crushed vocal as well as an ATI vocal; there’s a lot going on down front, so there’s a pretty similar channel count in monitor world.” Leary makes an interesting
point regarding PA tuning: when working with VerTec, there was always a routine to rid the system of several unwanted frequencies; now, those frequencies have mysteriously disappeared…! “With the new [VTX] boxes,
the roughest of the high-mids and the highs are gone; it’s something we no longer have to worry about,” he says, gesturing once more at the show’s plot displayed on his computer screen. “In fact, Laurie was looking for the frequencies he used to complain about, but they literally don’t exist anymore because of the DSP and the way that Paul [Bauman] has designed the presets. That is a perfect situation for us.”
At show time, Kravitz was electric – and acoustic, at times. When the multiple Grammy-winner took to the stage, the crowd went ballistic – but Paris is now his home of course, so the atmosphere was always going to be better than average. This gig was LOUD, make no
mistake, but even in the pit, it wasn’t painful. I wandered around the whole arena, and coverage was excellent throughout; and I can vouch for what Leary said – it did still thump right at the back of the room. The perfectly-crafted set
blended classic Kravitz hits, Believe, Stand By Your Woman,
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and the infectious It Ain’t Over ’Til It’s Over, with the best of his latest crop of songs such as Rock Star City Life, Dream, and the beautiful Looking Back On Love. After closing the show (we’re on encore number three by now) with a blistering and extended version of perhaps his best known number, Are You Gonna Go My Way?, we were still left hungry for more.