Adlib supplied full production – sound, lighting, video and rigging – plus crew for Daryl Hall & John Oates’ recent UK tour.
It’s the first time that Adlib has supplied all technical disciplines for a Daryl Hall & John Oates tour.
After the UK tour, an Adlib control package and video servers went on to the Latin American leg of the tour, and then returned to Europe with the addition of a full audio package for the third segment and euro festival run.
Adlib’s Craig Hamilton – based in the Glasgow office – project managed and co-ordinated all things sound, liaising closely with Daryl Hall & John Oates’ audio team of FOH engineer Chris Salamone, monitor engineer George Squires and US supplier Firehouse’s stage tech, Jeff Child. Billy Bryson was the system tech, Jay Petch was the monitor and stage tech for the UK section of the tour and Bryson was also the tech on the European festival dates.
Adlib chose to work with an L-Acoustics PA, deploying 12 x K1 plus four x K2 downfills for the main arrays and 12 x K2 for the side hangs. For lip fills across the stage six L-Acoustics X8 were utilised, with outfills comprising four x ARCS II per side. Subs were 16 x KS28, deployed in four blocks of four, tipped on end. The onstage sub in each stack was reversed and run in cardioid mode, at the request of Chris Salamone in continuity with the setup on their most recent US tour. K2 downfills on the main hangs were ideal for extending the length of the line and maintaining tonal consistency to the front row. Utilising K2 on the side hangs enabled asymmetric high frequency coverage, minimising overlap with the main hangs via the mechanically adjustable L-Fins.
Adlib specified an Outline Newton multisource processor which matrixed between the main DiGiCo SD10 FOH console, the DiGiCo S21 backup console and the Allen & Heath S7000 dLive supplied by opening act KT Tunstall.
The PA drive system was handled by the Newton, sending matrix feeds via a dual redundant, current driven AES distribution to the 38 x L-Acoustics LA12X amps on stage.
Whilst designing, the new L-Acoustics ‘Autosolver’ tools were employed within Soundvision to optimise the system. The tuning was further refined and tweaked before being verified on-site each morning.
“The Autosolver tools give a great head-start,” explained Bryson. “The accuracy in which a design can be tuned within Soundvision ensures complete tonal consistency when touring through venues of different sizes.”
Each day, the system was tuned and verified using Smaart8 and Room EQ Wizard audio measurement software. To assist this process, Bryson used a Lectrosonics R400 wireless receiver together with an Earthworks M30BX measurement mic. The monitor console was a Yamaha PM7 chosen by George Squires, driving 12 x Firehouse F12 wedges, which together with their associated amps were part of the band’s ‘universal’ touring system.
Adlib provided a 60-channel line system and power distro all built into one of their ‘Monitor Wardrobe’ cases.
The 110V stage power for the US equipment was handled via Adlib, supplying 4kVA backline transformers, and two 7.5kVA transformers to feed the monitor amps. They also used 10-ways of Sennheiser IEMs.
Immediately after the UK shows, Daryl Hall & John Oates headed to Latin America, for which Adlib supplied selected kit, including a World 110v transformer specially designed by their head of sound Ian Nelson. Nelson shared his knowledge and experience of the challenges and idiosyncrasies of touring in Latin America with the Daryl Hall & John Oates team.
Hamilton commented that they all enjoyed working with production manager Jesper Luth and his crew who were all-round great people and receptive to their suggestions and feedback.