L-Acoustics helps Genesis to wrap European tour24 July 2007
EUROPE: The reunited trio of Banks, Collins and Rutherford brought down the curtain on the European leg of Genesis’ 40-plus date world tour with a massive outdoor show at Rome’s Circo Massimo recently. Audio specification for the free event – as with the rest of the tour – was built around Digidesign and Yamaha consoles, and L-Acoustics V-DOSC loudspeakers, reports David Davies.
Thought to have attracted an audience in the region of 400,000, the Rome show marked the end of a 22-date European trek that has seen Phil Collins perform with Genesis for the first time since the early 1990s. Following a summer break, the band will regroup in early September to begin a North American tour in Toronto.
The core audio specification for the ‘Turn It On Again’ tour features a Digidesign D-Show console at FOH, with a Yamaha PM1D handling monitor duties. The show’s impactful sound is delivered by substantial hangs of L-Acoustics V-DOSC loudspeakers, provided by Swiss-based V-DOSC partner Hyperson.
Designed to cover the stadium audience for almost every show, the main FOH system consists of 96 V-DOSC cabinets, with four clusters LL, L, R and RR of 16-VODSC cabinets each. This 64-VOSC system is completed by addition outer fills featuring 16 additional V-DOSC cabinets each and additional delay lines. The sub specification includes 18 SB218s per side, two central stacks of eight SB218s, and additional front-fill from four ARCS per side and four spaced mini stacks of dV-DOSC.
Sound consultant for the entire tour is long-term Genesis producer/engineer Nick Davis, who in addition to helming the recording of the Rome concert for future DVD release, also produced a live 5.1 mix of one of two shows at D_sseldorf’s LTU Arena for transmission to cinemas in the UK and Spain.
For Davis – who has recently completed the process of remastering the band’s entire back catalogue for combined CD/SACD reissues – the commitments constituted a rare excursion from the studio. “It was really good fun and rewarding,” he says of the cinema broadcast project. “The band’s music really lends itself to 5.1, and of course it had all the energy of a live performance. I think we were able to give people a sound that was really representative of the band.”
Centre of operations for Davis in both Dusseldorf and Rome was a mobile facility supplied by Peter Brandt Mobile Recording. While Davis relied primarily on the unit’s own equipment, he did bring along some favoured Avalon compressors in rendering a classic Genesis sound he describes as “expansive, dynamic, orchestral.”