All acts at KROQ’s Annual Almost Acoustic Christmas show, including Weezer, were heard via a Martin Audio MLA System supplied by Delicate Productions. Photo: KROQ/Stephen Carr Photography.
Los Angeles, CA (January 12, 2015)—KROQ’s Annual Almost Acoustic Christmas show has become a mainstay of the holiday season for music lovers in L.A.; this year’s event, held at the LA Forum, served up the likes of No Doubt, Smashing Pumpkins, Imagine Dragons, Weezer, Tears for Fears, Modest Mouse, System of A Down, Bush and Incubus, among others. Providing audio for the 25th year was Delicate Productions, which fielded a Martin Audio MLA loudspeaker system.
This marked the first time the event, marking its 25th year, was held in the newly revitalized LA Forum. According to Meegan Holmes, Executive Account and Project Manager at Delicate Productions, the Forum turned out to be “an awesome experience. The remodel included acoustic treatments that made for a tight, dead space. That was already an amazing step in the right direction for any audio vendor, because the treatment practically eliminated the cavernous sound of your average sports arena.”
Bringing audio to the masses was a system that included 14 Martin Audio MLA with two MLD (downfill) cabinets a side as the main hangs; 16 MLA Compact per side for side hangs; nine MLX ground-stacked subs per side, and a half-dozen W8LM cabinets for front fill.
Two identical FOH setups were used, each with an Avid Venue Profile 48-channel console and a DiGiCo SD11 console, while the two identical Monitor setups employed an Profile console with 10 Martin Audio LE700 monitor wedges (stage) and a pair of LE700s (cue) along with a Martin Audio WS218X drum sub cabinet.
Evaluating the show, Meegan concluded, “Since we moved to an arena, KROQ wanted to create a different concert experience for their fans from years past. There was a thrust on the stage that led out to a 16′ by 16′ deck in the middle of the floor, so we used the DSP in the system to steer the energy of the MLA mains away from the thrust, making the engineers’ work less stressful when their artists walked downstage. Everyone remarked on the quality of sound, particularly the subs, that we provided at FOH. We received compliments from our competitors that attended the show as well.”