Adlib account handler Phil Kielty comments, "It was great to service another top class US country artist, and give them our support & continuity throughout the UK and Europe".
Co-ordinating all the Adlib elements on the road was James Neale who worked closely with the band's FOH and monitor engineers Brett Blanderen and Curt Jenkins. Jenkins was also production manager.
Neale took his extensive experience and knowledge of systems engineering into the equation to assist with the numerous show scenarios that arose as they hooked into house racks &stacks set ups at a wide assortment of venues and festivals.
Also on the Lady Antebellum audio team were two engineers from Sound Image, the US rental company that services the band - audio crew chief James Miller and mic specialist Alex Moore.
Adlib supplied an Avid Profile digital mixing console for FOH, complete with one of their standard Lake control racks consisting of two LM44s and two LM26s, used to process all the EQ and time alignment requirements of the various different rigs they encountered.
Adlib's monitor system was mixed by Jenkins using a Soundcraft Vi6 console, running close to 90 channels, fed in via two Vi6 stage boxes.
A 14 channel Shure PSM 1000 IEM system was supplied for the band featuring eight people in total, including the three Lady Antebellum members. All were on IEMs, and the system was augmented with an ADLIB MP4 wedge for a drum sub & two L-Acoustics ARCs cabinets per side for side-fills.
This was integrated with the band's own set of Sennheiser radio mics.
Adlib also supplied full 240 and 110 Volt power distribution to feed all the backline, and an additional 110 Volt system for the equipment set up in the dressing rooms.
For the two largest UK shows, Hammersmith Apollo in London and Manchester Apollo, Adlib was contracted by the promoter to provide the full FOH sound production. This consisted of an L-Acoustics V-DOSC/dV-DOSC rig accompanied by Adlib engineers Ian Nelson and Otto Kroymann.
(Jim Evans)
