JPS Australia

History

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

Don Henley 2017 Tour

Don Henley Tour

Eagles co-founder, vocalist and drummer Don Henley returned to Australia this month for a run of indoor and A Day on the Green outdoor shows. Don was joined on stage by his fifteen-piece band for a show that has had critics raving.

FOH engineer Tom Evans has mixed for a wide variety of acts in the past including Snow Patrol and Gwen Stefani. He describes working for Don Henley as a pleasure to mix and says the band are all incredibly talented.

The material I am being given to mix is absolutely first rate,” Tom stated. “The band consists of five horns, three backing vocalists (although all the band sing backing vocals too), two keyboard players, two guitars, bass player, drums and one member who plays a variety of instruments including pedal steel.

JPJ Audio provided crew and gear for the tour including an L-Acoustics PA consisting of K1 over K2 cabinets and V-Dosc for outfills. The amount varies from show to show, as they are playing small and large, indoor and outdoor gigs. The maximum carried are twelve K1’s per side with K2’s underneath.

Don Henley has great attention to detail which is both inspiring and motivating for Tom, who mixed the show on an SSL Live L500 Plus console with no outboard effects.

In the beginning I used a DiGiCo SD5 with Waves external but I find it’s really one more thing to go wrong,” he said. “Often, simpler is better. I’m pretty much using everything available with the console and have maxed out the DSP on it. I have eight Reverbs running, a couple of Delays, a couple of Doublers, some Multiband compressors, Dynamic EQs and De-essers, the SSL Stereo Bus Compressor and Transient Shaper. The standard Dynamics and EQ on the channels are great too.

Each musician plays several different instruments which keeps Tom on his toes using snapshots and set lists to ensure the right instruments are open and muted at the correct times.

Microphones are sourced from a variety of manufacturers with Shure 58, Telefunken M81 and DPA De:Factos on vocals.

Monitors were mixed by Raza Sufi on a DiGiCo SD9 console with a combination of wedges and IEM’s used onstage. All of the band, except for one, are on IEMs although some of them also have wedges.

The Australian tour was great,” added Tom. “The local crew and the crowds are great, and we always have a good time.

 

Australia Day 2017 at the Opera House

Australia Day 2017 1

Directed by the highly-awarded John Foreman, Australia Day 2017 – Live at the Sydney Opera House brought together a collection of Australia’s best talent, including Tina Arena, Guy Sebastian, Human Nature and Dami Im. The concert was hosted by Grant Denyer and Kerri-Anne Kennerley.

JPJ Audio provided audio production with Will King in charge of the design and running front of house. It has been well publicized that the forecourt of the Opera House is a tricky venue due to its’ strict noise control limit. Added to that was the fact that the show was broadcast live and the television producers wanted the Harbour Bridge as a backdrop.“This meant that the stage wasn’t orientated in a way that was helpful in achieving that sound level,” commented Will. “The sound was directed towards the Botanical Gardens and in places, could hit the sandstone wall. We had to do our best to deliver a sound system that would shoot down enough to not hit the wall, only the audience.

The PA system comprised of L-Acoustics K1, ten a side, with a side hangs of KARA enclosures to cover the steps of the Opera House, as well as SB28 subs. A single mono delay hang of eight deep KUDO enclosures was also utilized. A large number of Clair 12am wedges covered the stage and the thrust that jutted out into the audience. Usually a thrust allowing performers in front of the PA can cause problems but not in this case due to the concert’s strict noise limits.

Australia Day 2017 2That was probably the only good thing about having a strict noise limit!” laughed Will. “I used a DiGiCo SD10 for control and it was the first time I didn’t have a single channel to plug anything into. The entire console was full – if anyone else had turned up I don’t know what we would have done!

It was important that Will remembered the larger audience was at home watching the concert on the television and he had to be careful not to do anything that would affect the broadcast.

For example, feedback is an absolute no-no on TV,” he elaborated. “If it happens once or twice at a gig, you can get away with it but with television it’s very noticeable in the quiet of your living room as opposed to a noisy gig.
Those who have seen the broadcast of the show will remember what appeared to be a momentous audio fail when Grant Deyner’s microphone didn’t appear to work for what seemed like an age. However, JPJ are relieved to be able to state that the microphone was working perfectly at the gig.

Tristan Farrow ran monitors using a DiGiCo SD5 console.

Photos:

©Troy Constable

JPJ adds to Digital Console Inventory

Digico consoles

When it was released, over a decade ago, JPJ Audio was one of the first rental companies to purchase the Digico D5. Since then we’ve added SD10, SD7 and more recently SD5 Live Digital Consoles to our extensive rental inventory.

For more information on the consoles we use visit our equipment pages.

Big Day Out 2014

Orange & Blue Stages

Australia’s foremost music festival, The Big Day Out, debuted on the 1992 Australia Day public holiday in Sydney and expanded to Adelaide, Melbourne and Perth by the following year. The Gold Coast and Auckland were added to the schedule in 1994. As of 2003, it has featured seven or eight stages (depending on the venue) accommodating popular contemporary rock music, electronic music, mainstream international acts and local acts.

JPJ Audio (previously trading as Jands Production Services and Johnston Audio) has provided the sound systems for every Big Day Out show since 1992 and 2014 was no exception. The festival usually takes place in late January and this year was held in four Australian cities: Gold Coast (Jan 19), Melbourne (Jan 24), Sydney (Jan 26), Adelaide (Jan 31) and Perth (Feb 2).

Orange / Blue Stages – FOH Speaker System
  • 68 L-Acoustics V-DOSC Enclosures
  • 48 L-Acoustics SB218 Sublow Enclosures
  • 18 Amplifier Rack, L-Acoustics (4x5002VZ)
  • 4 Amplifier Rack, L-Acoustics (2x5002VZ)
  • FOH Speaker System Delays
  • 18 L-Acoustics Kudo Enclosures
  • 2 Amplifier Rack L-Acoustics LA-RAK (3xLA8)
  • FOH Drive
  • 1 Midas PRO1 Digital Mixing Console
  • 1 L-Acoustics V-DOSC Drive Rack (4xDolby)
  • Blue Stage FOH Control
  • 1 Digidesign Profile Control Surface
  • 1 Digidesign Venue FOH Local Rack
  • 5 Digidesign DSP Mix Engine
  • 1 Midas PRO2C Digital Mixing Console
  • Monitor Speaker System
  • 18 d&b M2 Monitor Enclosure
  • 2 d&b Q-SUB Sublow Enclosure
  • 6 L-Acoustics ARCS Enclosure
  • 4 L-Acoustics dV-SUB Sublow Enclosure
  • 3 Amplifier Rack, 4mix d&b D-12
  • 12 d&b D-12 2ch Amplifier
  • 2 Amplifier Rack, ARCS (2xLA48+366)
  • Monitor Control
  • 1 Yamaha PM5D-RH Digital Console
  • Orange Stage Control
  • FOH Control
  • 1 Digidesign Venue Digital Console System
  • 1 Digidesign Profile Control Surface
  • 1 Digidesign Venue FOH Local Rack
  • 1 Digidesign Venue Stage Rack
  • Monitor Speaker System
  • 16 Clair Bros 12AM Monitor Speaker Enclosure
  • 3 Amplifier Rack, 4mix 12AM (Crown 3600)
  • 2 Clair Bros ML18 Sublow Enclosure
  • 2 Amplifier Rack, ML18 (Crown MA9000i)
  • 6 L-Acoustics ARCS Enclosure
  • 4 L-Acoustics dV-SUB Sublow Enclosure
  • 2 Amplifier Rack, ARCS (2xLA48+366)
  • Monitor Control
  • 1 Yamaha PM5D-RH Digital Console
  • 1 Yamaha PM5D Power Supply Rack
  • Red Stage
  • FOH Speaker System
  • 18 JBL VERTEC 4889
  • 16 JBL VERTEC 4880
  • FOH Control
  • 1 Digidesign Venue Digital Console System
  • 1 Digidesign Profile Control Surface
  • 1 Digidesign Venue FOH Local Rack
  • 1 Digidesign Venue Stage Rack (48in, 32out)
  • Monitor Control
  • 1 Digidesign Venue Digital Console System
  • 1 Digidesign Profile Control Surface
  • 1 Digidesign Venue FOH Local Rack
  • 1 Digidesign Venue Stage Rack (48in, 32out)
  • Monitor Speaker System
  • 14 Clair Bros 12AM Monitor Speaker Enclosure
  • 1 L-Acoustics dV-SUB Sublow Enclosure
  • 1 Amplifier Sleeve, dV-SUB (1xLA8)
  • 2 Amplifier Rack, 4mix 12AM (Crest)
  • Sidefill
  • 6 L-Acoustics dV-DOSC Enclosure
  • 2 L-Acoustics dV-SUB Sublow Enclosure
  • 1 Amplifier Rack, L-Acoustics 115XT HI-Q (4 mix LA8)
  • Boiler Room FOH Speaker System
  • 18 L-Acoustics V-DOSC Enclosure
  • 6 L-Acoustics dV-DOSC Enclosure
  • 8 L-Acoustics ARCS Enclosure
  • 16 L-Acoustics SB218 Sublow Enclosure
  • 6 Amplifier Rack, L-Acoustics (4x5002VZ)
  • 4 Amplifier Rack, L-Acoustics (2x5002VZ)
  • 1 L-Acoustics V-DOSC Drive Rack (4xDolby)
  • FOH Control
  • 1 Digidesign Venue Digital Console System
  • 1 Digidesign Profile Control Surface
  • 1 Yamaha O1V96 Digital Console (16 Mono + 4 Stereo)
  • Monitor Speaker System
  • 14 Clair Bros 12AM Monitor Speaker Enclosure
  • 2 Amplifier Rack, 4mix 12AM (Crown 3600)
  • 4 Clair Bros R4 Mk III Speaker Enclosure
  • 1 Amplifier Rack, R4 (Crown MA9000i)
  • 6 Clair Bros ML18 Sublow Enclosure
  • 2 Amplifier Rack, ML18 (Crown MA9000i)
  • Monitor Control
  • 1 Yamaha PM5D-RH Digital Console
  • 1 Yamaha O1V96 Digital Console (16 Mono + 4 Stereo)
  • DJ Monitors
  • 9 L-Acoustics dV-DOSC Enclosure
  • 6 L-Acoustics dV-SUB Sublow Enclosure
  • 2 Amplifier Rack, L-Acoustics 115XT HI-Q (4 mix LA8)
  • 2 Amplifier Sleeve, dV-SUB (1xLA8)
JPJ Crew
  • FOH System Engineers
  • John Kerns
  • Tim Millikan
  • Brendan Keane
  • Tim Seconi
  • Monitor System Engineers
  • Paul Kennedy
  • Tristan Johnson
  • Tristan Farrow
  • Josh Andre
  • Stage Technicians
  • Duncan Kaye
  • Dean Marquis
  • Matthew Morrison
  • Alex McCormack
  • Aaron Casley
  • Wayne Mulder
  • Jorgia Galbraith
  • Tim Jones


Gallery – All photos ©Daniel Boud

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

The Who 2009

Having recently purchased the D & B J system JAS was contacted by the Who to supply the system for their Australian tour. Paul Ramsay their FOH operator was keen to use the system if it was available as they had been using it worldwide. The tour consisted of arenas and some outdoor shows.

The system also required 3 x Digico digital consoles and was the first, in Australia, to use the SD7.

The SD7 was doing the FOH duties and the 2 x D5 consoles were on monitors. All the consoles were running with dual racks (112chls) and we also supplied a recording system.

The schedule also meant JAS needed to supply a 2nd L-Acoustics VDosc system due to an overnight run back to the Melbourne Grand Prix. At the Grand Prix the Who played to a crowd estimated at 40,000.

The tour also featured the Counting Crows as support.

Dates

March 24, 26, 28, 29, 31
April 4

JAS Crew

Craig Gordon – D&B J system tech
Paul Kennedy – system rigger
Connor Dune – monitor rigger

Main touring System

56 x D & B J speakers
16 x D & B J-Sub
12 x D & B B2 Sub
8 x L-Acoustics ARCs

Winery show duplicate system

24 x L-Acoustics VDosc
24 x Wayloud 218 subs
8 x L-Acoustics ARCs

FOH Consoles

1 x Digico SD7 112ch system
1 x Recording 112ch system
1 x Nexo PS8 playback systems

Monitor System

2 x Digico D5 112ch systems
1 x Nexo PS8 shout system

Wedges

16 x D&B M2 Wedges

Sidefills

8 x L-Acoustics ARCs
2 x L-Acoustics DVsub

Drumfill

1 x D&B C4 sub

Counting Crows JAS console package Perth

2 x Digidesign Profile systems
1 x Full stage patching system

Bob Dylan 2007

Bob Dylan continued his Never Ending Tour which began in the late 1980s with dates in Australia and New Zealand in August 2007.

The tour, his first trip down under in more than four years, included five Australian and three New Zealand shows and followed the release of Dylan’s 32nd album, Modern Times.

The Australian run of dates included the Brisbane Entertainment Centre on August 13, Sydney Entertainment Centre on August 15, Rod Laver Arena in Melbourne on August 17, Adelaide Entertainment Centre on August 21 and the Burswood Dome in Perth on August 23.

Dylan’s tour follows a string of North American dates in June and July and performances earlier this year in Europe, where the legendary folk and rock songwriter has drawn on his rich back catalogue and new material.

Dates August 13 – 23, 2007
Audio Crew Colin Burrell, Scott Barry, Peter O’Leary
Speaker System L-Acoustics
24 x V-Dosc Element
6 x DV-Dosc Element
16 x Kudo Cabinets
8 x ARCS
8 x Wayloud Sub Low Cabinets
32 x Lab Gruppen 4000 Amplifiers
12 x Crown V2500 Amplifiers
FOH Control System
1 x Digico DS 112
6 x Dolby Lake Contour
1 x IBM PC Tablet wireless system
2 x Focusrite 422 pre-amp
1 x Waves Max
1 x TC 4000
Monitor Control System
1 x Midas H3000 44+4 console
TC EQ Station 16ch system
Wayloud and Nexo wedges
Crown Amplifiers
1 x Clair ML 18 Sub Bass
L-Acoustics ARCS and DV Sub Sidefill

Oasis 2006

The Oasis Australian tour saw Bruce Johnston finally make it home after almost a year of touring. The Oasis juggernaut is an amazing phenomenon, with the band pulling enormous crowds throughout Europe and the Americas, with a huge resurgence in their popularity.

The Oasis shows sounded amazing, with 32 Nexo Geo-T elements and 16 Nexo CD18 subs powered by Camco Vortex 6 amps.

Bruce operated on his DiGiCo D5 console, while former Aussie Ian Newton operated the monitor rig from a Yamaha PM1D console.

The Oasis Australian tour was sadly the last tour for Johnston Audio by Drew Menard, who has moved on to look after the DiGiCo brand for Group Technology. Other Johnston Audio crew on the Oasis tour were Ivan Ordenes, who rigged the FOH and Mark Crawley who rigged the monitors.

Dates

December 14-16 2006

Simple Minds w/ DiGiCo 2006

JAS supplied DiGiCo D1 FOH and Monitor package for Simple Minds Asian and Australian tour.

Simple Minds’ Production Manager John Armstrong called to say that they were finding it hard to get the consoles for the Asian leg of their tour and fortunately JAS was able to supply a package including 2 x DiGiCo D1 consoles, 2 x Local racks, 1 x Stage Rack, 1 x return system and 1 x FOH FX system was dispatched to Hong Kong.

JAS also provided a V-Dosc PA system for the Simple Minds’ Palais Theatre show in Melbourne. The system included 18 V-Dosc elements and 16 Wayloud dual 18’ subs powered by Camco Vortex 6 amplifiers controlled by 3 Lake Contour processors.

Jock Bain was the CVE, Doug Pringle looked after FOH and Adrian Barnard rigged the Nexo PS15 monitor system.

Dates

May 3, 7, 9, 12 2006