“I generally use Virtual Sound Check in a more sterile environment, such as headphones or near-field monitors, and during rehearsals it was extremely beneficial,” he explains. He fired it up several times down the road to “test drive” differences between using phase reverse or delay time on inputs like bass DI, its wet DI, and the bass mic.
“When these inputs are combined, a simple phase switch does not always optimize frequency response and audio quality, whereas a small delay on one of the inputs brings it all together.”
An additional outboard rack houses four computers – two Mac Minis and two PCs – which run Pro Tools LE for two-track recording, iTunes, Smaart and d&b R1 remote control software. It also employs a Rose Quadra Vista four-way KVM switcher to connect all four computers to a single 24-inch LCD monitor.
System Engineer Evan Hall flies and optimizes the main loudspeaker system. Though LMG’s inventory includes a wide selection of loudspeakers from Meyer Sound and L-Acoustics, the spec for this tour was d&b audiotechnik.
“Adding d&b to the LMG inventory specifically for this tour was an easy decision,” Yakabuski notes. “LMG Director of Touring Steve McCale and I decided on d&b because the weight and size to power output ratio is really quite remarkable.”
The main system is typically a pair of 12-box arrays of d&b J-Series, with eight 80-degree J-8s above four 120-degree J-12s.
“On many occasions we could hang all 12 of our main J loudspeakers in a single cluster from one motor, which was very successful in theatre situations,” he adds. “The sound of this system is really wonderful, and rigging is a breeze.”
Yakabuski prefers flying eight d&b J-Sub triple-18 cardioid subwoofers as a center cluster for more even coverage in larger venues, employing two more on the floor, each about 12 feet off center. Four J-INFRA triple-21 subs provide low-frequency extension.
The tour also carried side hangs of eight d&b Q1 line arrays, each with Q-Sub single-18 at the top and d&b E8 enclosures for front-fills. All of the d&b cabinets are powered by LMG’s tour-standardized amp racks with three d&b D12 amps, controlled via d&b R1 Remote Control software.
Doug Kimball mixes monitors on an identical double-rack LMG Digidesign Profile Tour Package. His credits include monitors for Velvet Revolver, Natalie Cole and Lady Gaga, plus Front of House for Ronnie James Dio and Tony Iommi’s “Heaven & Hell” tour.
Kimball considers himself more of a Front of House engineer and likens in-ear monitor mixing to simply providing multiple individual Front of House mixes. He uses the Virtual Sound Check feature to tweak his mixes in pre-production and rehearsals.