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Adlib on Texas
Adlib Audio is again working with Texas – having just supplied a JBL VerTec PA for their recent european arena tour - engineered by ADLIB’s Andy Dockerty at FOH and Marc Peers on monitors.
Texas’ career now spans 20 years at the forefront of British popular music. Their rocky bluesy style, Sharleen Spiteri’s potent, souly vocals, and a creative infusion of popiness have carved out their special niche, cultivated a diverse and loyal fanbase and retained credibility.
Andy Dockerty has worked with Texas since 1993 – and quips that it’s now the only band guaranteed to get him out of Adlib’s busy Liverpool HQ!
New for this tour, they used a Shure KSM9 radio mic on Spiteri’s vocal, which worked well, with a combination of BSS 901 frequency conscious gating, and dbx160A compression. Hearing her vocal in the mix is the absolute bottom line, and Dockerty reckons the new mic is excellent for substantiating the rich, gritty resolution of her voice.
After utilising a VerTec 4888 system on the 2005 theatre tour, this time he chose the larger VerTec 4889 system. They toured a total of 48 VT4889 enclosures, with an additional sixteen 4888s for side hangs at the Paris Bercy, the largest venue on the itinerary – all powered by Camco V6 amplifiers.
Adlib was the first UK company to invest in VerTec back at the start of 2003, since when it has been used extensively on a varied range of artists and events including David Bowie’s 2003 Reality tour. Dockerty states: In our opinion it’s the most versatile system. It’s easy rigging capabilities greatly aid us getting into catering quickly in the morning and even quicker onto the bus each night!”
On getting a good sound, he adds: “What it really comes down to is the attention paid to detail when the system is rigged and tuned. If that’s done properly, then VerTec is also one of the easiest systems from which to get a good sound.”
Dockerty is running 18 of ADLIB’s own DF418 subs – nine a side on the deck with the system, which he reckons that this is the optimum combination, producing “a really deep, penetrating but crystal clear sound.” The subs are powered by Crown VZ 5002 amplifiers.
His effects rack includes four pairs of BSS DPR 402 dual compressors and four additional 160s, and Drawmer gates. There’s also some industry standard toys including two Yamaha SPX2000s, a TC M3000 reverb, and a TC D2 tap delay.
The control rack contains six BSS 366 system processors, three for the main hang, one for the subs, and two for the bleacher hang. These units are for system EQ, cross-over, time alignment, etc., with the overall EQ achieved using a Lake Contour system, complete with handy wireless remote - allowing the engineer to move around the venue and tweak the system whilst destroying all the local wi-fi connections!
He’s mixes on a Soundcraft Series 5 console. Dockerty hasn’t yet ventured down the digital route, and says: “When I mix a show I want to concentrate on mixing the show, not thinking about whether I’m on the right page, or how do I access my aux pot., etc. I want to be able to see everything, all of the time.”
He uses the Soundcraft Series 5, “because it sounds as good as anything else out there and is a very ‘obvious’ console. “Everything’s in a sensible place to make mixing easy.” (After abundant stick about this point of view, his initials A.D. have inspired the new nick-name of Analogue Dad
Onstage, monitor guru Marc Peers – whose own Texas history dates back to 1994 – has had no qualms about ‘going digital’ over the last two years. He loves his Yamaha PM5D, and describes it as his “new best mate”. He particularly likes its functionality, flexibility, and small footprint. Its 48 channels are full, and he describes the monitor mix as “traditional; aiming to make the band sound like themselves, everywhere onstage.”
There are nine mixes, consisting of wedges, side fills, and two sets of IEMs for the drummer and keyboardist, for which they are running a Trantec 5000 radio system.
Spiteri is getting on very well with her new dual diaphragm Shure KSM9 mic, and Peers likes its “warm but not too woolly” bottom end. The low frequencies have always been a great area of strength in her vocals.
The wedges are all Adlib’s own popular low profile MP3s, powered by Crown VZ 3600 amplifiers, and processed by a dbx DriveRack, which he likes for its versatility and efficiency. The Nexo Alpha side fills are driven by Vortek 6 amps. As is often the case with monitors, for the artist it’s also a case of having a familiar and friendly face at the side of the stage.
Adlib’s crew of six on the tour included Dockerty and Peers, who were joined by Hassane Siahi, Richie Gibson, Gareth Dubbling, and Danny Castree. Adlib’s Dave Kay also out for the first couple of days.
20th June 2006
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