Adlib's sound crew was chiefed by Marc Peers, who also mixed monitors. At front of house, James Neale also shared system tech duties with Richy Nicholson.
The JBL VerTec PA system was picked for its versatility and fast rigging capabilities. The main hangs consisted of 14 VerTec 4889 elements per side, with side-hangs of 10 4889s. There were four VerTec 4880A subs on the ground to add body and fullness to the sonic mix.
For front in-fills, Neale used four L-Acoustics dv-DOSC cabinets, with two L-Acoustics ARCs a side for out-fills.
The VerTec was powered by Camco Vortex 6 amps, with Crown I Tech 8000s for the subs, LA8s for the dV-DOSCs, the out-fills and the three ARCs per side which were utilised as side-fills.
Neale used a Yamaha M7CL as the FOH console. This desk was specified for its ease of operation and small size.
The lighting design was conceived by Adlib's Peter Abraham. He used four 40ft upstage/downstage orientated trusses fanned out from the back, flown about a foot off the ground on the upstage edge and at normal trim height at the front. This effectively became a very simple set, with clean well defined lines that worked perfectly.
On each of the trusses were 5 Martin Professional MAC 250 Washes used to colour the stage floor and for beam-work, which Abraham describes as "outstanding" in terms of brightness for their compact size. Also on each truss were two PixelPARs, used for toning, and a 4-lite Mole for audience warming.
In the stage wings four Studio Due CityColor 2.5Ks were positioned, two per side, for strong low level cross light washing and strong colouration. Across the back on the floor were six MAC 2000 Profiles for additional beam effects. For spotlighting, Adlib supplied two Robert Juliat 2.5Ks, along with two DF50 hazers to discreetly enhance the MAC 250 beams.
It was not a busy show in terms of lights moving and colour changing, but required very accurate and subtle cueing, an operation undertaken by Tim Spilman using a WholeHog 3 console.
(Jim Evans)
