Evanescence’s fourth and latest album, Synthesis, is an orchestral-backed reworking of many of the band’s most beloved songs, plus a few new ones thrown in for good measure. To properly preserve the atmosphere of the recordings on a live tour supporting the release, the band performed its shows accompanied by orchestra members that were individually handpicked in each city and brought together by the tour’s conductor, Susie Seiter.
Furthermore, fans of the group got a special treat on the most recent second North American leg when violinist Lindsey Stirling joined as a co-headliner, featuring songs from her album, Brave Enough, and acted as an electrifying extra member of Evanescence for specific songs like “Hi-Lo.”
LMG Touring, headquartered in Orlando, has worked with Stirling extensively in the past and served as the full-service audio, video, and lighting provider for the double-bill “Synthesis Live” trek.
To sonically capture both the muscle and punch of the bands as well as the subtle nuances and complexities of the orchestral elements, LMG Touring specified a full L-Acoustics K1/K2 loudspeaker system for the shows. In addition to audio, LMG Touring also provided FLED 11mm LED screens, Catalyst Media Servers, and a full lighting package.
“For Evanescence’s set, there were 28 orchestral musicians on stage, plus the band, which consists of six musicians,” says Chris Bloch, who mixed front of house for the orchestra each night, while Eddie Mapp and Rob McWhorter mixed Evanescence and Lindsey Stirling’s group, respectively.
“The same orchestra performed during Lindsey’s set, which consisted of three musicians. The largest number of musicians we had on stage at any one time was 35, and the orchestra consisted of a wide range of instruments, including strings, brass, winds, and percussion. Needless to say, there was a lot happening on stage and the L-Acoustics PA nicely brought everything to life.”
According to LMG director of audio services Shane Smith, who has been with LMG since 2004, the show’s mains consisted of up to eight K1 over eight K2 in various configurations each day depending on the venue, in that the tour stopped at everything from theaters and performing arts centers to arenas, pavilions and amphitheaters.
In larger venues, a dozen Kara per side were flown as side hangs, while six more Kara provided the front fill. Arrays of eight KS28 subs, flown 12 feet directly upstage of the main hangs, were key to reproducing the wide dynamic range of both groups, he notes, and LA12X and LA8 amplified controllers delivered the power and processing for the entire system.
Smith points out that LMG’s Chris Nichols served as the tour systems engineer and crew chief, and was able to quickly and easily predict accurate results with L-Acoustics’ Soundvision software in advance of each stop. “The sound was consistent from venue to venue regardless of the configuration of the sound system,” Smith shares.
“K1 has always worked well for us in sheds and allows us to fully cover the lawn and bypass any existing lawn feeds when given the option,” he continues. “K2 is super flexible and quick to get in and out. The wide horizontal and variable horizontal coverage of these enclosures helps both in flexibility and for better designs.”
LMG director of touring Craig Mitchell adds, “This was a beautiful sounding show with both artists using a live orchestra onstage. Our L-Acoustics system was able to translate the dynamics and power of the music evenly throughout the venues and the audio teams did a great job.”