However, Gabrielle's vocal range is very dynamic, as FOH engineer Chris 'Privet' Hedge explained while he talked me through the system design for the PA: "New for me are the two units of KT Helix - the 9340 digital EQ and 9344 digital slave EQ. The 9340 is on Gabs' vocal - her style sometimes means her voice can be soft and difficult to get out: once I knew what I was dealing with I put a few things in line. This includes a DBX162s compressor putting a really soft squeeze on her voice, and a feedback buster - the Sabine FBX 1200. I then use the Helix to tidy up beyond that. The Helix has got this great dynamic filter and because she sometimes sings softly and then, in the next breath very loud, it smoothes out the whole HF range - it's still feels as loud but it doesn't sear."
Hedge also uses the high pass filter and a couple of notch filters for when Gabs gets close to the audience: Originally, the Helix was specified for the monitor position but Hedge decided he needed it as well - as he says: "it's hardly fair that monitors have more flashing lights than FOH!"
The second FOH Helix system is a stereo group on Gab' vocal. Hedge uses this for is Graphic EQ to remove peaks in the stage sound that spill into Gabs' mic, depending on the Venue being played. He runs it all from a laptop FOH.
Hedge also has soft compression on the two backing singers - describing them as "a couple of old Summits, but great units!" He has gates on the drums, triggered by D-Drum triggers and a few effects units. He says: "I have a Lexicon 480L and PCM 81 and SPX990 and an Eventide H3000. I use the 480L all the time, usually one machine on voices and one across the rest of the band. It can be difficult to dot in effects when the vocal mic is so close to the edge; sometimes you can get all the FX in, other times the priority is to get her voice out in front."
It's the first time monitor engineer Steve Chant is using the Helix system. He told me he uses it wireless during the sound check via a small PC, conveniently giving him free roaming on the stage. As he explained: "During the gig there is no need to have the Helix system wireless but for the sound check it's great, as it means you are not running backwards and forwards to the control position to adjust things."
Tour venues varied from small halls to arenas. For the smaller venues the main PA comprises ARCS but Hedge has V-Dosc on the larger venues. He told me: "Mike Hackman is the system tech and he uses SMAART live to tune the system in, although most of the time we were lucky enough to drop the groundstacks right underneath where the V-Dosc are flying."
In Brighton Hedge used eight V-Dosc and three DV-Dosc per side, four L-Acoustic subs and five ARCS speakers, two per side in front of the stage and three as little outfils for the low bleachers on the outside, plus a pair of KF 300 as centre infill. Standard PA on the tour has comprised 24 Arcs and six subs. The clarity on Gabs' voice was second to none and the gig sounded great, especially considering the odds were stacked against them on the night!
LD Patrick Murray fed five 25mm LED screens - supplied by Screenco - which topped banners downlit by Pixeline LED fixtures. Video came from a Catalyst system driven by a Hog 3. The rig was a simple two-truss arrangement with High End PC Beams and Studio Spot CYMs, plus lots of Par cans from the front. The lighting was measured and controlled, bathing the stage in beautiful colours picked up from the graphics with back and low level light giving dimension to the stage - even providing a barn like Brighton with a sense of intimacy!
Murray explained: "The
