portman P1s.
Adlib custom built more side torms - to the same dimensions as their American rig - to house 15 ColorDash PAR-Hex 12s which were flown downstage left and right. These were also built into touring cases so the individual LED PARs could stay on the frames. A grandMA3 full size was used for lighting control.
Kevin Byatt was the touring lighting crew chief on the road, working alongside technicians Andy Rowe and Dave McCulloch who were joined by tour rigger Jon Barlow.
Adlib supplied a fully integrated touring video system - based on the touring packages originally supplied by Nashville, USA based Moo TV. In addition to the aforementioned onstage LED screens, this included two 16 x 9 AV Stumpfl projection surfaces for the IMAG mix, fed by Panasonic RZ 21K projectors.
A Green Hippo Karst+ media server dealt with all the playback content which was supplied by Daryl Hall & John Oates’ production team.
Adlib’s video crew were Mark Taylor and Rob Bickerstaff who tech’d the LED, racks engineer Rob Fender and projectionist Ade Moore. The video was co-ordinated from the office by Rich Rowley.
(Jim Evans)
