Even more critical was the MLA system’s ability to put the sound exactly where it had to be: “The most helpful thing for us was the ‘Hard Avoid’ function in the software that really helped us focus the PA where we needed it,” says Moore. “A number of times Javier and I would walk around the room during the opening acts and be amazed at the coverage and the fact that there were so few reflections. We’re all used to doing amphitheaters and we all know what they sound like, but the MLA sounded different than anything we’d ever heard before.
“The ability to control the sound so precisely was a huge advantage,” he continues. “The box threw so far that in some of the amphitheaters, our system tech Brennan Houser would tune the rig and turn off the delays. We didn’t use delays in close to 60 percent of the sheds because the MLA boxes threw so far and sounded so much better. Brennan would direct the sound off the shed, taper it up the amphitheater, focus it out of the gap between the shed and the last row of seats, and it would make it every time.”
Alcaraz adds, “I was back at monitors and there were so many shows where I’d have to take my ears out just to hear if the PA was even on because the rejection off the back of the box was truly unbelievable. The first few days of rehearsal, I pulled up the mix I’d been on for months and have to completely rework it. You can’t hear the MLA system at all.”
The tour included two opening acts geared to Gomez’ fan base––Christina Grimmie and Allstar Weekend––in addition to Selena and her band, The Scene, which consisted of a keyboard player, drummer, bass player, guitarist/musical director and two background singers.
“This tour was really efficient and awesome considering the budget,” Moore says. “All of the stars came into alignment for this considering the PA and crew and how well we all got along. We had a really nice asymmetrical lighting and video package and minimal staging which was very effective. And a small but effective PA system that sounded really good.”
Buoyed by their last experience, Alcaraz and Moore will soon be embarking on a Canadian tour with Gomez that encompasses 12 cities and includes four more MLA enclosures and three more MLX subs a side.
Alcaraz concludes, “We’re happy and so is the label. Everyone has had some really nice things to say about how good it sounded. As far as audio goes, the feedback has been very positive.”