McCauley Tours Japan With Wonder

Tokyo (August 6, 2007)--SR provider Tokyo Onken recently partnered with Stevie Wonder's production crew for a tour of Japan, hitting many high-profile stops, from the Saitama Super Arena to Nagoya Rainbow Hall, and reaching hundreds of thousands of fans in the process. Wonder's longtime FOH engineer, Danny Leake, was along for the ride as usual, but this time, he faced something that was unusual in that he use McCauley PA boxes for the first time--specifically 50-plus Monarc MLA6 cells
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McCauley loudspeakers were used all along Stevie Wonder's recent tour of Japan, including this stop in Osaka. Tokyo (August 6, 2007)--SR provider Tokyo Onken recently partnered with Stevie Wonder’s production crew for a tour of Japan, hitting many high-profile stops, from the Saitama Super Arena to Nagoya Rainbow Hall, and reaching hundreds of thousands of fans in the process. Wonder’s longtime FOH engineer, Danny Leake, was along for the ride as usual, but this time, he faced something that was unusual in that he use McCauley PA boxes for the first time--specifically 50-plus Monarc MLA6 cells

Amplification for the MLA6 rig was all Lab.gruppen fP 6400s and the production carried Yamaha PM5D digital console and Midas Heritage 3000s for the run of the tour. “I like those for front of house; Tokyo Onken also runs a Meyer SIM system with the McCauley MLA6s which makes for a very precise room analysis.”

System engineer Tohru “Kiku-san” Kikuchi, who has worked with Leake on Wonder’s Japanese tours for the last 10 years, prefers the Monarc Line Array System because “if the standing audience is in front of the stacked sub-bass, the sound isn’t affected; it’s still very good bass sound because the bass from the flown Monarc system is already very good and clear. The quick rigging and low profile design is also wonderful.”

Impressed with his first interaction with the MLA6s, Leake says “It was a very solid system with good imaging and enough power and clarity to give ‘In your face’ sound to all areas of the arenas we were working in--and we were playing some real ‘Barns’. The FOH was usually around 100 feet back and I never had any trouble hearing details in the mix.”

Challenges Leake faces when working with Wonder include frequent and rapid setlist changes: “Stevie will give us a setlist, but will change it according to what he thinks the audience might like, so every show is different. We’ll strap mics on either side of the stage so Stevie can get a better feel for what the audience is getting into. I’ve known him to make up songs onstage, call out changes to the guys, and actually pull it off because he has some of the best musicians and singers in the world working with him. James Stone, our ProTools operator who has personal-monitor communication with Stevie, will sometimes mention something in crowds and bang, the show takes another turn.”

McCauley Sound
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