Viva Las Inputs
The show originally called for a band cart that would travel around the stage, but that concept quickly became obsolete.
The show now has four unique drum and percussion set-ups. The first two sets have separate inputs, while the third set is switched to the first set via a macro change in the Optocore software.
The fourth set is changed by moving two Whirlwind W6 28-channel multi-core cables from one sub-snake to another, festival-style. A total of 92 mics are used on drums and percussion alone.
The inputs for the four sets of drum kits and percussion set-ups are changed festival style, with unneeded channels simply not being landed in those scenes.
The kick drum uses both a Shure Beta 91(boundary design) mic and an Audio-Technica AT2500 dual-element (cardioid condenser and dynamic) mic. Neumann KM140 condensers are used on hi-hats and snares, with an SM57 beneath the snare.
Audix D2 mics are deployed on rack and floor toms and DPA 4011s are positioned for overheads for all the drum kits and percussion set-ups.
The percussion set-up includes a Shure Beta 52A for the concert bass drum, Neumann KM140s on concert toms and snare, an Audix i5 on the timbales, and an Audix D4 on the field drum.
The congas and ride cymbal have Sennheiser MKH40 pencil condensers and a djembe is mic’ed with a Beta 98D/S above and a Beta 56 below it. A cajón played onstage a few times is mic’ed with a wireless DPA 4061, as is the marching snare in the solo for “Return to Sender.”
Trumpet, trombone and baritone saxophone all employ wireless DPA 4099 mics, while an offstage clarinet part is played into a Neumann TLM170. Bass and guitars are transmitted wirelessly, re-amped and mic’ed backstage with Audio-Technica AT4040 large-format condensers.
“The system is amazing to mix on,” Beck sums up. “The pre-amps in Optocore are so quiet you almost think something is not working.”
“The Meyer system delivers a dynamic, responsive system. The low end response on the kick and bass guitar is very full and tight.
The sound system mixed with the live band onstage, arrangements and audience makes for a very fun and enjoyable job on a nightly basis!” Fat city, Daddy-o.
There are two 90-minute shows nightly except Wednesday and Thursday and tickets start at $99.
According to then agreement between Presley Enterprises and Cirque, other Elvis Projects include a touring Elvis show planned for Europe and Asia, as well as an international “Elvis Experiences” of interactive multimedia exhibits, with one new project scheduled to open each year until 2015.
That’s a whole lotta Elvis. Thank you very much…
Mark Frink is Editorial Director of Live Sound International.