LONDON – Adlib supplied audio equipment and crew to the recent Flight of The Conchords U.K. tour, ensuring that "formerly New Zealand's fourth most popular guitar-based digi-bongo acapella-rap-funk-comedy folk duo" – and now mega-U.S. TV phenomenon – had the very best sonic treatment for their first U.K. tour.
It was also the first time that Adlib has worked for Flight of The Conchords, having developed a penchant for the specialist requirements of live large-scale comedy performances.
Adlib's Ben Booker and Hassane Es Siahi were the systems engineers for band engineers Ryan Pickett (FOH) and Matt Shane (monitors), with Nick Jevons as Production Manager / Lighting Director.
The main system was a JBL VerTec – comprising 4889 cabinets with 4880A subs. Though not generally a bass heavy show, there were certain instruments that needed serious low end, like a miniature acoustic guitar with a surprisingly massive bass.
The high spec PA was to ensure that the vocals were clear and clean all around the rooms, the largest of which was Wembley Arena, where 14 cabinets a side were used for the main arrays, complete with eight subs a side. Most of the rest of the shows saw a 10/12 box configuration with three or four subs left and right.
It wasn't so much a power heavy show, but they really needed the best possible coverage, hence the high end specification. Side left and right video screens presented a further challenge in that they dictated the trim height of the PA to ensure that no sightlines were blocked.
Onstage Bret McKenzie and Jemaine Clement were joined by the New Zealand Symphony orchestra AKA Nigel Collins on cello.
The system was powered by Camco Vortex 6 amps and Lab.gruppen PLM 14000s for the subs.
Eight L-Acoustics dV were used for front fills, lined up across the lip of the stage and also out to the sides.
Pickett spec'd one of the new Avid SC48C consoles, on which he used all the onboards plus a TC D2 delay for the vocals. This was chosen for its instant accessibility – with a fair amount of the show improvised, he needed that 'hands-on' facility to tweak time, tempo and other effects on-the-fly whilst keeping up with the numerous vocal and character changes.
The set was a mix of hit songs from the TV series and comic banter in between. Although large theaters and arenas are not necessarily their native environment, they soon settled into the swing, producing some live entertainment before sellout audiences.
Es Siahi said, "Ryan did a great job and we all enjoyed working with their crew immensely."
In monitor world, Matt Shane also spec'd an Avid desk – an SC48 – on which he made use of all the onboard plug-ins.
There were 30 inputs into the desk, with eight b&b m2 wedges onstage and a full Adlib line system. The mics supplied were standard Shure SM57s, 58s and Beta 98s – the vibe was similar to a stripped down rock 'n' roll tour in this respect – but a whole lot quieter onstage. Two radio mics were used when they ventured into the crowd and the cello was di'd and mic'd with an SM98.
For the Birmingham NIA show, Adlib provided extra crew in the form of Tony Szabo, and for Wembley Arena they were joined by Carlos Herreros.
For more information, please visit www.adlibsolutions.co.uk.
