Aktuelle News & Schlagzeilen

Britannia Row supports The Offspring’s summer tour

American punk band The Offspring are playing worldwide summer dates including a 30th anniversary concert in Anaheim, California, in celebration of the album “Smash”, and performances at festivals around the globe, including Download, Hell Fest and BottleRock. Britannia Row Productions continues to provide audio rental services for the band, from bespoke control packages to full audio reinforcement.

At the 30th anniversary show in Anaheim, an L-Acoustics K1/K2 system was deployed at the Honda Center. The concert was mixed by FOH Engineer Greg Bess utilising a Cadac J-Type analogue console and a Cadac CDC Four compact digital mixer, while Monitor Engineer Jesse Cantrell chose an SSL 550 Plus to handle the band’s monitoring needs.

“Anaheim was very special”, says Cantrell. “I’ve listened to this band since I was a kid, and probably played some of these songs in my own bands in high school, so to get to be there when ‘Smash’ turned 30 was an experience I can honestly say I never thought I’d be a part of. I feel so lucky to have been there.”

Not afraid to mix things up, The Offspring’s engineers are no strangers to jumping between riders. “One of my favourite parts of the gig is getting to work on the Midas Heritage 3000”, continues Cantrell. “But this year, we swapped it out on some shows for an SSL L550. Their show is growing, Dexter (Holland, frontman) and the band have some cool ideas to take this show to a new level and we needed more flexibility at monitor world to allow that to happen.”

Cantrell, who is supported by Monitor Tech Emily Adams, credits her expertise with helping to enable a stress-free show: “With Emily on stage I can trust that everything is patched and mic’d up correctly. She takes care of everything so I can focus on mixing.” He chose the SSL for his digital desk as it sounds “as close to analogue as it can get”, as he puts it. He also implements a Rupert Neve Shelford Channel for Dexter Holland’s vocal, in line with the analogue rig. For all wireless needs, Cantrell, who is managing fifteen mixes, opts for Shure PSM1000s and Shure Axient.

“On top of everyone using Ultimate Ears IEMs, we use D&B Audiotechnik M2 wedges and two L-Acoustics A15 over one KS28 sub for side fills. Everyone except Dexter has a stereo band mix in their ears with themselves on top as standard. Dexter only wears one ear and has his vocal and guitar through it. His wedge is mostly his vocal and some guitar, while the rest of the wedges are vocals and drums. The side fill mixes are mostly drums, bass and vocals.”

Out front is long-serving FOH Engineer Greg Bess, who reflects on the system design at the Anaheim show: “We did slight modifications from our standard K1 over K2 configuration. We carefully matched the angles of the hangs to keep phase alignment as close as possible. For side coverage we had K1SB over K2 and kept our two centre hangs of Kara to fill the elusive centre coverage, which can be missed by stacked front fills.”

“For ground subs we used KS28, one high across the entire width of the stage in a sub-arc set-up”, furthers Bess. “This prevents annihilating the first few rows of the audience with inordinate amounts of low end.” Complementing the Cadac hub, Bess has outboard units including a Lexicon 960L, Gentner Audio Prism, Universal Audio Little Labs IBP, SPL Stereo Vitalizer Mk2-T 9739, and a Valley People PR-10 Rack with Kepex II, to name but a few.

A new addition to his FOH camp this year is Audio Tech Jess Loma who was enlisted to be Bess’ “extra ears”, checking coverage and balance in every venue. “When I first joined this team, I was very excited to see that they were using analogue desks at both FOH and monitors”, states Loma. “We’ve been playing a lot of festivals and old amphitheatres around Europe and South America this year, where we’re often not able to do a full sound check. I’ve started to work on the multitracking/streaming feeds, which allows Greg to focus on getting his mix levels for the show while I get the levels for any streams and multitracking.”

“For outboard feeds, we work on the same desk and so at the same time during soundcheck, we need to make sure that we tell each other if any adjustments are needed that could affect each other’s feed”, she adds. For the festival control package, Bess has an ATI Paragon II P2P desk modified with a reduced frame size, and custom-built API group/matrix outputs.

“The channel direct outputs are fed to 2-24 channel BBR1-B recorders for tracking as well as a Sennheiser Ambeo VR mic for audience pickup through a Black Lion Auteur Quad Mic pre”, concludes Loma. “For streaming and media feeds we use multiple matrix mixes to change the balance of the signal to suit the difference between the main mix and a more appropriate balance sent to two track feeds. Additionally, we have another mix sent to a Tascam Portacapture X8 for quick transfer to social media shots.”

(Photos: Ashley Osborn/Goldenvoice Just Like Heaven 2024)

www.britanniarow.com

© 1999 - 2024 Entertainment Technology Press Limited News Stories