The PA system technician for Adlib was Alan Harrison, working alongside Adlib's Hassane Es Siahi, with Jay Petch looking after monitor world. An experienced and enthusiastic crew, who all worked closely with All Time Low engineers Phil Gornell (FOH) and Ricky Fernandez (monitors) plus Good Charlotte's Jim Carmichael at FOH and Chris Cotten on monitors. Against The Current was the other support act.
Both Phil Gornell and All Time Low production manager Dan Nickleski are big Adlib fans, and were keen to get the Liverpool company on-board for this leg of the tour - with Phil specifying the L-Acoustics K1 system complimented by K2 side-hangs for the (mostly) arena venue tour. Brian Southall is All Time Low's much respected tour manager.
Both bands are known for their lively and energetic stage shows, their no-nonsense, rambunctious 'big rock' sound ... and hugely loyal fan bases.
The standard PA set up was 14 x K1 elements per side with four Kara downs, with 12 x K2s for the side-hangs.
A dispersed sub array would typically comprise six SB28s at the stage right and left corers on the floor, and between four and eight more subs stacked in twos across the front of the stage, depending on the room size and stage-width.
Two stacks of Kara front-fills were utilized. As the stage set was designed with a central thrust, these were positioned on top of the mid front-stage subs in the pit.
Four ARCS2s a side provided in-and-out-fills at the downstage corners radiating out to the sides beneath the main hangs.The subs were arranged for even dispersion.
The main system was driven by LA8 amps, with two dollies each side containing 14 amps for the K1, plus another rack of 6 a side to drive the side hangs.
Phil's console of choice was a Midas PRO2 on which he used all the on-boards plus a Waves MaxxBass unit and a mix bus compressor.
Phil Gornell stated, "We were relaxed and could really work to our fullest, safe in the knowledge, that Alan, Jay and Hass had our audio working exactly how we wanted it. Which allowed us to be creative, get on with what we do, and make the show special for the fans."
Adlib provided a KT-DN9650 Network Bridge to record the show via Dante to Phil's laptop, and this was used daily for the virtual sound-check.
Ricky Fernandez specified the stage system which included another Midas PRO2 console through which All Time Low ran their own Sennheiser G3 IEMs and their own touring mics and cables, fed via an Adlib line system. Adlib supplied a couple of SB28 subs for low end atmospherics onstage.
For a full production feature on All Time Low's latest tour, see the March issue of LSi - OUT NOW!
(Jim Evans)
