www.psneurope.com 5 years
of R&D spent just on LEO-M’s high horn
The show features 30 of Michael Jackson’s hits
Pare says using LEO-M has meant there is still a full spectrum of sound right at the top of the arena. “We decided not to excite it too
much, because of the material of the roof, so the last two rows might be a little darker because of the reduction in HF, but that’s due to the placement of the box, not its ability,” he explains. “You get great coverage everywhere in the arena, which is what a Cirque show demands. We’ve also hung a few 700-HPs alongside the LEO- M in a cardioid pattern, to improve it further.” Pare is working on a DiGiCo
SD7 on Immortal, a console he favours for a number of reasons, especially its ability to deal with high channel counts. “When we were working on
Jenks explains. “But a Cirque show requires equal coverage, therefore it’s more about giving, so putting the subs under the stage really works for this production. Although the whole thing is not necessarily set up for efficiency, it doesn’t really matter, because the power of the system is so huge.” FOH engineer for the show, Martin Pare, seconds that emotion, and says the current
touring system has come on leaps and bounds compared with the beta system he was working with up until September. “Although this isn’t a rock
show, it’s still a big show, so we need a lot of power,” he says. “We had the beta box until recently, and now we have a much better, updated system with improvements to the amplifier and the speaker; it’s now louder and more precise.”
the show as a concept, we ended up with 480 I/O – we ran out of it, basically! I am using 120 inputs here, and I also have two SD Racks,” he says. “For this show, it’s all about I/O and the amount of cards you can have in every rack, and the SD7 does the job brilliantly; also, in terms of sound quality, what’s coming out of its preamps is amazing, and I am able to record everything in 96k resolution, which is a real bonus.” Monitor engineer Ray
Petruzzielo also uses DiGiCo, and was treated to the ultimate monitoring position at the O2.
Fourteen LEO-M elements were deployed per side in a L/R configuration, with MICAs as downfill
December 2012 l 37
livereport
“I get to see the audience
reaction and the band, so I get the best of both worlds from up here,” he smiles, as I peer over his SD7, which is positioned on the upper tier of the arena, looking down on the stage. “One of the things I really like about the SD7 is its video screen because it allows me to keep a really close eye on the band members. I split it into four sections, and I can always tell if there’s something not quite right by the faces they pull!” Petruzzielo is running 140 channels: 80 for the band, 48 for sequencing, and the rest dedicated to various comms channels. All monitor mixes are sent in stereo: 11 to the band, one for the sidefills, and several others for cast members, such as the mime act and the two tap dancers in the show.
“I use the recall and duration
time feature on the SD7, whereby I have the console on timer; all I need to do is hit the first snapshot and then it rolls through the rest of them,” he explains. “This is great for me, because I don’t need to be so hands-on; I can be listening to mixes without having to worry about snapshots. It just makes life a lot easier, basically.” Just before the show, I make
my way back to FOH, to a very relaxed engineer. “It’s just such a complete
system,” beams Pare, leaning back in his chair. “It provides great coverage, sound quality and power; and for phase correction, the Galileo Callisto works perfectly with the LEO-M and the 1100-LFC. It’s a pleasure to work with.”n
www.digico.biz www.meyersound.com www.solotech.com
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