Adlib's ability to offer a combined sound and lighting package won them the business, as it meant that the band's production manager, Roger Carne, only had to deal with one company for all technical requirements, while Adlib could offer good value and the same streamlined service for both departments.
They chose a Nexo Alpha system, powered by Camco amps. "It's an incredibly forgiving PA and can deal with pretty much anything you want to throw at it," says Pattison, adding that it is a real 'point-and-shoot' system, easy to get under balconies and into other nooks and crannies, going "exactly where you want it!".
FOH engineer Steve Wright mixed using a Soundcraft Series 5 console, using one of Adlib's standard outboard racks including Lexicon PCM 81s, two SPX 2000s for reverbs, an SPX 990 for 'chorus' effects and a TC Electronics D2 delay unit. dbx 160 compression went across lead singer Karen O's dynamic vocal, along with dbx160As for bass and guitar, and they also had a frequency conscious BSS 901 compressor running along with the 160s to eliminate sibilance. The band brought most of their own - primarily Shure mics - to the party, with Adlib supplying a selection of 'additionals'. Monitor world was mixed by Jeremy Lemos and overseen by Adlib's Steve Cole. This was a straightforward set up utilising Adlib's famous MP3 low profile wedges, powered by Crown amps, all crossed over and EQ'd through a dbx Drive Rack. The desk was a Soundcraft Series 5 and another set of standard outboards included SPX 990s used for reverb Drawmer gates and dbx compressors.
Adlib Lighting's Ian Tomlinson worked with Andy Rowe on the tour after receiving a plot from lighting designer Kelly Corter, which they matched as closely as possible. It was an idiosyncratic but very well thought out rig consisting of a rear truss and four upright sections of pre-rigged truss on the floor. The back truss featured nine Mac 550s all on the stage left side and 6 bars of PARs on the stage right side in an elegant asymmetrical vibe. They bought their logo backdrop, with the shape made from scrim so it was revealed when the cloth was lit.
Upstage of this were four four-cell cyc' units, three Molefays and three Atomic strobes. A follow spot would have been way too conventional, but Corter had a manually operated stand mounted Strand SL profile at side of stage to provide some constant cross lighting.
On top of each of the four upright truss sections was a High End Studio Beam, and each also supported two bars of six Pars. Corter operated everything off an Avolites Pearl.
(Lee Baldock)
