Adlib's Tony Szabo (Australia) led the sound team, which consisted of Hassane Siahi (France), Otto Kroyman (Germany), Scouser Marc Peers and Carlos Herreros from Spain, who also acted as interpreter.
Along with the lighting crew led by Andy Rowe they worked to a tight deadline, with a 1.30 a.m. load in on the day of the first show.
The stage space was divided between a large dancefloor downstage, a catwalk upstage, and the band in between. The band and catwalk were sandwiched between a white cyc with a black gauze hung immediately in front of it and another black gauze in front of them, so they could be made to appear and disappear with lighting.
Baras' production brought the custom dancefloor with them, into which were integrated 20 ambient mics to capture the rhythm, energy and emotion of her footwork and dancing.
The sound system installed for the show was JBL VerTec. The main hangs consisted of 12 VerTec VT4889s per side, with 10 VT4889s a side for the side arrays, and six VT Subs tucked underneath the front lip of the stage. The L-Acoustics Arcs were used for side-fills.
The primary side-fills were four flown dV-Dosc cabinets per side, with a scattering of Adlib AP wedges for the band, together with a further two for additional side-fills.
Baras' FOH engineer Sergio requested the Yamaha PM5D console that Adlib supplied, and Szabo had his usual control rack at FOH including the Meyer SIM 3 audio analyzer system and Lake DLPs for EQ. Another PM5D was supplied for monitors, watched over by Marc Peers.
All the amps for the flown arrays were installed in the gallery of the RAH, complete with another control rack for crossovers. The amps were Camco Vortex V6 for the VT 4889s with all the monitors and side-fills powered by Labgruppen PLM 10000Qs with the onboard Lake DSPs. The FOH subs were powered by Labgruppen PLM14000s. This set up allowed Szabo to control everything from FOH.
The moving lights consisted of six Vari*Lite 3000Q (Quiet) Spots, seven MAC 2000 Performance and eight V*L500s, dotted around the overhead rig.
For generics, there were 37 Source Four Profiles fitted with assorted lenses including 15/30 zooms, 25/50s zooms and 19s, 28 x 1200W fresnels and 18 2K fresnels. There were also 32 1K cyc floods, 16 PAR 64 single cans and four Coemar Versatile effects.
Adlib supplied a new grandMA2 console for the show, four Avolites ART2000 dimming and distro racks to drive the generic and moving fixtures, plus all cabling and data distribution systems.
(Jim Evans)
