Liverpool UK based technical solutions provider Adlib supplied innovative singer/songwriter Lana Del Rey with an L-Acoustics K1 sound system for her on-going and highly successful UK and European tour.
Adlib’s George Puttock designed the audio system, which was specified by Joe Harling and Tour Manager Peter Abbott. Puttock and Adlib’s Sam Proctor rigged and oversaw all the equipment on the road, with Adlib’s Simon Lawson as PA Tech ensuring that Del Rey’s FOH and monitor engineers Joe Harling and Matt Kanaris could achieve the best possible sonic results in a wide variety of venues.
The main PA hangs in their largest configuration were 12 x L-Acoustics K1 per side with three KARA downs, together with side hangs of three L-Acoustics SB18s with 12 KARA underneath.
These were supported by 16 x SB28s subs on the floor – six left, six right and four in the centre – cleverly positioned to double up as steps that provide stage entrances and exits for Del Rey.
This worked extremely well – the subs were in exactly the right place to make a huge difference to the sub / low coverage, mitigating the normal ‘power alley’ that is traditionally associated with subs.
The ground SB28s merely ‘tickled’ away to provide a low frequency extension to the K1 elements in the air, which are renowned for their solid low frequency handling.
Apart from the fabulous sound of the K1 system, it is also extremely quick and easy to rig, allowing for more time in the morning to design the system.
[Photo caption: Tour crew left to right – Sam Proctor (Monitor Tech), Matt Kanaris (Monitor Engineer), George Puttock (PA Tech), Joe Harling (FOH engineer)]
With a string quartet and all other musicians and Del Rey on stage using in-ear monitors, the stage area is really quiet, so the front fills are very important and have to be leaned on heavily, so Kara and ARCS were used.
These needed to be tightly controlled as Del Rey spends a fair amount of time in front of the stage.
Lake LM26s provided vocal and band mixing capability to individual front fill speakers, allowing Puttock to reduce the vocal in specific speakers whilst Del Rey was in front of them.
The L-Acoustics speakers were all driven by LA8 amplifiers running the latest firmware, which brings many new refinements and additional functionality.
Two audio networks were run on the tour, one for all the LA8 amplifiers and the other for Lake LM 26 & LM44 processors, plus some Lab.gruppen amps.
The consoles were both Soundcraft Vi6s, with Vi1s for support.
Del Rey and the band used their own IEM and radio mic systems with 12 stereo in-ear mixes, eight for the band and four for technicians, running 67 channels into the desk including shouts and clicks.
Adlib provided a complete line system with stage distro and full mic splits, plus two of its MP4 low profile wedges for Del Rey as backup and reinforcement for the more challenging acoustic spaces. Two L-Acoustics ARCS with an SB28 sub per side comprised the side fills, and there was also a full mics-and-stands package for the band utilising a mix of Beyer, Sennheiser, Audio Technica and Shure brands.
Lana Del Rey uses a Sennheiser radio mic with a Neumann KMS105 capsule which sounds “Fantastic” comments Proctor – ideally suited for her distinctive style & voice – transparent and ‘open’ sounding.
Puttock, Proctor and Lawson really enjoyed the tour, and Adlib Account Handler Phil Stoker adds, “Rarely does such a unique artist come along nowadays as Lana Del Rey, and we have been incredibly lucky working on such a stylish and cinematic style live show.
“Production Manager Peter Abbott is fantastic to work with and Joe Harling at FOH had it sounding incredible through the K1 system. The set and lighting all added to the intimate yet expansive theatrical feel. Soon the rest of the world will see what European fans have been so vocally excited about….”