Grammy Award-winning contemporary christian music artist Chris Tomlin – whose recently released eleventh studio album, Never Lose Sight, debuted at No. 1 on the Billboard Christian Albums Chart – is currently leading a powerful multi-artist national tour known as Worship Night In America this spring.
Kicking off on 4 April at the Freeman Coliseum in San Antonio, the tour brings together a diverse array of music styles for nearly two dozen concerts staged across the US through mid-May. Artists Big Daddy Weave, Phil Wickham and Zach Williams join Tomlin performing everything from high-energy worship songs to intimate acoustic ballads, and as he has for several years now, Tomlin is relying on an L-Acoustics K1/Kara combination to get every note and lyric across clearly.
The PA system, provided by Indianapolis-based Mid-America Sound, consists of 28 K1 and 12 Kara enclosures split evenly between stereo hangs, with the Kara acting as down-fill speakers.Thirty-six more Karas are split 18 per side as the flown sidefills, while six more Kara boxes are placed in four strategic locations as front-fills. Sixteen SB28 subwoofers arrayed in 4×4 cardioid configurations amply handle low end.
The main system is driven by 14 LA12X amplified controllers – the first time Tomlin has taken these out on the road – while 16 LA8 power the Kara down, front and side-fills, as well as the subwoofers. The tour also uses four DiGiCo SD Series consoles and two Dolby Lake processors, which are accessible through an insert point on the DiGiCo SD10 console used by Tomlin’s front-of-house mixer, Kyle McMahon.
McMahon, who began mixing FOH for Tomlin this year after having previously worked with the artist as his monitor engineer, says that the L-Acoustics K1/Kara combination has worked well for Tomlin’s multi-artist tours for over five years.
“The K1 is a very linear speaker as far as its tone – it doesn’t change from artist to artist or from high energy songs to quiet ballads,” McMahon explains. “When using other PA systems on these kinds of tours where we have multiple artists and a lot of dynamics changes from one song to the next, I used to find myself chasing the music trying to tune the system for each new emotional level after it happened. It was easy to get very aggressive with the mix when I didn’t intend to. That doesn’t happen with the K1 – it sounds consistently even and great from song to song, all night long.”