Lighting Director, Ryan Nixon; Camera Operator, Henry Commerman; Video Director, Wannes Vandendriessche; Camera Operator, Brendan McCool; LED Technician, Steve Clarisse; Video Engineer, Piotr Klimczyk; Projection Engineer, Joe Makein; PixMob’s Jacques Vanier & Samantha Torres; VSS Media Server Programmer, Josh Key; Lighting & Video Crew Chief, George Doherty & Lighting Crew Chief, Craig Hancock.
a single SMPTE each which feed back to the PPU. All 4 systems, cameras and 30m of track fit into 4 boxes which ensured speedy rigging and de-rigging. VSS supplied Luna Camera Technician and Operator, Brendan McCool who specialised in the equipment to give the production piece of mind throughout the year. “It’s a really clever system and it means there’s only one cable per dolly,” McCool elaborated further. “The system is built specifically for touring because it’s a click and play option.” Sony P70 cameras were chosen for their “lightweight” nature as McCool explained: “They don’t get in anybody’s view as tracking systems. We shoot primarily for the IMAG and screen and Wannes chooses when to project those images as we’re constantly live.” Doherty referenced the “nice” and “considered” packaging of the dollies. McCool concluded: “The track and dollies are incredibly fragile, so we’ve had them custom built to tour. [Camera Operator] Henry Commerman does a fantastic job of wedging the track every day which is crucial to making the picture as level as possible.”
faders coming off on this tour. It’s nice to see the progression of how Shawn has evolved musically from the Illuminate tour.” Wood utilised his personal Avid Venue S6L with Waves SoundGrid Extreme Servers. “The integration between Avid Venue S6L and Waves is better than ever,” he enthused. “The Waves SoundGrid Extreme server makes the console feels like you’re back on an Avid Profile,” he outlined. “I don’t particularly use a crazy number of plug-ins, although I do like to sprinkle them over the mix.” When it came to mixing the sound in a live setting, Wood adopted a hands-on approach. “I like to get pretty involved, there’s always a nice balance between snapshots and programming while also being involved in the show itself.” During the set, Wood roamed between the gate of FOH to his mixing console – constantly testing his analytical ear. “It’s really easy to become automated nowadays, especially with a desk like this. After 100 shows, it would be pretty boring to hit next on every song,” he jokingly remarked. “I like to be involved and play off what the guys are doing up there.” For outboard gear, Wood travelled specified a Pro Tools rig set up with an Apple Mac Pro in the rack to capture the audio, along with a selection of studio-worthy analogue gear. “I like having a bit of an analogue feel in a totally digital world,” he said. “Shawn’s vocal is on the Avalon VT-737SP, which is a staple of his live sound.” The control package was provided by Clair Global in the US while the PA and local audio was provided by audio vendor, Clair Global, which utilised its partnership with AudioRent Clair in Switzerland to supply the UK and European legs of the tour. “As a provider and service, Clair is fantastic and I’m really happy with the kit, initially it was strange to prepare a UK tour in Switzerland however it’s worked out perfectly,” Wood praised. “The PA suits the rockier style because there’s a lot of headroom. I like to push the level of the mix and it really handles itself well in that regard.” The main speaker arrays comprised 16 Clair CO-12 line array boxes. The side hangs boasted 14 Clair CO-12s. The rear hang came in the shape
AUDIO Shawn Mendes added fresh elements to his sonic soundscape this year – specifically a move from traditional pop to ballads with a rock ‘n’ roll edge. “The challenge from this cycle was to fit a mixture of songs from the last two records as well as a lot of new songs,” explained Musical Director, Zubin Thakkar, who was commissioned to sew the set lists seeds. “The key is to curate a show which is appealing to both the die-hard Shawn Mendes fan who knows every word of every song to a new fan,” he remarked. “My job is to make sure both type of fan leave satisfied having heard their favourite songs.” FOH Engineer, Tom Wood picked up the story. “There’s more freedom to be rockier with the mix on this cycle. Everyone is feeling really confident that we can be a bit bolder in our approach, both musically under the guise of Zubin. Ultimately, I don’t need to be afraid to push a guitar solo until the 26