Adlib's George Puttock designed the audio system, which was specified by Joe Harling and tour manager Peter Abbott. Puttock and Adlib's Sam Proctor rigged and oversaw all the equipment on the road, with Adlib's Simon Lawson as PA tech ensuring that Del Rey's FOH and monitor engineers Joe Harling and Matt Kanaris could achieve the best possible sonic results in a wide variety of venues.
The main PA hangs in their largest configuration were 12 x L-Acoustics K1 per side with three Kara downs, together with side-hangs of three L-Acoustics SB18s with 12 Kara underneath.
These were supported by 16 x SB28s subs on the floor - six left, six right and four in the centre - cleverly positioned to double up as steps that provide stage entrances and exits for Del Rey.
Lake LM26s provided vocal and band mixing capability to individual front-fill speakers, allowing Puttock to reduce the vocal in specific speakers whilst Del Rey was in front of them.
The L-Acoustics speakers were all driven by LA8 amplifiers running the latest firmware, which brings many new refinements and additional functionality.
Two audio networks were run on the tour, one for all the LA8 amplifiers and the other for Lake LM 26 & LM44 processors, plus some Lab.gruppen amps.
The consoles were both Soundcraft Vi6s, with Vi1s for support.
Del Rey and the band used their own IEM and radio mic systems with 12 stereo in-ear mixes, eight for the band and four for technicians, running 67 channels into the desk including shouts and clicks.
Adlib provided a complete line system with stage distro and full mic splits, plus two of its MP4 low profile wedges for Del Rey as backup and reinforcement for the more challenging acoustic spaces. Two L-Acoustics ARCS with an SB28 sub per side comprised the side-fills, and there was also a full mics-and-stands package for the band utilising a mix of Beyer, Sennheiser, Audio Technica and Shure brands.
Lana Del Rey uses a Sennheiser radio mic with a Neumann KMS105 capsule.
(Jim Evans)
