As FOH Engineer Mark Vreeken explains, the Meyer Sound system was chosen for flexibility in the face of an assortment of venue sizes and shapes, from London's O2 Arena to the Olympia, the oldest music hall in Paris. "We brought a number of different Meyer speakers along, so we can interchange and still maintain consistent tone everywhere. And the Galileo loudspeaker management system and SIM 3 audio analyzer are both excellent tools."
Solotech systems technician Étienne Lapré typically configures the rig with 16 Milo and 12 Mica line array loudspeakers per side, with each array also carrying six 700-HP subwoofers. 10 M'elodie line array loudspeakers provide down-fill, with eight M3D-Sub directional subwoofers and a complement of CQ-1 and CQ-2 loudspeakers in front. Delay hangs vary between eight and 16 MICA boxes, depending on the venue. Three Galileo 616 processors handle system processing, and Lapré configures the rig using MAPP Online Pro acoustical prediction programme.
"Depending on the day, we juggle things around a bit to cover every spot," says Vreeken. "Acoustically, some rooms will always be better than others, but the consistency of the Meyer Sound system has delivered in every venue. And the Meyer speakers are ideally suited for the detail of Mr. Cohen's music."
Vreeken consulted with Solotech's Mario St. Onge, Richard Lachance and Dean Roney to design the audio system, with Roney and David Brazeau overseeing the logistics. "Solotech is just an incredible company, and the crew is terrific," says Vreeken. "Things always go smoothly when Ian Donald is production manager and Solotech is providing audio." Vreeken also points to monitor engineer Russ Wilson and recording engineer Ed Sanders as important links in the chain. "Those guys shared a lot of insight about artist-specific considerations and potential challenges. Without them, we would not be having nearly as much fun out here."
(Jim Evans)
