"We have used the Milo system with several artists in larger venues and outdoors with excellent results, so it was great to bring that quality of sound to audiences in smaller venues with an artist who is passionate about the sound," explained Canegreen's MD Yan Stile. With the varying dimensions and characteristics of each venue, the speaker set up had to be changed each night by Canegreen's team, headed by Jesse Godolphin. Canegreen supplied front-of-house engineer Andrew Williamson a Midas XL3 console and the team used Meyer's on-line 'Sound Mapp' to help speed the setting up and voicing of the rig for each gig.
Essentially the PA consisted of four Meyer 650R2P SP subwoofers flanking the stage at each show, with eight Meyer Milo line array element per side, arranged according to the venue - usually a combination of stacked cabinets and flown.
Meyer UPA cabinets were used as front fills, with Meyer PSM self-powered wedge monitors and a 15" Gauss/JBL bi-amped drum wedge. To get the most out of the Milo's and achieve effective coverage of the venues, four BSS Soundwebs ran eight audio feeds: one linked to the UPAs at the front of the stage, one to the sub-bass and three pairs to the Milo speakers that were angled into the different areas of the venues.
After the experience of using the new system, Jethro Tull's tour and production manager James Anderson said: "I was really impressed with the system, it was powerful and gave a brilliant sound. Ian [Anderson] really loved it, and in addition to the improved sound quality, the use of Milo benefited us in taking up less truck space and therefore reducing costs. The Canegreen team have a great, professional attitude and have helped with things over and above their duty. With the varying venues they have had to change the system and have carried on adjusting things after sound check to get the best out of the venue and as close to perfection as they can!"
(Lee Baldock)
