Jaquiss chose L-Acoustics dvDOSC for the left and right arrays, 12 mid-high boxes a side, along with 4 dvSUBS and eight of the new L-Acoustics SB28 subs, all of which were ground stacked, and they used eight ARCS cabinets for in-fill.
"It sounded superb," says Jaquiss, "It was the perfect system for the largely cabaret style show."
They took two Soundcraft Vi6 consoles, used for both FOH and monitors. It was the first time Jaquiss had used a Vi6 on tour. "It's a good sounding desk," he comments, "It's designed to be user-friendly an not over-complicated."
He used all 64 inputs, while at the other end of the multicore, Ben Booker was running 31 monitor mixes by the end of the tour. They used no external effects at FOH or monitors, with the console's eight inbuilt Lexicon reverbs proving a great asset for the show.
They ran a standard Adlib drive rack for processing and EQ with Lake DLPs and a wireless tablet controlling the whole system. It was powered by Camco LA8 amps, with the standard VDOSC presets.
On monitors, Ben Booker used a combination of Adlib MP3 wedges and in-ear mixes for the seven band members and Barrowman. They ran eight channels of Sennheiser G2 IEMs, and a selection of Shure hard-wired packs, Adlib's own U4 radio system and a full compliment of other mics including Sennheiser, AKG and Barrowman's singing mic - a Shure KSM radio.
Lighting was designed by Dave Hill and operated/directed on the road by Neil Trenell, working with Adlib Lighting's Andy Rowe and Stuart Gray. The fixtures were rigged over three trusses - front, mid and back.
The back truss featured three Martin Professional MAC 700 Washes and four MAC 700 Profiles, two Martin Atomic strobes and a 40ft starcloth backdrop. The mid truss featured four MAC 700 Washes and four MAC 700 profiles, plus two Atomics, and the front truss had seven 10 degree Source Four profiles for key lighting, two MAC 700 Profiles and four MAC 700 Washes and five 2-lite Moles.
On the deck were eight of the new Clay Paky Alpha Beam 300s, which are similar to a moving ACL fixture. Upstage centre was a 5K fresnel, used for silhouetting, and Adlib also supplied two Lycian 1.2K follow spots.
Trenell ran all this from a Hog iPC console. The rig was "extremely well designed and thought-out to fit the venues and the show perfectly" comments Andy Rowe, adding that everything went smoothly.
(Jim Evans)
