Guano Apes rock out with Coda Audio

German rock band Guano Apes have been using a Coda Audio Airline loudspeaker system on their latest tour, writes Paul Watson.
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Guano Apes have achieved huge global appeal since their reunion in 2009 and have just completed their Bel Air tour, for which FOH engineer Ingo Thürauf specified a Coda Audio Airline loudspeaker system to achieve audio clarity and punch.

Supplied by Ambion GmbH, which also provided full technical requirements for the tour, the system comprised an Airline LA12 three-way line array, augmented with high output sensor controlled SCP 2 x 18” and SC8 4 x 18” subwoofers, with Airline LA8 two-way compact line array cabinets for the fills.

Thürauf has worked with Coda systems before, and says the manufacturer’s line arrays offer a “very exact reproduction”.

“This made me specify the [Airline] LA12 system for this tour; the powerful sensor-controlled subwoofers in particular perfectly match the energetic sound of the Guano Apes,” he explains. “I like to work with diverse sub harmonic effects, and the speakers need to be able to handle these.”

Monitoring was via a Yamaha M7CL console and Ultimate Ears UE-7 IEMs, however, lead singer Sandra Nasic utilises four Coda Audio Cue One wedges: a three-way 2 x 12” / 1 x 1.4” coaxial system.

Ambion has come to rely on Coda Audio for both its corporate and conventional support, as well as in concert touring, on an international level.

“Coda Audio was first introduced to us two years ago,” recalls Ambion’s Jesko Purmann. “We were looking for a new sound system at the time and didn’t want to pick one of the usual ones. We quickly realised that the ideas and concepts of Coda Audio and Ambion matched very well and, as a result, we have had products from Coda in use for over a year and a half now.

“The SC8 can be flown in one line with the Airline LA12. We used this in projects where a homogenous covering for a large depth was needed. It is also possible to fly separate bass lines. For nearfield fill, we used Airline LA8 units on the stage edge instead of hanging them under the main arrays. This assured us the most effective sound distribution.”



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