Outline Arrays Deployed for Consoli Tour - ProSoundNetwork.com

Outline Arrays Deployed for Consoli Tour

Italy (August 12, 2010)—Outline’s Butterfly and Mantas vertical line arrays are being used as sound reinforcement on the 2010 tour (currently on the road) by Sicilian singer/songwriter Carmen Consoli.
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Italy (August 12, 2010)—Outline’s Butterfly and Mantas vertical line arrays are being used as sound reinforcement on the 2010 tour (currently on the road) by Sicilian singer/songwriter Carmen Consoli.

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After a live duet with Patti Smith in Turin, during the last night of the 2010 MTV Days, Consoli is now back on stage for a series of concerts held in various Italian towns, from the Dolomites to Sicily, running through to September 9 (the tour began on July 8).

The Cantantessa (little female singer) is presenting the songs from her latest album entitled, Elettra, which has already won a platinum disc and also topped the iTunes charts just a few days after release. Venues scheduled on the tour include Rome’s Parco della Musica Auditorium, Monza’s Villa Reale and the Ancient Greek Theatre in Taormina (Messina, Sicily).

The FOH rig comprises 8+8 Outline Hi-pack modules and 4+4 Outline Subtech 218 SP (self-powered) subs for the bottom end. Mantas modules (3+3) are used on front-fill duty (120 degrees), flown below the main Butterfly arrays. Out front on stage there are four “ultra-slim” Outline H.A.R.D. 212 NET SP (self-powered) stage monitors (programmable via Ethernet, as well as having four presets that can be instantly recalled) and eight H.A.R.D. 115 SPs.

The rental company responsible for the tour is Blackout from Vasto (Chieti), and the Outline Butterfly audio system is in the hands of Pier Francesco Gallenga (system engineer) and Gianluca Vaccaro (FOH engineer). “This is an unusual tour,” Gallenga comments, “as we’re using two completely different setups; the first is rock, with wide use of samples and distortion, the second is acoustic, where, as well as the standard band setup, there is a string sextet, a full-size grand piano and a brass section, all using condenser microphones.”

He adds, “In spite of this difference in the setups, the system ensures impressive coherence over the entire audience area. The mid-high frequency range has the utmost intelligibility and the in-your-face sensation is unbeatable: The artist seems to be just a meter (3 feet) away, no matter where you’re sitting. The subs have a soft sound I’ve heard in few other systems, but at the same time, keep their definition and presence when it’s required of them. The system is controlled via software, and this enables to achieve a perfect balance between the artist’s needs, the venues’ acoustic difficulties and the requirements of the sound engineer.”

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