It was also the first time that Adlib has worked for Flight of The Conchords, having developed a penchant for the specialist requirements of live large-scale comedy performances.
Adlib's Ben Booker and Hassane Es Siahi were the systems engineers for band engineers Ryan Pickett (FOH) and Matt Shane (monitors), with Nick Jevons as production manager / lighting director.
The main system was a JBL VerTec - comprising 4889 cabinets with 4880A subs. Though not generally a bass heavy show, there were certain instruments that needed serious low end, like a miniature acoustic guitar with a massive bass.
The high spec PA was to ensure that the vocals were clear and clean all around the rooms, the largest of which was Wembley Arena, where 14 cabinets a side were used for the main arrays, complete with eight subs a side. Most of the rest of the shows saw a 10/12 box configuration with three or four subs left and right.
The system was powered by Camco Vortex 6 amps and Labgruppen PLM 14000s for the subs. Eight L-Acoustics dV were used for front-fills, lined up across the lip of the stage and also out to the sides.
Pickett spec'd one of the new DigiDesign SC48C consoles, on which he utilised all the onboards plus a TC D2 delay for the vocals.
In monitor world, Matt Shane also spec'd a DigiDesign desk - an SC48 - on which he made use of all the onboard plug-ins.
There were 30 inputs into the desk, with eight b&b m2 wedges onstage and a full Adlib line system.
(Jim Evans)
