JPS Australia

History

Ariana Grande

Ariana Grande 3

The world’s biggest pop sensation, Ariana Grande, bought her Dangerous Woman Tour to Australia this September and JPJ Audio joined her on the road!

Ariana Grande may be tiny, but her voice is big enough to drown out a stadium packed with thousands of screaming fans …. with a little help from a Clair Cohesion PA and her FOH engineer Simon ‘Si’ Thomas.

Toby Francis, Ariana’s usual FOH engineer, asked Si to replace him at the helm of the DiGiCo SD7 last May as he left to work on Katie Perry’s new tour.

Ariana Grande 4The Clair Cohesion PA has been utilized for her entire tour, unless unavailable in a country and then an L-Acoustics K1 or d&b J series stepped in, and it’s a system that Si is more than happy to have inherited. In Sydney, Ariana played the ICC Sydney Theatre with sixteen CO-12 per side in the main hang, twelve CO-12 per side in the side hang and three CP-218 flown per side in cardioid. Another six CP-218 per side were ground stacked in cardioid. Infills were Clair CO-8.

It’s very compact and light weight compared to other line arrays in its class and it’s got lots of headroom,” commented Si. “It has a really good high/mid which is very smooth. With this kind of music there’s a lot of odd sub content that goes down really low with which the CP-218’s do a really good job. The CP-218 sub is particularly good, it’s very powerful.” Si described the ICC Sydney Theatre as an ‘interesting’ venue but at the end of the day, he was happy with the result.

No one had flown subs in there like we did and I believe that made a lot of difference because if there’s too much down on the floor, it’s pointless,” he said. “Once you get some sub higher up, it works really well. I had heard horror stories about the venue but it was fine and quite decent sounding. Although getting in and out of it is a pain in the arse!

Ariana Grande 2FOH there is a fair amount of analogue involvement, with Si using the SD7’s subgroups to route out through Lake Processors which convert the digital to analogue. “I then have a Neve Portico 5059 Satellite 16×2+2 Summing Mixer and within that I’ve inserted various types of compression – Smart C2 for the drums, Crane Song STC-8 for the music, backing vocals a Tube-Tech SMC 2B multiband optical compressor and for Ariana’s vocal a Rupert Neve Shelford Channel,” explained Si. “The various compressors are on the A Channel side of the Portico summing mixer, which are then all fed to the B side of the summing mixer to create a master mix which has a Portico II Master Buss compressor across it. Then that would then output and come back into the Master Buss return insert point of the SD7 with yet another Lake, converting to AES. Basically it’s a like one big insert chain.

Added to that were a couple of TC M5000’s used for drum and vocal reverbs. Si readily admits that it took him a bit of time to get his head around what was going on but concludes that the system works very well.

Ariana Grande 4Ariana uses a Sennheiser MD 5235 dynamic microphone capsule with a Lake inserted across her channel so all of her vocal EQ’s are done in the Lake and not the console. In fact a lot of the serious work is not done in the DiGiCo which is basically being used as a big router! The Digico channel expander was used on the vocal to keep the noise floor down so when Ariana is in front of the thrust and is not singing, you’re not hearing the room noise or PA.

I’m using a Telefunken M82 kick drum mic which is really, really nice,” added Si. “I also have Telefunken M81’s for the snare drums but the rest of the mics are fairly standard.

Vish Wadi also used a DiGiCo SD7 to run monitors with everyone using Sennheiser 2050 IEMs plus there are flown sidefills, some CM-22 stage monitors on the floor for the dancers and CP-118’s providing sub onstage for the band.

The Australian tour was good fun and we really enjoyed it,” said Si. “To be honest, it was quite easy …. partly due to my system tech Jerrell Evans and the JPJ crew of Tim Seconi and Alex McComark, who were good lads.

Hans Zimmer Revealed

Hans Zimmer 1

Legendary German film score composer and record producer Hans Zimmer brought his Revealed Tour to Australia with JPJ Audio tasked with supplying gear and crew for this complex production.

Since the 1980s, Hans Zimmer has composed music for over 150 films including The Lion King, for which he won Academy Award for Best Original Score in 1995, the Pirates of the Caribbean series, The Thin Red Line, Gladiator, The Last Samurai, The Dark Knight Trilogy, Inception, and Interstellar.

FOH engineer Colin Pink has worked with Hans for three years with this tour starting in April, firstly doing some dates on the West Coast of the States, before coming to New Zealand and Australia for five shows. The tour then heads off to Europe for twenty-six shows before returning to the States for another twenty-five shows finishing on the 18th August.

Nathaniel Kunkel is the Sound Designer for the tour and being based in L.A, Colin says he was the right person to do all the pre-production creation and programming for the show.

Being more of a studio based engineer, he had the ability to refine the detail of the show before we got into rehearsals,” commented Colin. “Once I came on board for rehearsals and the tour itself, we worked very well together using my skills in the live sector, to adapt our work into a touring format.
Hans Zimmer 2The show is a massive challenge from an audio point of view. There is a core band of twenty-two people, including six keyboard players who all double on other instruments. On top of this there is a choir of sixteen and an ‘orchestra section’ consisting of twelve string players and nine brass players. The total input channel count is 260 and there are 63 monitor mixes.

To control all of this we have a Digico SD7 at FOH and monitors, plus an SD11 to sub mix the orchestra and choir,” explained Colin. “The main reason for choosing the Digico consoles was their high channel count coupled with their flexibility and ability to ‘copy audio’ over the fiberoptic network. Even with the high channel count of the SD7, I was creating ‘stems’ of the playback and certain sections for Gavin Tempany at monitors, since he could not take all the inputs directly as he had a reduced input count due to his high number of monitor outputs.

As far as outboard and effects went, Colin has tried to keep it as simple as possible. At FOH he has a t.c. electronic M6000 doing vocal reverbs and uses an internal Tap Delay and some of the internal ‘Audio Enhancers’ inserted across the keyboards and electric cello. Although the show is quite FX heavy most of these are taken care of by the keyboard on stage and some by the playback rig. The show is performed with a full surround rig and a lot of the FX are presented in a surround format.

I think one of the most difficult – and interesting – parts of mixing for Hans is the way he uses many layers of sound to create interesting textures,” remarked Colin. “There are often thirty or so layers of keyboard tracks which combine to make a fluid texture. In the live environment it’s very hard to achieve the right balance between the component parts and keep track of who is doing which bit!

Hans Zimmer 3Colin stated that P.A systems had been very interesting on the tour so far, and for the first few venues he used ‘in house’ systems.

We started at The Microsoft Theatre in L.A and used their JBL Vertec System,” he said. “Our second show was at the Coachella Festival on their L-Acoustics K1 system. Next stop was San Francisco using the new Clair CO12 system. Then we have a K2 system in Vegas and a D&B J Series system in Auckland!
Once the tour reached Australia JPJ Audio provided their Clair CO12 system for the entire Australian tour and this system will also be used in Europe.

It’s been great to have a few systems on the tour as a means of comparing them,” added Colin. “With the CO12 we ended up with 16 x CO12 a side as the main hangs, and 12 x CO12 as side hangs. As the content of this show has a very extended low end, we flew 6 x subs per side next to the main hangs and had another 12 x subs across the front of the stage. This gave us a very smooth coverage and plenty of headroom. Added to this we have a full surround system, it is soundtracks after all!

The mic setup was fairly standard, although on a large scale. All the strings had ‘clip on’ DPA’s and the rest of the orchestra and band had standard microphones. The important part of the mics on stage was that there were no wedges (with everyone on IEM’s) or guitar cabs. All the guitars are being run through ‘Kemper’ emulators, so the only spill into the orchestral mics was from the drum kit which is heavily screened. This allowed Colin a lot more control over the mix 

JPJ looked after us for the whole of the Australian leg of the tour,” Colin said. “Their service was second to none. The efficiency of the JPJ Sydney crew of Joel and Alex meant I never had to wait for any part of the PA ahead of sound checks.
Hans Zimmer 4

Clair Cohesion Series makes Australian debut with Keith Urban

Keith Urban 25

All photos ©Troy Constable

Although the venue is equipped with a d&b audiotechnik PA system, Keith is a long time Clair account and so JPJ Audio provided their new Clair Cohesion PA system, purchased just in time for Keith’s Australian Ripcord Tour. Seamless integration within the Cohesion Series, assures uniform coverage in multiple venues regardless of acoustic challenges or sightlines. The Series provides higher output, reference quality sound within a smaller footprint; in truck space and in the air.

Keith’s FOH engineer Kirk Kelsey has mixed for a wide variety of acts including Live, Creed, Three Doors Down, and The Smashing Pumpkins. He readily admits that he has been blown away by the Cohesion Series. “The new Cohesion system is a totally different animal to anything else Clair has produced,” commented Kirk. “It’s also totally different to anything else that I have mixed on such as d&b, Meyer or Adamson. Whilst all of those systems are high quality, Cohesion just keeps going – it never compresses itself, has tons of headroom and it throws a very good distance. The clarity and vocal intelligibility of it is outstanding whether you’re in a theatre, arena or stadium.

Keith Urban 14Kirk reports that as there is a large amount of low frequency in the hanging PA, he doesn’t have to fly subwoofers. “There’s not a lot of processing in the Cohesion as I believe that Clair wanted to give engineers raw power,” he added. “One thing I learnt with the Cohesion PA is that you have to build your show in this system for it to be able to work. I can’t just come in after an L’Acoustics or d&b show, and plug into the system. The Cohesion system will show all the flaws in the mix so you have to undo everything.

At the ICC theatre there were twelve Cohesion CP-118™ self-powered sub bass loudspeakers run in a cardio pattern of two blocks of six onstage. Kirk reports that they are really, really efficient and that they deliver tons of output, in fact he actually has to run the subs at -10 compared to the rest of the system.

The main hang comprised of sixteen Cohesion CO-12 cabinets, Clair’s next generation of versatile, reference quality concert loudspeakers, with a further twelve CO-12’s for side hang. “The side hang is a 120° splay and the main hang an 80° splay,” Kirk clarified. “We also have a centre hang which consists of four Cohesion CO-8 cabinets and that covers the thrust that comes out from the centre of the stage. We also have CO-8’s stacked in various places across the subs or the stage to fill out little gaps.

Kirk revealed that they had just played Canberra’s GIO stadium with the same configuration of sixteen Cohesion CO-12 cabinets and they were able to reach back of stadium with no problem.

Keith Urban 5Out front Kirk was mixing on an Avid Profile with a large number of inputs including eight inputs for Keith’s electric guitar alone. For this, Kirk uses many different microphones, blending them to try get the sound as big as possible, as one microphone would not do justice. “Danny Raider our stage right guitar player also plays a lot of auxiliary instruments and then Nathan Barlow upstage right, is the EDM factor to Keith’s new album which has electronica influence,” added Kirk. “Nathan has built this thing that he calls The Phantom that consists of four iPads triggering different types of samples as well as keyboards and pads plus a guitar. There’s a lot of talent of stage and they’re a really tight band. I got lucky with this band – I didn’t have to come in and fix anything!

Kirk describes mixing Keith’s show as like mixing a rock show and that he just follows his lead. Initially he built snapshots for every song but discarded them after the first show as Keith is very much a free spirit on stage.

Although Kirk wasn’t using any outboard effects on this show, typically has eight RF vocal mics active for Keith as he can pop up anywhere on stage or out front at any time. “It didn’t seem cost effective to build money channels for each one of those RF microphones and as a result I came up with a scheme so next year I can go ahead and route them through their own separate mixer. I use a lot of Waves as well as Brainworx, SPL Transient Designer and Echo Farm.

Monitors were mixed by Phil ‘side fill’ Wilke on a couple of Midas H3000 analogue consoles with a bunch of outboard effects. Keith and his band use both IEM’s and wedges, with Keith typically using just the one IEM as audience microphones don’t give him the same feel as wedges.

The Ripcord tour has been on the road for several months and fans regularly post to Keith Urban’s facebook page and there is rarely any mention of audio quality, which we all know is a good thing!

Gallery

 

AC/DC Black Ice World Tour

AC/DC, Australia’s most successful rock and roll band, with sales of over 200 million records worldwide, returned home in February as part of their Black Ice World Tour. It was the band’s first Australian tour since 2001.

The main loudspeaker arrays, for the tour, were Electro-Voice X-Array while Jands Production Services provided Clair Audio I5 cabinets for the side hands and delays. For the stadium shows JBL Vertec cabinets were used ito supplement the system.

Dates February 11, 2010 – March 8, 2010
Melbourne Etihad Stadium – February 11, 13, 15
Sydney ANZ Stadium – February 18, 20, 22
Brisbane QSAC Stadium – February 25, 27
Adelaide Adelaide Oval – March 2
Perth Subiaco Oval – March 6, 8
JPS Crew  
  Nick Giameos
Delay Crew – Sydney Karl Sullivan, Dave Richardson, Paul Schofield, Simon Farrell, John Kerns
Speaker System Clair Bros Audio
  20 x Clair i5 10° Speaker Cabinet
  8 x Clair i5 5° Speaker Cabinet
  8 x Clair i5 2.5° Speaker Cabinet
  30 x JBL Vertec VT4889
  14 x Crest/QSC Amp Rack
  20 x Crown MA5002VZ
FOH Drive System  
  10 x Clair iO Controller
  1 x Gateway Motion 1200 Tablet PC

Pink’s record breaking ‘Funhouse’ tour

Pink - Funhouse Tour 2009
Photo – Talitha Conway

After more than three months criss-crossing Australia, American pop superstar Pink wrapped her record-breaking tour with a final sell out concert at Sydney’s Acer Arena. It was the 58th and final performance of her phenomenal Funhouse national tour. In total, Pink performed before more than 660,000 concert-goers — 150,000 of those in Sydney alone.

JPS supplied equipment and additional crew for Pink’s Australian concerts — twelve in Sydney, seventeen in Melbourne, six in Adelaide, four in Newcastle, two in Wollongong and Canberra, eleven in Brisbane and four in Perth.

Dates May 22, 2009 – August 29, 2009
JPS Crew Nick Giameos Simon Farrell
Speaker System Clair Bros Audio
  44 x Clair Bros i5 Cabinets
  28 x Clair Bros i5b Cabinets
  16 x JPS JBL 18″ Sub Bass
  8 x Clair Bros R4 MkIII Cabinets
  4 x P2 Cabinets
  8 x JBL Vertec 4888 Cabinets
FOH Drive System  
  12 x Lake Clair iO’s
  1 x Motion 1200 Wireless Tablet
  1 x BSS 366 Omni Drive
Control systems  
F.O.H. 1 x Digi-design D-Show Venue
  2 x Digi-Design D-Show Venue side cars
  1 x Clair Lake iO controller
  2 x Tascam CD-RW901SL Cd Recorders
  1 x Sony CDP-11 CD Player
Wireless Microphones  
  1 x Shure UR4D-Q5 Duel Receiver
  2 x UR2-Q5 Handheld Mics c/w KSM9 capsules
Monitor Speaker System Clair Bros Audio
  4 x Clair Bros i5 Cabinets
  28 x Clair Bros 12AM wedges
  4 x Clair Bros ML18
  3 x 4 Mix Amp Racks
  12 x Crown MA3600VZ Amplifiers
Wireless in ear monitors  
  3 x Shure P6HW In Ear Monitor Systems
  14 x Sennheiser EW-300 G2 In Ear Monitor Systems c/w 28 Receivers
Monitor Control System  
  1 x Yamaha PM1D (Supplied by Audio Rent)
Rigging Equipment  
  8 x Lodestar 2T Chain Hoists
  14 x Lodestar 1T Chain Hoists

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Black Eyed Peas 2009

Tour Dates

28th Sept-11th October

Sound Crew

Nick Giameos
Duncan Kaye
Paul Schofield

FOH Speaker System

44 x i5 Cabinets
40 x i5b Cabinets
32 x JBL 18″ Subs
8 x P2 Infill Cabinets

FOH Drive System

12 x Lake Clair iO’s
1 x motion 1200 Wireless Tablet
1 x BSS 366 Omni Drive

Monitor System

30 x Clair Bros 12AM Wedges
7 x 4 Mix Amp Racks
7 x Dolby Lake DLP’s
28 x Crown MA3600VZ Amplifiers

Rugby League Grand Final 2009

Rugby League Grand Final 2009

More than 2.5 million Australians tuned it to see Melbourne’s premiership triumph over Parramatta – making it the most watched NRL grand final in three years. Jands provided the audio system and staff for the day’s entertainment, including performances by Wolfmother, Wes Carr and Mark Vincent.

Date Sunday October 4, 2009
Audio Crew Michael Waters, Garry Hall, Tim Lonigan, Adam Williams
  Bob Daniels, James Kohler, Tony Love, Andrea Le Roy
  Shane Oldham, Adam Smith
Speaker System JBL Vertec
  42 x JBL Vertec 4889
  16 x JBL Vertec 4880
Amplifiers 36 x Crown MA5002vz Amplifiers
Control systems  
F.O.H. Digico D5 112EX Console
  Yamaha DM 1000
  Al Smart C2
  3 x Dennon CD Players
  1 x Tascam CD recorder
FOH Drive System  
  10 x BSS 366 Omni Drives
Monitor System  
  Yamaha PM-5D RH
  2 x Dolby DLP’s
  1 x BSS 366
  16 x Clair 12AM Wedges
  4 x L-Acoustics ARCS
  8 x Crown MA3600vz Amplifiers
  12 x Crown MA3600 Amplifiers
  3 x Lab Gruppen LA48 Amplifiers

Beyonce 2009

Tour Dates

14th-25th September

Sound Crew

Nick Giameos
Duncan Kaye

FOH Speaker System

44 x i5 Cabinets
40 x i5b Cabinets
32 x JBL 18″ Subs
8 x P2 Infill Cabinets

FOH Drive System

12 x Lake Clair iO’s
1 x Motion 1200 Wireless Tablet
1 x BSS 366 Omni Drive

Monitor System

22 x Clair Bros 12AM Wedges
4 x Dolby Lake DLP’s
16 x Crown MA3600vz

Greenday

Greenday

Tour dates 13th – 18th December 2005
System Engineer Greg Rosman
Audio Crew Andrew Mitchell, Nick Giameos, Cameron Elias, Richard Vass, Michael Burdett, Paul Schofield, Mark Wilson, Andy McKeown
Speaker System Clair Bros i4 system
44 x i4 Cabinets
40 x i4B Low End Cabinets
8 x Clair Bros P2 Cabinets
48 x JBL 18″ subs
16 x Clair Bros Crest Amp Racks
12 x Crown MA-5002-VZ Amplifiers
Speaker System JBL Vertec 4889 System
42 x JBL Vertec 4889 Cabinets
28 x Crown MA-5002 VZ Amplifiers
Consoles
F.O.H. Midas H-3000 Console
Monitor Yamaha PM-1D Digital Console

Fleetwood Mac 1977

Fleetwood Mac 1977

Fleetwood Mac 1977

Rumours was released on the 4th of February 1977 and on 28 February, after rehearsing at SIR Studios in Los Angeles, Fleetwood Mac started a seven month-long promotional tour of America. In late 1977 they arrived in Australia and headlined the massive outdoor “Rockarena” shows in Sydney and Melbourne. They also played smaller indoor shows in Brisbane and Perth.

Jands supplied the lighting and audio to supplement the Clair Bros S4 system the band toured with.

All (except main) photos © Jands Pty Limited. Click to enlarge

Sound System – Clair Brothers

32 x Clair S4 Speaker Cabinets, each containing:
2 x JBL 18″
4 x JBL 10″
2 x JBL 2″ Compression Driver
2 x JBL Slot Tweeter

Clair Bros Crew

James ‘Trip’ Khalaf
Chuck Hull
James Devenney
Steve Paterno

Additional System – Jands Concert Productions

12 x Hurler (sub-Low) c/w 4 x JBL 2205
4 x RCA W Bin c/w 2 x JBL K140
16 x JBL 4560 c/w 1 x JBL 2220
16 x JBL 4580 c/w 2 x JBL K120
24 x JBL 2350 Horn + 2480 Driver
16 x JBL 2355 Horn + 2440 Driver
10 x JBL 2356 Horn + 2480 Driver
48 x JBL 075 Tweeters

Jands Crew

Eric Robinson – Production Manager
David Mulholland – Audio
Vann Stenvei – Audio
Peter Rooney – Lighting

Links

Outstanding footage recorded live at the Sydney Rockarena concert.


You make loving fun.


Go your own way.


Rhiannon.