JPS Australia

History

The Wombats

Pete Bartlett

The Wombats are currently celebrating the ten year anniversary of their first album, touring Australia with Groovin’ the Moo and performing a few side shows. For the past five years FOH engineer Pete Bartlett has worked with the band as well as his other main act The Pretenders.

The band members and crew were delighted to play a couple of shows at the Sydney Opera House, performing memorable and joyous shows. Let’s face it, it’s not often you witness six full-grown humans dancing around in wombat suits on stage whilst confetti guns spray over the crowd.

JPJ Audio supplied a control package that included an Avid Profile for FOH and another for monitors. Pete was pleased to get everything he wanted!
I always use an Avid Profile as I have loads of plugins and I’m not a big fan of anything newer,” he remarked. “I’m not a big fan of the new DiGiCo and Midas desks, and the Profile is just more reliable. In fact I’ve stood still for ten years with the Profile but it’s just so easy for me to use, plus you can get them anywhere.

The Wombats 1

Click to enlarge.

Pete explained that he tries to turn his Profile console as much as possible into an SSL console. The reason why is that he admits to being an eighties kid who learnt all of his tricks from being in bands and sitting in studios behind eighties producers.
I stole all my tricks from eighties producers but hey, a lot of it is all cool again!” he laughed. “Effects-wise, I use a complete mix – TC reverbs, Eventide etc, because the reverbs that come with the Profile are pretty poor.

Pete commented that when he first started mixing for The Wombats, they had ten channels of playback so if they lost the tambourine channel, they’ve lost that instrument. He didn’t like that so he went into their studio for a couple of days to mix everything to left / right.
We mixed the tracks really well, just in stereo, so if you lost the left you’ve still got the right,” he added. “It makes life so much easier. They run quite a complicated keyboard set up so it’s all run from Ableton and their keyboards just Midi into the whole thing, so I keep the keyboards separate. Essentially the band are a simple three piece of guitar, bass and drums … but they all sing and all play keyboards too.

During his time in Australia Pete had a variety of PA systems, including L-Acoustics and d&B audiotechnik, but that didn’t faze him.
Whenever I get a new PA to work with, I’ll first ask the system guys what they have done to it,” he explained. “Maybe they’ll show me a Lake EQ, and I’ll ask them to turn it off, as I like to do it myself. The last gig in Australia at Bunbury was fantastic because they had done very little to the system. Often I go into a venue to find the audio guys have hacked the PA to death. I’d rather they leave it flat so I can pull out whatever I don’t like. I don’t need anyone to EQ it, as long as it’s all time aligned and it’s correct, I’ll EQ it.

The Wombats 2

Click to enlarge.

Pete has had a deal with Sennheiser for the past eleven years after he used them with Bloc Party, in fact he is still using many of those original microphones as they’re still going strong.
Basically we don’t have many microphones onstage that cost more than $300, they’re all cheap mics,” he said. “A lot of people listen with their eyes and use something funky and expensive. People wander around backstage saying how clever the mic setup looks, but you go out front and they sound terrible.

Pete commented that the JPJ Audio crew were fantastic and gave a brilliant service, saying that they made his job very easy.

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

Coldplay 2016 Australian tour

Coldplay tour 2016 5

JPJ Audio supplied Coldplay with a massive d&b system for their four stadium shows in Australia and for their Mount Smart Stadium show in New Zealand.

JPJ has a great relationship with the Coldplay production team and it was a pleasure to be asked again to supply audio for their tour. Dan Green pulled an amazing sounding show out front with the system in full array mode. A big thanks to, Tony Smith and Nick Mooney the chiefs of CP audio and the entire Wigwam crew for making it a seamless show for us. Looking forward to the next one.

The local JPJ crew worked around the clock to get the system ready in 4 days and a big thank you for the effort. A great result for JPJ and the Coldplay tour.

The System

It was the largest D&B “J” system yet to be seen on our shores. With 176 x J8/12 boxes and 60 subs, a mix of J-sub and Infra. We also used some Q’s for some front lip fill.

The system design also incorporated array processing to cover entire stadium, which required over 120 x D80 amplifiers! Wigwam supplied the touring consoles and infrastructure and we supplied the entire speaker system with all the opening act kits required. There were also some ring delay systems for the Etihad and Alliance shows. A mad amount of speakers.

Crew list

  • Josh De Jong
  • Craig Gordon
  • Murray Lewis
  • Conor Dunne
  • Adrian Roach
  • Bonar Darmawan Abraham

Read more

Coldplay’s A Head Full of Dreams tour. CX Magazine article by Cat Strom

Gallery

 

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.


 

JPJ adds to d&b inventory

d and b speakers

JPJ Audio has purchased a new d&b audiotechnik speaker system including the new B22 high performance subs and powered by over 20 D80 high power density amplifiers.

The system will be used for Aladdin the Musical, opening at the Capitol theatre Sydney in early August.

Neil Young

Neil Young 1

© Guto Monteiro / JPJ Audio. Click to enlarge.

Doing their first headline tour since 2003 Neil Young with Crazy Horse returned to Australia for a series of arena and A Day On The Green winery shows in March 2013.

JPJ Audio provided a d&b system for the tour with shows in Perth, Adelaide, Brisbane, Sydney, Melbourne, Hunter Valley and Surf Coast Geelong.

Tour Dates

Mar 2 – 16, 2013

Main Speaker System
  • 24 d&b J-8 Enclosures
  • 8 d&b J-12 Enclosures
  • 9 d&b B2 Sublow Enclosures
  • 8 d&b Q7 (infill) Enclosures
  • 60 d&b d&b D12 Amplifiers
Side Hangs
  • 4 d&b J-12 Enclosure
  • 20 d&b J-8 Enclosure
Flown Subs
  • 16 d&b J-SUB Sub-low Enclosures



Coldplay 2012

Coldplay Australian tour 2012

© Guto Monteiro / JPJ Audio. Click to enlarge.

Promoting their fifth studio album, Mylo Xyloto, this was Coldplay’s first Australian tour since 2009’s Viva La Vida tour, aside for their quick visit for the 2011 Splendour in the Grass (Qld) festival.

JPJ Audio provided the d&b speaker system along with L-Acoustics V-Dosc and Kudo for delays.

Dates

November 13 – Etihad Stadium, Melbourne
November 17, 18 – Allianz Stadium, Sydney
November 21 – Suncorp Stadium, Brisbane

Main Speaker System

d&b Main system J-8 and J-Sub

© Guto Monteiro / JPJ Audio. Click to enlarge.

  • 40 x d&b J-8 Enclosure
  • 20 d&b J-SUB Sub-low Enclosure – flown
  • 12 d&b J-SUB Sub-low Enclosure
  • 10 d&b J-INFRA Sub-low Enclosure
  • 72 x d&b D12 amplifier

Front Fill Speaker System

  • 6 d&b Q7 Enclosure
  • 4 d&b Q1 Line Array Module
  • 6 x d&b D12 amplifier


Side Speaker System

d&b Side system J-8, J-12, V8, V12

© Guto Monteiro / JPJ Audio. Click to enlarge.

  • 24 d&b J-8 Enclosure
  • 8 d&b J-12 Enclosure
  • 16 d&b V8 Enclosure
  • 8 d&b V12 Enclosure
  • 2 d&b V8/V12 amp rack
  • 18 x d&b D12 amplifier


Delay System

Delay system. L-Acoustics V-Dosc

© Guto Monteiro / JPJ Audio. Click to enlarge.

  • 36 L-Acoustics V-Dosc elements (3 hangs of 12)
  • 54 L-Acoustics Kudo elements (4 hangs of 6) (Etihad Stadium)
  • 24 L-Acoustics Kudo elements (4 hangs of 6) (Allianz Stadium)


JPJ Audio Crew

Delay system. L-Acoustics Kudo

© Guto Monteiro / JPJ Audio. Click to enlarge.

  • FOH System Engineer
    Josh de Jong
  • System Techs.
    Connor Dunne, Guto Monteiro, Craig Gordon, Dakota Crouch
  • Monitor System Engineer – Opening act.
    Shaun Ayles
  • Delay System Techs.
    Duncan Kaye, William Ramage


Gorillaz Tour 2010

The world’s most famous virtual band, Gorillaz, made their live debut in Australia in December 2010.

After headlining the UK’s Coachella and Glastonbury festivals earlier in the year, Gorillaz headed to the Southern Hemisphere to tour Perth, Adelaide, Melbourne, Sydney, Brisbane and then Auckland.

The band – the brainchild of Blur singer Damon Albarn and Tank Girl cartoonist Jamie Hewlitt – consists of an eccentric animated quartet: singer and keyboardist 2-D, bassist Murdoc, guitarist Noodle and drummer Russel Hobbs.

As part of their first world tour the band included over 20 musicians on stage at any one time. JAS provided a D&B J system – and lots of it.

Date

December 11, 16, 19, 21

System

60 x d&b J series
16 x d&b J-sub
18 x d&b B2
Powered by d&b D12 amplifiers

FOH

DiGiCo SD7

Monitors

DiGiCo SD7
24 x L-Acoustics 115xt HiQ wedges

JAS audio crew

Craig Gordon
Conor Dunne
Guto Magic – Otavio Santos
Matthew ‘Boz’ Boaro

Russell Peters 2010

Global comedy ‘rock-star’, Russell Peters, brought his hillarious Green Card Tour to Australia in May. As part of his “Green Card Tour,” the shows featured all new material since the release of his latest DVD, “Red, White and Brown”. He was recently ranked by Forbes — along with Jerry Seinfeld and Chris Rock — as one of the top ten highest grossing stand-up comics in the U.S.

JAS supplied a D&B J series arena system for the shows at the Acer arena in Sydney and the Rod Laver arena in Melbourne.

Date

May 8, 9, 11, 14, 17, 20

System

56 x D&B J
12 x D&B J-sub
6 x D&B B2 sub
Digidesign SC48 FOH console

JAS crew

Audio system tech: Doug Pringle
Audio system tech: Otavio ‘Guto!!’ Santos

Lady Gaga Tour March 2010

Lady Gaga hit Australia for the Monster Ball tour. It was the first Lady Gaga solo tour and a monster show that featured an elaborate stage set. The shows ran for over 2 hours with numerous costume changes and sets that morphed constantly between songs, moving from New York cityscapes to Tim Burton-esque dream worlds

Eighth Day Sound Systems, Inc supplied the console and monitor package along with 6 crew. JAS supplied the stacks and racks along with an additional 2 audio crew.

Dates

March 17 – April 9

System

60 x D&B J8/12
8 x D&B J-sub
18 x D&B B2
24 x L-Acoustics dV-Dosc
64 x 1 ton motors.

JAS Crew

Audio system tech: Josh De Jong
Audio system tech: Peter O’Leary