JPS Australia

History

Istoria – The Trance Project

Istoria 1

With the express purpose of uniting the Trance scene, creating memorable experiences and spreading the love of Trance, Istoria made its’ debut at Melbourne’s Margaret Court Arena followed by a night at the Sydney Showground Halls.

JPJ Audio supplied the equipment for both events with a d&b audiotechnik PA used in Melbourne and an L-Acoustics PA in Sydney.

Operating both shows was Josh Barker who stated that nice even coverage, with a little bit more bottom end, is always a good starting point.

Dealing with a dance party, it’s obviously about creating a good level on the dance floor without blowing the windows out when you open the doors!” he added. “Also, you don’t want it too fatiguing for those listening to it for eight hours at a time …… and that includes me!

Istoria 2Josh commented that he prefers the older L-Acoustic boxes for dance parties adding that the V-DOSC works very well having two 15’s in the mid high cabinets.

It helps keep the kick drum very punchy and all the bottom end detail doesn’t get blurred out,” he said. “I’ve worked with this PA for years so I know it very well. It is always very important to get your subs right otherwise you will be hearing from the noise police on the hour, every hour. Andrew Rogers looked after the EPA consulting in Melbourne and the Sydney show was handled remotely, via SMS. Maintaining that LEQ average and leaving yourself some breathing space for the main act is vital! Otherwise the later it gets, the quieter it gets. These events sometimes run until 6am.

As for mixing a dance party, Josh describes it as almost like remastering the content coming from stage for a big PA in a room or an outdoor setting.

We are well and truly in the digital era as far as the modern DJ/Producer is concerned. Most of the content has been produced and mastered ‘in the box,’ and sometimes it need some warming up on a large system, especially in the large warehouse style venues. I am making adjustments tailored to each track being mixed in by the DJ. I’m really just taming frequencies and making sure there’s a nice healthy level without hurting anybody’s ears. Being dance music, it can get quite nasty at high volume, most of the synth sounds are based heavily around the square and sawtooth VCO’s and they can really poke out when the PA is at battle-speed.

Josh mixed on an Avid Profile console with a Waves Maxx BCL as a left and right insert, a Puigchild and some Midas XL42’s for some analogue pre amps on the front end. On board, he used a Waves C6 multiband dynamic which keeps everything in check when his hands are busy doing something else.

I use the Maxx BCL as the last point in the chain on the output and that’s got a compressor, bass expander and a limiter all in one,” he added. “It’s really good for keeping the level where I need it, especially if the DB limit is undesirable. It allows me to make it sound big at lower levels and maintain the vibe on the dance floor regardless of the restrictions in place. I use the PuigChild over a group to soften things up when I need to without having to bring the level down. I used this mostly during breakdowns/build-ups when things can get very busy and you generally don’t have a lot of bottom end to round it all off.

Istoria 3All Photos: Jimmy James Denouden

A Day On The Green

ADOTG 1

Promoters Michael and Anthea Newton of Roundhouse Entertainment began A Day On The Green in Victoria with the first show on Australia Day 2001. Since then it has grown to become firmly established as one of Australia’s most successful and respected outdoor concert events.

A glittering array of International and Australian stars have performed during the past fifteen years providing unforgettable musical memories. A Day On The Green runs in the summer months from October – March with around thirty concerts per season in the all major wine-growing regions around Australia.

This year kicked off at Bimbadgen Estate with the Monster National Tour featuring an all Australian line up including You Am I, Something For Kate and Spiderbait. As in previous years, JPJ Audio supplied crew and gear for the tour.

FOH Systems Tech Ryan Fallis has done ADOTG for the past eight years and has experienced everything that nature can throw at an outdoor show. The Bimbadgen show was no exception with high winds at midday causing the stage to be shut down for over an hour, just when acts were about to sound check. Added to that was a large bushfire nearby that threatened to have the show cancelled.

There’s been some terrible weather at ADOTG shows over the years,” remarked Ryan. “One year at Sirromet Wines in Queensland we had a lightning storm and we had to evacuate the stage – that was pretty dicey! There’s always some sort of weather event around ADOTG, one year the stage was actually under water but they still managed to get the gig going.

As the ADOTG gigs travel the country the PA system is provided through the three JPJ offices in Sydney, Brisbane and Melbourne whilst the FOH package is toured. At Bimbadgen an L-Acoustic K1 rig out of Sydney was used comprising of twenty-four K1 boxes in the air for the mains, eight K1-SB in the air, twelve Kara underneath the mains, twenty four SB-28s on the ground, four Kara infills and for the sides ground stacked V-Dosc.

It’s quite a few boxes but that’s needed to cover a field of that size,” added Ryan. “In Queensland we’ll have their V-Dosc system which sounds really good too. It’s a similar system box wise but we add a couple of rings of delays as well to get some extra coverage. In Melbourne we’ll pick up the d&b audiotechnik rig.

At each ADOTG show engineers request the mixing console they require, in this case there were two Avid Profile consoles with JPJ’s Adrian Roche mixing monitors on a Yamaha PM5d.

Gallery – click images to enlarge.