Sound Company
Upscale Productions
Venue
Faubourg Brewery
New Orleans, LA
Crew
- FOH Engineers: Carolyn Slothour, guest FOH engineers including Chris Bargy (Gov’t Mule and others), Chris Hebert (Galactic and the Krasno/Moore project)
- Monitor Engineer: Jason Wilson
- Systems Engineer: Michael Lawrence
- Production Manager: Sami Slovy
- PM/Crew Chief: Brandon Abshire
- Patch Tech: Matt Peters
Gear
FOH
- Console: DiGiCo SD12
- Speakers: Main Stage (Daze Between): (24) Meyer Sound Panther, (12) 2100-LFC, (6) Ultra-X40; Second Stage (Jerry Garcia Wellness Stage): Meyer Sound Leopard, 700-HP, 900-LFC
- Processing: Meyer Sound Galaxy 816, Galaxy 408 processors
- Power Distro: Motion Labs
MON
- Console: DiGiCo SD12
- Speakers: Main Stage: (12) Meyer Sound MJF-210, (6) 900-LFC, (2) UPQ-D
- Wireless PM System: (8) Shure PSM1000; Second Stage: MJF-210
Event Details
Now in its third year, the annual Daze Between New Orleans returned to Faubourg Brewery on April 30-May 1, bridging the consecutive weekends of the New Orleans Jazz & Heritage Festival with two days of live music, local cuisine, craft beer, and good times.
The performances spanned genres ranging from jam to jazz and funk to rock, with acts ranging from headliners Lettuce and Gov’t Mule to Galactic and the Dirty Dozen Brass Band. “Our genre is mostly jam bands, with some rock, and there are a lot of audiophiles in the fan base,” said Daze Between production manager Sami Slovy. “They’re looking for it to sound good and clear.”
Lake Charles, LA-based Upscale Productions provided a Meyer Sound Panther system for the main Daze Between stage, with 2100-LFC for the low end. Slovy credited the system for its sonic performance and ease of deployment. “The clarity and weight aspect are things that are really attractive as an event producer,” she said. “When we send our specs out to touring engineers, they’re so excited to use the rig.”
Chris Hebert, who mixed FOH for Galactic and the Krasno/Moore project, agreed, calling the Panther “an exceptionally beautiful festival box. It eliminates amp racks on stage, and now you can have that in a smaller, lighter frame box that can perform the way it does.”
Hebert has gotten to know Panther through other festival gigs with Galactic, and recently had an opportunity to mix the band on the new Panther system at the Fillmore in San Francisco. “It was great — a game changer for that room.”
Chris Bargy mixes FOH for Gov’t Mule, who collaborated with a lineup of guests including John Scofield, Chuck Leavell, Ivan Neville, Karl Denson, and The Dirty Dozen Brass Band. With so much to manage, Bargy appreciated the ease of dialing in the Panther system at Daze Between.
“I didn’t get to tune the P.A. like I usually do, but I said, it’s a Panther; I know what it sounds like,” Bargy said. “Let me listen to the instruments really quick, and we’ll be good to go. I was able to focus on mixing rather than diagnosing the P.A. As front-of-house engineers, it definitely takes a lot off our plate when we don’t have to worry about the system…it’s consistent the way you would expect your mix to be. It’s like mixing on studio monitors.”
The guest engineers also appreciated the power and performance of the 2100-LFC low-frequency control element. “They really pack a punch, and they’re so compact,” said Slovy. “It really is a musical sub,” added Hebert.
At the smaller Jerry Garcia Wellness Stage, the setup included a Leopard system along with 700-HP and 900-LFC low-frequency elements. Both stages featured MJF-210 stage monitors, with Galileo Galaxy 816 and 408 processors for system control.
Bargy noted that both the Panther and Leopard systems despite variable humidity levels and temperatures. “When the humidity changed after the second set, everything still sounded great,” said Bargy. Hebert agreed. “With a lot of boxes, as the sun goes down and temperatures change, the sound will change. But the Meyer Sound systems stayed very consistent.”
As Daze Between New Orleans continues building on its successes, Meyer Sound plays a vital role in solidifying it as a must-attend event on the festival calendar. “People know that they’re going to get exceptional quality. And that helps elevate the event all the way around,” Slovy concluded.
