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SHAWN MENDES

120°. Front fill duties were achieved by 9 Clair CP-6 loudspeakers, all driven by Dante from FOH Lake Processing LM44s, while the PA amps were driven by PLM2000s. “I’m driving the system via Dante over fibres because our snake is 500ft long,” he added. “We’ve used the entirety of the snake more than once. In the O2 Arena, London we’re adding amps in the catwalk and delays in FOH for total coverage.” However, the sonic feat didn’t come without its fair share of hurdles. “Our biggest challenge is getting our load-in done around the extensive lighting rig because everything is so tight. I typically come in early and use EASE Focus, which Clair provides, to aim the PA every day and get everything set up,” Weurth said. Wood explained his biggest challenge was his desire to make the run “a better tour than the last” and consistently improve from a production and audio engineering standpoint. “It’s a really great group of people here and everyone is their hardest and worst critic but we all genuinely want this tour to be the best it possibly can be,” he reflected: “At this point, 20 dates deep into the tour, we could sit back and rest on our laurels but we consistently push to improve the show every night.” In the caverns of main stage, TPi located Monitor Engineer, Michael Flaherty who waxed lyrical about his Solid State Logic Live L500 mixing console. “It felt like it was the right time to use a different console,” he reflected. Flaherty debuted the console during a radio show slot. “The vocal through the preamps was lighting fast,” he enthused. “The depth it gives to the mix when the band starts, and the dynamic range makes it my ‘go to’ console for this tour.” With nearly 110 inputs talkbacks run via timecode for scenes. Flaherty explained his mixing approach: “Three quarters of my show is timecoded with there being so many moving elements to the production. However, Shawn opens up several of the songs either with an acoustic guitar, an electric guitar or a piano which I manually move to the next snap shot for.” Stage Technician, Adam Field joined the Flaherty in monitor world to tune the RF on a daily basis. “In Europe, we use Mission Control, who are great at liaising with the local authorities and promoter in every territory to

of 8 Clair CO-12s. Clair Audio Crew Chief and System Engineer, Jeff Wuerth explained: “We ended up picking up a rear hang for two reasons. Firstly, the sails were enough that we thought it would be best to include 8 Clair CO-12s because they’re going past the 180° point,” he continued. “The LED screen is also so far forward it was initially impacting our side hangs. Thus, the rear hang covers where the screen may block audio.” For subwoofers, a trio of Clair CP-218s aside were flown in cardioid. While 12 Clair CP-218s were purposed as ground subs underneath the stage all in a cardioid, steered array configuration, which arched electronically at

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Profile for Mondiale Publishing

TPi May 2019 - #237