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March 2013 l 45
livereport
the drum kit after the show, which is amazing, really.” System tech, SSE Audio’s own
Perttu Korteniemi, says two local crew is enough to hang any KARA system, because once propagated, it goes up (and comes down) very quickly. He also uses L-Acoustics’ SoundVision software to make his room predictions. “It’s the only 3D prediction
software out there, and it’s excellent – though there’s no wizard element to it, it’s still a lot of maths,” he smiles. “It’s all IP-based now, so the role of a tech is a full-time job; if you have the dimensions of the room and seriously good drawings, you can do a lot of prep work; I already had a room file for the Apollo, which gave me an advantage.” Console of choice at FOH
was a DiGiCo SD10. A long- time fan of the manufacturer, Richards feels DiGiCo offers great value for money and excellent sound quality. “Whatever the [DiGiCo] desk you’re using, you still get pretty
All audio kit was supplied by SSE Audio Group
in the NGB frequency range, which goes all the way from 606-790, so I can also use it as a scanner to scan my entire band every morning, because all my [11 Sennheiser G3] in-ear systems fall into that band. It’s just a great setup to work with.” Although Paloma Faith may
for her; it just catches the peaks and holds them back and it fattens the vocal up nicely. I then use a TC Electronic 6000 for Paloma’s reverbs, which is also a brilliant bit of kit.” Audio travels via a digital
path from the SD10 into two Lake processors (LM 44 and LM 260), which are located at FOH; then it goes into a Cisco switch, and then it’s all fibre to stage left. From there, it breaks down to Cat5 to the stage Lakes
Paloma Faith’s gold Sennheiser SKM 5200 mk II
therefore it’s far more stable than a condenser for this application,” he explains. “As it’s the only radio mic we’re using, I’ve
brought in the 3732, which is also excellent. It has an AES output, so it sounds great if you want to keep it digital all the way, and it’s
only stand at 5 feet 3 inches, her stage presence transforms her into a fizzy, cheeky giant. A capacity crowd went home very satisfied that night, after witnessing a show that sounded as good as it looked, which is not surprising when you consider the quality of the team around her.n
www.digico.biz www.l-acoustics.com www.sennheiser.co.uk
much what you’d get in the flagship SD7: great EQ, great preamps; it all stays the same quality, no matter the price,” he says. “I’m running 54 channels here on my SD10, and I love that I have 12 faders in each bay rather than eight, because it’s fantastic for drums, as I can pack the whole kit into one bay, which is ideal.” Richards is also impressed by the SD10’s internal effects: he uses several reverbs for the drums and various delays for the vocals. “There’s a lot happening on
stage so it’s good to have all that processing available to send anywhere as and when you wish. Miles [Hillyard, SSE Audio’s senior project manager] also gave us some cool hardware to have a play around with, including the Waves PuigChild, which works beautifully on Paloma’s vocal, as she has quite a peaky mid range,” Richards explains. “We have it on a setting that seems to work well
(two additional LM 44s), then it goes AES to the LA8 amplifiers. “This means when the
microphone hits the [DiGiCo] SD rack on stage, it doesn’t go back to analogue until the speaker cables,” Korteniemi explains. “This method keeps everything simple: there’s no setting up of gains and no hiss; it’s all nice and clean, so when you open up the PA, there is no interference whatsoever.” At monitor position, Saul
Skoutarides worked from a Midas PRO2, packed out at 53 channels. He provided individual in-ear monitor mixes to three dedicated backing vocalists and all band members; and Paloma’s ‘blinged out’ gold Sennheiser SKM 5200 mk II was linked to Sennheiser’s top-of-the-line 3732 receiver. The results, Skoutarides says, are phenomenal. “The SKM 5200 sounds
excellent, and because we’re also using the dynamic [5235] head, it doesn’t use too much band,
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