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Who’s next: live regeneration with Soundcraft, L-Acoustics

A 16-piece orchestra and a myriad of audio effects were part of the dazzling soundworld created for the recent ‘Doctor Who Live’ tour, which featured a wealth of equipment supplied by ADLIB Audio.

A 16-piece orchestra and a myriad of audio effects were part of the dazzling soundworld created for the recent ‘Doctor Who Live’ tour

Equipment provided by ADLIB Audio for the technically-complex tour – which visited a number of UK arenas during the autumn – included Soundcraft consoles and L-Acoustics loudspeakers.

No fewer than three Soundcraft Vi consoles were specified for the tour. Chris Leckie and Marc Peers manned FOH and monitors, respectively, on Soundcraft Vi6s, while Fergus Mount handled audio playback on a Vi1.

The desks – which were originally supplied by Soundcraft’s UK/ROI distributor, Sound Technology – facilitated a 270-degree sound system specified by XL Events’ Rich Rowley.

“There was no other console family on the market that would give us the interface and the footprint of the Soundcraft Vi series,” said Rowley. “It’s about having a range of compatible consoles that talk to each other on every level — and for me this solution ticked every box.”

A long-time Vi6 fan, Leckie found that the console allowed him to satisfy the requirements of a very elaborate production: “It was a joy to mix about 60 inputs of very dynamic music, from a wide variety of sources, and my capabilities were stretched somewhat further with the addition of playback stems, sound effects and then a dozen microphones for the show’s cast. It’s the first gig in 25 years that I’ve actually had to learn a script!”

Meanwhile, the PA featured ADLIB’s recently-purchased L-Acoustics KARA modular WST line source system along with the company’s existing K1 and Kudo cabinets. The Who system comprised two main hands of eight K1s per side with three downfills, plus two side hangs of nine L-Acoustics KUDO per side, flown as high as possible 10 metres upstage of the main arrays. Four SB28 subs per side were stacked in cardioid pattern, complete with dV-DOSCs sitting on top as front fills. Power was provided by L-Acoustics LA8 amplified controllers.

As well as being ADLIB’s first job for the KARA system, it was also the company’s first tour with the K1, which had previously been used on a number of festivals and one-off events since it was purchased in the summer.

Reflecting on the tour, Rowley paid tribute to ADLIB’s contribution, saying that its team had “been brilliant as always. They were definitely the right company for the job with the right attitude.”