Delicate Productions (Camarillo, CA) provided sound reinforcement for the recent U.S. concert tour by the Killers U.S. tour, which appeared in a variety of venues, including mid-sized arenas, small theaters, casinos, and ballrooms.
Delicate picked up the tour from Capital Sound in the UK, making a seamless transition in terms of coverage, audio quality and impact. Asked if the systems were similar, Killers front of house engineer James Gebhard says, “Absolutely identical. Capital and Delicate worked really well hand in hand. We did some fine-tuning of the system in the UK and Capital communicated directly with Delicate about the details so they could be set up exactly the same. It was a very quick transition from one to the other.”
A veteran engineer who worked his way up from university amateur shows through a variety of bands to the highest level of touring, the Manchester-born Gebhard has been with the Killers since 2004. He had been using other line arrays before the tour, but Delicate was instrumental in getting him onboard with
As described by Delicate’s Smoother Smyth, the process involved several steps. “Once we had teamed with our friends at Capital for MLA,” Smoother recounts, “we got James to see the system in action in the UK and at a Zac Brown Band show in Indianapolis. We then brought him in to our warehouse to discuss MLA theory and spend some hands-on time with the system before he signed off on MLA for the tour. Needless to say, it worked out really well in the end for everyone involved.”
The touring setup included 14 MLA cabinets and two MLD down fill cabinets per side for the main PA; 12 MLA cabinets per side for the side hangs; 20 MLX subwoofers ground-stacked in a cardioid broadside array in front of the stage along with four MLX flown per side to fill in those areas. I10 Martin Audio W8LC cabinets along the stage edge are used for in fill.
In addition to MLA, Gebhard relied on his “ever-trusted” DiGiCo SD7 console with two 56-channel DiGiCo SD racks stage running at 96 kHz along with Waves SoundGrid processing and plug-ins. A variety of microphones were used, starting with a Shure SM58A for lead singer Brandon Flowers to a mixture of Shure, Audio-Technica, Sennheiser and Electro-Voice, depending on what worked best for the job.
Asked about his maiden voyage with MLA, Gebhard was candid. “Smoother had to go out of his way to convince me to switch to MLA, but once I was able to work on it, I was amazed.
“One of the most impressive aspects is the phase coherence,” he continues. “Walk the room and everywhere you go it sounds exactly the same. It’s like an audio guy’s dream. You don’t have to start making compromises or second-guessing yourself, searching for holes in the coverage between PA points or the back and front of the room. You can’t believe it actually does what is says it does.”
MLA’s scalability also proved to be useful for this tour, especially given the radical differences in sizes from venue to venue. As Gebhard points out, “With typical line arrays, you work an artificial X amount of boxes per side to do an arena, but because of what MLA does with all the steering, you can use less boxes for the venue. It all depends on how you predict the room, what you want to do and what the software comes up with.
"Whether it’s smaller or larger room, you could almost use the same amount of boxes, which definitely makes MLA a very scalable system. And the sound was literally identical everywhere we went, every day. It was fantastic. The pure consistency regardless of the type or size of the room.”
Another useful aspect for Gebhard was MLA’s Hard Avoid feature. “We played around with it a lot during rehearsals in Vegas,” he recalls. “We were in a sound room with very reflective back walls and ceilings so we set it up in there, put on the hard avoids and it made the room sound incredible.
“As far as I’m concerned, Martin Audio has reinvented the wheel in terms of PA design with MLA,” he concludes. “It’s just unbelievable.” The biggest problem Martin Audio has is marketing the product. They really need to get the word out because it’s unbelievable.”