Adlib has worked with Carr for the last four years and they have also been enjoying a spurt of comedy tours in recent months which included Russell Howard's pre-festive arena tour.
The lighting rig was designed and operated by Adlib's Tim Spilman. The set-up featured a front truss with eight Martin Professional MAC 250 wash lights, with three 90 degree ETC Source Four profiles on side booms each side of the thrust stage for downstage side illumination. There were six floor PARs, fitted with front filters to eliminate facial shadows.
A black back curtain was up-lit with another five floor PARs. There were three main performance positions - centre stage, sofa stage right and table stage right - each of which was lit with two profiles and two floor cans. Spilman programmed and operated the show on a Hog 3 console.
Video was co-ordinated by Adlib's Tristan Bryant. This featured two 12' x 9' Stumpfl side of stage screens, each fed with a Sanyo XP200 projector. Two Sony D50 cameras were positioned at FOH and to the side of the venue, and fed into a Panasonic MX70 vision mixer with Datavision Preview monitors. Playback was from Laptop and DVD and controlled via an Analog-Way Opus. The show was mixed by Iain Christie.
Adlib's Hassane Essiahi took care of FOH and chose a JBL VerTec 4889 line array system - 10 elements a side, with Adlib AA281, AA81s and AA122s as front-fills. All of this was powered by Camco Vortex V6 amps and EQ'd via Lake DLPs complete with remote tablet. The mixing desk was a Yamaha LS9 digital console, chosen for its small footprint and appropriateness for the project. Carr uses a lavalier headset with a DPA mic.
"The challenge is EQ'ing the system to get the colouration and tonality of the voice spot on," explains Essiahi, adding "The VerTec is extremely good for getting nice tight focuses and clear & even coverage all around the room."
(Jim Evans)
