Indie rock outfit Snow Patrol recently took to the road for the first time in seven years in support of their 2018 album Wildness, complete with an audio specification provided by Adlib.
Nigel Pepper was deployed to mix FOH with Jamie Hickey on monitors and Robin Scott serving as production manager. Adlib also provided crew, with systems specialist Sam Proctor and an L-Acoustics K1 system. Proctor was joined by Terry Smith who looked after stage and monitors for Hickey, plus Aaron Greig and Neil Dodd who completed the audio crew.
The tour’s standard system configuration was 14 x K1 speakers a side with four KARA downfills together with eight K1 subs flown behind the main hangs. These were supplemented by two side hangs of 12 x K2 speakers each.
On the floor were 21 x KS28 subs in a spaced array. Seven stacks of three high subs, each with a single L-Acoustics X8 on top for front fill.
A flown cluster of four KARAs spec’d by Pepper eliminated the need for any infills, helping to keep the stage completely free, which was both an acoustic and an aesthetic decision leaving a clear stage and a flat floor space.
All speakers were driven by L-Acoustics’ LA12x amplifiers and all the processing completed at FOH via a Newton multi-source processor.
Pepper’s console of choice is the Midas PROX, which he ran with a selection of carefully chosen outboards.
Frontman Gary Lightbody uses a Sennheiser SKM5200ii RF transmitter with a DPA D:facto capsule.
With 88 inputs coming from the stage, Hickey’s desk was a DiGiCo SD7, which he ran with 32-bit input preamp cards and described as “the SD7 is the best thing out there right now! It’s rock solid and has never let me down “.