"I use the LS9 a lot for corporate work, but the chance to come out on tour for a month with it, using it every day, was one not to be missed." He says. "This will be my last tour as well as Errol's farewell tour, so using it in a different venue every day under touring conditions isn't something I'll get the chance to do in the future."
Supplied, along with the rest of the sound and lighting production, by STS Touring Productions, the LS9 had to be capable of fulfilling the rigorous front of house requirements, with demand for tickets so high and capacity audiences wanting to hear every subtlety and nuance of Brown's music.
"We're only running 26 inputs, including spare mikes, so there's plenty of room on the console and it does everything I need," Jane continues. "The compact size of the desk and having no outboard racks has helped enormously in terms of additional seat space. But the effects and facilities on the desk are fantastic. The only outboard I'm using is a tube compressor on Errol's vocal and a grab graphic."
The shows were reinforced via a Turbosound Flex Array system. "We had Flex Array on demo for a few days a little while ago, which gave us the chance to do three very different shows with it," says STS head of audio development Keith Farmer.
For monitor control, Farmer used STS's recently acquired Digico SD8. The console allowed him to provide a comprehensive set of monitor mixes for the eight-piece band. "There are two stereo and three mono wedge mixes, plus side-fills. The drummer and two backing vocalists are on stereo in-ears, plus three reverbs," says Farmer. "With various effects that artists want, these days it's pretty easy to end up with over 20 monitor mixes."
(Jim Evans)
