JPS Australia

History

Russell Peters Qudos Arena Sydney

Russell Peters 1

The audio system JPJ Audio supplied for Russell Peters is amongst the largest we would routinely put in to Qudos Arena. In fact there were more speaker cabinets than we would hang for an average rock concert in the same space!

This is because comedy relies on high intelligibility in the vocal range. If the audience can’t hear every joke, in every seat, they are not going to enjoy the show. If the audience can’t hear, they won’t laugh at the jokes, and this will impact the comedian’s performance (especially if the front rows can’t hear!!!).

Russell Peters 2This clear audio is achieved through acoustic modelling of the venue prior to arrival, careful placement of the PA hangs, and having enough speaker boxes to achieve the required SPL. This is all sound checked by walking around the edge of every seating block in the venue, with a handheld radio mic and making adjustments to the different PA zones. This verifies that every seat in the house can hear every joke.



Russell Peters 3The main hangs were two hangs of 12 x L-Acoustics K1 and 6 x L-Acoustics K2 with two hangs of 12 x L-Acoustics K2 for side hangs. Frontfill was 6 x single L-Acoustics Kara, outfill was 4 x L-Acoustics Arcs and subs were 12 x L-Acoustics SB28 Subwoofer Enclosures. All powered by L-Acoustics LA-8 and LA-12 amplifiers.

A Dante drive system using Dolby LM44’s was utilized and this involved running a completely digital signal path from the FOH console all the way to the amplifiers via AES and Dante signal processing.

A seamless back-up analogue audio fallback is also in every system using DANTE. Back-up systems and engineer comfort are critical to industry acceptance, so are always at the forefront of all JPJ Audio designed systems.

FOH engineer for the tour was James Kilpatrick on an Avid Profile with Waves 9. James used a C6 multiband compressor to keep the speech clear at low level and cut the horn band back when shouting. He also had a vocal rider live in reverse to keep the mic level low in between pauses in speech to reduce room tone in the microphone.

Russell Peters 4

Crew:

FOH systems engineer: Tim Seconi
FOH systems technician: Bianca Martin
Monitors systems engineer: Kellie McKee
PA technician: Ben Northmore
Special Guest Appearance Multicores and front fill trainee: Mats Frankl

 


SIA Nostalgic for the Present tour

SIA 2017 1

SIA’s Nostalgic for the Present tour delivered three stadium shows: Sydney, Melbourne and Auckland.

FOH engineer Jon Lemon has known SIA for most of her life and has been doing gigs for her on and off since 2002. When he wasn’t out on tour with the big name acts he works for, he would do the clubs and small theatres with her. Today SIA is an international music star and Jon is still there at FOH, albeit mixing in a stadium rather than a club.

It’s a very organized show,” said Jon. “The biggest challenge was putting it all together in the first place as it’s mostly playback in terms of the music. The brief I had was to make it feel like it was live but also sound like the record with SIA then singing live on top of it.
I see it a lot with hip hop and rap where it’s just the artist and a DJ with minimum amount of stems and the engineer has just got nowhere to go and nuance it like the record. The environment changes the audio all the time, it might be a gig sucking out all the percussive stuff or over emphasizing the bass and you need control over all of those things.

A DiGiCo guy through and through, Jon was using an SD5 with a couple of Waves Servers on it plus a little bit of outboard; Waves MaxxBass, a few Maag EQ4’s and Smart C2 compressors to keep it all in control and even the sound out. “SIA has a big voice so I use Waves Renaissance compressors as well as their 1176 limiters on her vocals as she is so dynamic,” said Jon. “It’s pretty dialed in and quite simple because we did a lot of the work beforehand, in this modern way of doing things.

Jon has around fifty inputs on his DiGiCo SD5, all split up and presented like it’s a live band playing – with more consistency than usual and less egos!

A lot of people may think it’s complicated but I don’t because I have been so close to the music and the process of it,” elaborated Jon. “I know how she sings and I know how to ride it around to keep it level. As everything is so consistent we have a pretty good result most of the time. A lot of modern music is about the system engineer and how the company sets up the system. When I first started out, I was doing it all but realized a few years back that the complexities of these big venues, with networking, delays, and timing, is best left to someone else so I can concentrate on the art part of it. Of course, I oversee it all and will walk the room …. but on this tour I have one of the best L-Acoustics system engineer and designers in the business which makes my life easier.

 

That system tech is Vic Wagner who, alongside JPJ Audio’s Mats Frankl, ensured the L-Acoustics K1 / K2 PA was tuned, timed and ready for action. Multiple delay towers and rings were required to cover the stadium as much as possible, delivering maximum SPL possible without upsetting the EPA people.

Jon reports that he had complete faith in his support team of Mats Frankl, JPJ Audio’s Bob Daniels and Vic Wagner commenting that the entire JPJ crew impressed him.

The L-Acoustics K1 is a really reliable PA and sounds great,” added Jon. “We had two main hangs, subs across the front, sides a mixture of K1 and K2 and then four K2 delay towers. It all worked perfectly.

SIA has always used a trusty Shure SM58 microphone and according to Jon, she always will.

I’d like to change it but she is so used to using the SM58 dynamically its part of the way she sings,” he explained. “That’s why I use the Maag EQ4’s as analogue inserts because they have the airband on them which means you can actually make an SM58 sound like an expensive microphone!

Jon remarked that he had a great JPJ crew on the tour and, seeing as he worked for JPJ when it was Jands Production Services many moons ago and he knows so many staff, he sees working with JPJ as a family event …..in fact he wouldn’t even consider using anyone else in Australia.

Jon will be touring Australia with Roger Waters early next year and again he will reunite with JPJ Audio.

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

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.


 

Taylor Swift 2012

The Speak Now World Tour is the second concert tour by American country singer-songwriter, Taylor Swift, in support of her third studio album, Speak Now. The tour visited Asia, Europe, North America and Australasia.

Taylor Swift toured Australia with equipment and crew from Sound Image while JPJ Audio provided the ‘stacks and racks’.

Dates

March 2 Burswood Dome Perth
March 4 Entertainment Centre Adelaide
March 6 & 7 Entertainment Centre Brisbane
March 9 & 10 Allphones Arena Sydney
March 12, 13 & 14 Rod Laver Arena Melbourne

Speaker System L-Acoustics
28 x K1 Enclosures
21 x dV-Dosc Element
48 x KUDO Cabinet
12 x SB28 Sublow Cabinet
14 x LA-Rack (3 x LA8))
1 x K1 Drive Rack (Dolby)
Crew  
  Paul Schofield
  Bianca Martin
  Simon Farrell

Massive Attack – Sydney Opera House

Massive Attack - Sydney Opera House forecourt

Massive Attack toured Australia in March 2010 off the back of their album `Heligoland`. JPS provided a L-Acoustics K1 system for the tour.

Tour Dates

March 12, Perth, Kings Park
March 15, Sydney, Opera House Forecourt
March 19, Canberra, Royal Theatre
March 20, Melbourne, Myer Music Bowl
March 21, Adelaide, Entertainment Centre
March 23, Brisbane, Riverstage

Speaker System L-Acoustics K1
24 K1 Enclosures
12 dV Dosc
8 x Arcs
16 x SB28 Sub Bass Enclosures
Amplifiers
12 LA Rack
36 L-Acoustics LA8 Amplifiers

Pearl Jam 2009

Story & photos by Cat Strom. Originally published in Pro Audio Asia

Excessive temperatures and strict noise pollution controls faced Pearl Jam and their crew at their massive outdoor gig at Sydney’s Football Stadium in support of their latest release, Backspacer. This was also the tour that Australian rental-company and long-standing L-Acoustics Rental Network Agent, Jands Production Services (JPS) was using to debut its new K1/Kudo line array system.

JPS – along with several of the world’s leading rental companies – are collaborating with the L- Acoustics R&D team in advanced field proofing of the new system that is specifically designed for stadiums. As a result the company has taken delivery of one of the limited number of K1 systems in the pilot programme. “The new K1 isn’t intended as a replacement for V-Dosc,” explains Jim Straw, JPS general manager. “The combination of K1 and Kudo is aimed at providing a scaled solution for large venues with Kudo providing a flexible horizontal and greater vertical dispersion, while the K1 offers fixed horizontal dispersion with a maximum of 5° inter-element angles for larger venues.

Pearl Jam’s FOH engineer, Greg Nelson, first heard the K1 system at Coachella, admitting that he was ‘blown away’ with how much sub bass could be achieved out of the main flown system. “Ratsound, our sound provider in the US, had purchased the system and I got to preview it at last year”s Coachella festival. I was wildly impressed with the performance,” he says. “The box just sounded better than anything else I had ever heard – straight out flat, just turn it on and go.
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JPS joins L-ACOUSTICS’ K1/KUDO Pilot Programme

K1Jands Production Services has joined the new K1 / KUDO pilot program and early next month will take delivery of one of the few systems, produced so far, by French manufacturer L-ACOUSTICS.

K1 / KUDO is the new L-ACOUSTICS line array system for stadiums and JPS along with several of the world’s leading rental companies are collaborating with the L-ACOUSTICS R&D team in advanced field proofing of the new system.

The JPS K1 system will consist of 48 of the new K1 line source cabinets along with K1 SB and SB28 subwoofers, KUDO line source boxes and LA-RAK touring racks fitted with LA8-amplified controllers.

The new K1 isn’t intended as a replacement for V-DOSC, instead the combination of K1 and KUDO is aimed at providing a scaled solution for large venues with KUDO providing a flexible horizontal and greater vertical dispersion, while the K1 offers fixed horizontal dispersion with a maximum of 5-degree inter-element angles for larger venues.

The K1 enclosure includes dual 15-inch woofers, a re-engineered mid/high section that includes a third compression driver, and comes with internal captive rigging.

The K1 is designed to hang 24 enclosures deep, creating much longer arrays than is possible with V-DOSC. The new dual 15 K1-SB subwoofer is also fly-able providing system designers with longer LF throw and cardioid pattern physical arrangements and presets to suit the SB28 subwoofers.

The K1/KUDO system is powered by the new LA-RAK, a 9U touring rack, incorporating three LA8 amplified controllers, and space for dual Ethernet switches for control and monitoring (L-NET) and digital audio (L-DGA). The LA Network Manager software, running on a PC, offers a graphic interface for control and monitoring of up to 253 units.The software also includes EQ balance tools to adjust for array height, listening distance and line source type.

For more information the K1 / KUDO system visit : www.l-acoustics.com