"The sound was spectacular, and incredibly even for an in-the-round setup," says Brendan Hoffman, FOH engineer and production manager. "From FOH at one end of the arena up to the stage and the higher seating sections, differences were negligible. It was a gut punch on the floor and a gut punch at the top level."
Supplied by VER Tour Sound, the Leo system comprised 96 Leo-M line array loudspeakers deployed in four arrays of 14-each for long-end throws, and four of 10-each for the short sides. Four Mica line array loudspeakers completed each array as down-fill, while eight additional Mica loudspeakers were spaced around the stage as front fill. For powerful low-end reinforcement, four arrays of 12-each 1100-LFC low-frequency control elements were flown, augmented on the floor by 12 1100-LFC loudspeakers and 20 700-HP subwoofers arranged in cardioid pairs around the circular stage.
The system was aligned and optimized by a Galileo Callisto loudspeaker management system with two Galileo 616 AES and 12 Galileo Callisto 616 array processors. The low-end arrays were configured and timed to steer energy in a clean donut pattern out to the audience and away from the stage. VER Tour Sound's Doug McKinley and Chad Fuller handled system design.
"Obviously the bottom end with all the 1100-LFCs was incredibly loud, but it was still clean with tight transients - the crux of this style of music," points out Hoffman. "It was solid down to 28 Hz."
Hoffman mixed on an Avid SC48 console equipped with Waves plug-ins and augmented with outboard Avalon compressor-equalizers. Monitor engineer Jayson Pietri also mixed on an SC48, while Bassnectar used a Shure wireless microphone system with an SM58 capsule. Opening the evening for Bassnectar were Zion I and ill-esha.
(Jim Evans)
