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LIVE SOUND MONITOR Oasis Issue 45

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FEATURE LIVE SOUND MONITOR In the first of a series of regular columns, AT races around the traps to get a taste of the Summer season concert and festival madness. Text: Cat Strom OASIS It’s 6pm at Sydney’s Hordern Pavilion and in three hours time those British bad boys of rock will take to the stage to perform a second sold- out show at this venue. But now they are being interviewed – separately. In fact, very separately. One brother is being grilled by the dimmers side of stage while the other is ensconced in seating far away. And this is how it is on tour with the bickering Gallagher brothers. If they spend too much time together acrimony blows the tour apart. However, this works fine for the crew members as it means tour legs are short – no more than six weeks, interspersed by a couple of weeks off. This has allowed the band’s front of house engineer Bruce Johnston to return home to Melbourne from various corners of the world to spend time with his family and run his business, Johnston Audio. The tour is scheduled to last 12 months, circling the world twice in the process. Of course every sound engineer wants his home gigs to run as smoothly as possible, but Bruce’s first night at the Hordern was a rough ride. Liam Gallagher’s microphone failed during the opening song; although some critics suggested that he was in such bad form they were praying it would pack up again. A very tired-looking Bruce had come to the conclusion that the Hordern Pavilion was not a good venue for line array systems. He’d had to cut his Nexo Geo T line array system in half to fit into the venue. The normal rig for Australia included 32 Nexo Geo T line array tops, 16 Nexo CD18 subs, and 32 Camco Vortex 6 amplifiers. Added to this were 10 Turbosound dual 15-inch wedges and six Nexo PS15 wedges and, for sidefill, eight Turbosound Flashlight tops and 12 Flashlight subs. “I’ve done a lot of gigs in here with a conventional PA and it rocks a lot harder,” Bruce said. “I don’t think you can get enough line array in here, as your line can’t be long enough. As a result you just don’t have the ‘fatness’ and I think you pay the price. Oasis is a band that needs to be in either a really large venue or a very small one – mid-sized ones like the Hordern just don’t work.” The Nexo Geo T is Bruce’s preferred PA and he has used it extensively on this tour, except in America where he had trouble sourcing the King Nexo Geo T and used an L-Acoustics V-DOSC Bob : AT 68 Photo Bruce Johnston John Lemon The School Sound Spectacular in full swing MÖTLEY CRÜE SCHOOLS, WIGGLES & CAROLS “ I mix them straight up Front-of-house engineer and ex-pat Aussie Jon Norwest Productions are busy gearing up for Lemon, a veteran of tours with such musical the big gig this year (Commonwealth Games and loud… as that’s how heavyweights as Oasis, Nine Inch Nails, Beck, anyone?), but in the meantime it’s still business as they sound best” The Cure, and Depeche Mode, recently returned usual. An EAW PA and a two Yamaha PM1Ds to his homeland with the reunited Mötley Crüe. were used by FOH engineer Tony Moffat on the Schools Spectacular held at the Sydney Accompanying Jon was his trusty Metric Halo Entertainment Centre. The Schools Spectacular system in its place. The return tour of America Mobile I/O rig running SpectraFoo analysis is a nationally-televised event that brings together will be in theatres where Bruce will use a Nexo software. According to Jon, the setup is fully 2500 students from NSW public schools. There Alpha system. complementary with his preferred digital mixing are three performances in total, all of which take console and digital loudspeaker processors, “The Geo T system is quite different to any up the whole floor and stage space of the Sydney allowing him to optimise the sound system in of the other line arrays as it has cardioid Entertainment Centre. The PA system was each venue on the tour in a matter of minutes. functionality,” Bruce said. “The system cancels predominately EAW KF860 with some EAW most of the low/mid out the back and gives 80 “I use SpectraFoo every day for lining-up the KF730 cabinets flown for end zone coverage. percent less sound onstage. This has the great system,” says Jon. “When you use line arrays you The microphone set up was a sight to behold effect of making the stage incredibly clear and have that problem of lining up the bass stack on – over 200 channels all up, including 30 Shure U gives me the ability to mix as loud as I want the ground to the flown speakers and the side Series radio mics. Two Yamaha PM5Ds took care without any interaction with the monitor hangs. I’ve been a SpectraFoo user for a long of monitors duties steered by Gary Hall. system.” time now, so for me it’s very fast. I’ll time-align Also spotted at the SEC were Matthew Ling and the bass stacks and the flown part of the system For the Oasis tour Bruce decided to take the Ian Shapcott (pictured) during the recent national first, using music and SpectraFoo’s transfer plunge into the digital domain and bought tour by The Wiggles. ‘Shappie’ worked front of function. That literally takes only two minutes. himself a Digico D5 console. “I think that every house on a Midas H3000 and reportedly loved the From there, I’ll noise the system using the engineer needs knowledge of digital consoles tour for the fact he’s in bed by 8pm every night. Spectragram page and find any room anomalies. because in five years everything will be digital,” An EAW KF730 system was used for FOH he declared. “The band agreed to hire my D5 for “I try to keep everything in the digital domain. sound, with additional KF730s flown as sidefill the tour and so it enables us to fit all the opening I come out of the console [a Digico D5] into the for monitors. Norwest increased their stock of acts on it and it takes up less room so we can sell Metric Halo Mobile I/O 2882+DSP and then EAW KF730 to 48 in total in order to meet this more seats.” out of that into my Macintosh laptop running tour’s requirements as a dozen were committed Bruce explained that it took him a few months SpectraFoo. I also have a mic for the room going to the Rockwiz television shoot in Melbourne. Ian to get used to the sound of the D5, which he through the Mobile I/O.” told us that his 2005 highlight was mixing FOH described as ‘brutally clear’ in the top-end. Jon says of SpectraFoo, “It’s a really useful tool. for the Australian leg of The Black Eyed Peas tour thanks to the band’s regular engineer being “Oasis is about big guitar sounds and volume – a You can do it all by ear but it takes longer, and denied a visa after he overstayed his welcome on a ‘meat and potatoes’ band with no fancy effects. I there’s some uncertainty. When you know the previous tour. mix them straight-up and loud… that’s how they software is responding correctly and there are sound best. However, I do run a couple of Amek no reflections – and obviously there is a bit of Norwest also provided the audio for Sydney’s 9098 vocal preamps for Liam and Noel and a experience involved with setting everything up Carols in the Domain with an EAW KF760 couple of dbx 160X compressors for the drums correctly – the software speeds the whole process system for main clusters and EAW KF860 because I like their sound. up. I can pretty easily tune the system in the cabinets in the delay towers. Lurking at FOH was space of 15 to 20 minutes in most arenas.” Tony Moffat with a Yamaha PM1D and monitors Bruce’s effects rack also included a Yamaha were taken care of by Gary Hall with a Yamaha SPX900 and an Al Smart C2 compressor, Jands Production Services provided the audio PM5D. Norwest also supplied their Audio OB while his drive rack packed another Al Smart gear for the tour, including the Clair Bros i4 line truck kitted out with two Yamaha DM2000 C2 compressor, two Lake Contour speaker array which only arrived back in the country the consoles along with TC and Neve outboard gear, controllers, a wireless tablet PC system, a DAT night before the first gig. Jands’ crew included with a Yamaha PM5D added specifically for the player and a CD player. Andrew Mitchell, Nick Giameos and Cameron Elias. event to cater for the orchestra. Aaron Mason Monitor engineer Ian Newton was using a was Norwest’s Project Manager. Not only did Yamaha PM1D console with a couple of Summit Jands Production Services: www.jps.com.au he ensure that Norwest met the clients’ needs TLA100 compressors, three TC 2290 delays, and at all times, but halved setup times compared to three Drawmer 201 gates. previous years. This was Norwest’s sixth year Johnson Audio: johnstonaudioservices.com providing services for Carols in the Domain. Norwest Productions: www.norwestproductions.com AT 69 FALLS FESTIVAL – TASMANIA Tasmania’s biggest music event, the Falls Festival, again transformed Marion Bay into a pulsating sea of colour and activity.
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