Adlib Audio is supplying a JBL VerTec PA for the tour, which is being engineered by Andy Dockerty at FOH and Marc Peers on monitors. Dockerty has worked with Texas since 1993, and says it's the only band guaranteed to get him out of Adlib's Liverpool HQ!
New for this tour, they are running a Shure KSM9 radio mic on Spiteri's vocal, which seems to be working well, with a combination of BSS 901 frequency conscious gating, and dbx160A compression. Her vocal in the mix is the bottom line, and Dockerty says it's excellent for substantiating the rich, gritty resolution of her voice. He used a VerTec 4888 system on their 2005 theatre tour, and has gone with the VerTec 4889 system for this tour - powered by Camco V6 amplifiers.
Adlib was the first UK company to invest in VerTec, back in 2003, since when it has been used extensively on a varied range of artists and events including David Bowie's 2003 Reality tour. "In our opinion it's the most versatile system. It's easy rigging capabilities greatly aid us getting into catering quickly in the morning and even quicker onto the bus each night," says Dockerty. On getting a good sound, he adds: "What it really comes down to is the attention paid to detail when the system is rigged and tuned. If that's done properly, then VerTec is also one of the easiest systems from which to get a good sound."
Dockerty is running the VerTec with 18 of Adlib's own DF418 subs - nine a side on the deck. He says this is the optimum combination, producing "a really deep, penetrating but crystal clear sound . . . it just really works". The subs are powered by Crown VZ 5002 amplifiers: Dockerty says there are "no lightweight amps on the market that deliver the energy of a traditional transformer amp at the low end".
Dockerty's effects rack includes four pairs of BSS DPR 402 dual compressors and four additional 160s, and Drawmer gates. There's also some industry standard toys including two Yamaha SPX2000s, a TC M3000 reverb, and a TC D2 tap delay. The control rack contains six BSS 366 system processors, three for the main hang, one for the subs, and two for the bleacher hang. These units are for system EQ, crossover, time alignment etc, with the overall EQ achieved using a Lake Contour system, complete with handy wireless remote - allowing the engineer to move around the venue and tweak the system.
He's mixing on a Soundcraft Series 5 console. WhyΩ Dockerty explains: "Everybody wonders why I haven't ventured down the digital route yet. It's simple - my brain is too damn slow! When I mix a show I want to concentrate on mixing the show, not thinking 'am I on the right pageΩ How do I access my aux potΩ' By the time I've worked it out, the moment has gone. I also want to be able to see everything, all of the time." He adds: "Maybe I should stay in the office full-time but I seriously believe I can still mix a band. I haven't lost my abilities just because digital consoles are now available."
Of the Series 5, he says: "It sounds great, and is a very 'obvious' console. Everything's in a sensible place to make mixing easy."
"Until the digital work-surfaces are better and easier, I will be insisting on analogue," he adds, although admitting that "the new Soundcraft Vi6 looks very interesting, especially after I found the 'ON' button."
Onstage, Marc Peers has had no qualms about 'going digital' over the last two years. He describes his Yamaha PM5D as his "new best mate", praising its functionality, flexibility, and small footprint. Its 48 channels are full, and he describes the monitor mix as "traditional; aiming to make the band sound like themselves, everywhere onstage."
There are nine mixes, consisting of wedges, side fills, and two sets of IEMs for the drummer and keyboardist, for wh
