The newest and youngest country music artist to be inducted into the Grand Ole Opry, Kelsea Ballerini began her career with the release of her first album, “The First Time,” in 2015 followed by “Unapologetically” released in 2017, the same year in which she received a Best New Artist nomination at the Grammy Awards.
“We have been thrilled with the product and are long standing fans of d&b,” states Chris Diener, production manager and front of house engineer for the tour. “The KSL system offers unprecedented control for an enclosure of its size. Coupled with the SL-SUBs, I was amazed at the evenness of coverage from the pit to the top seat in the arenas. This system has changed the way that fans experience Kelsea’s show, and we couldn’t be more impressed with the reaction.”
Diener said that Bobby George and the rest of the Spectrum Sound team have been very supportive and really turned the crew loose to see what the KSL can do, noting, “It was crazy. On more than one occasion, I had to walk out past the stage just to make sure walk-in music was still playing. I can’t wait to take this rig out again.”
The d&b configuration includes 28 x KSL8 boxes with ArrayProcessing for the main hang, 12 x V12 loudspeakers for the side hang, 12 x SL-SUBs on the ground, 8 x Y10P loudspeakers for front fill and 2 x DS10 audio network bridge systems for stage control.
“The KSL is an impressive box,” adds Rudd Lance, systems engineer for the tour. “Having used the GSL for a while made the transition to the KSL that much more impressive. KSL offers you the deployment flexibility of a smaller rig while providing you with the power and sustainability of its big brother. Having KSL coupled with the tools offered in d&b’s software allowed for a great workday for the engineers and an even better fan experience. It is the perfect pairing to round out the SL-Series.”
“As a monitor engineer, mixing behind KSL was a complete change from other line arrays I’ve toured with,” says Zach Mitchell. “I was able to create more full frequency ear mixes since I wasn’t compensating for noise coming off the back on the line array. The cardioid SL-SUBs controlled the low end so well, especially off the back and into monitor world.”