L-Acoustics’s K1 and K2 loudspeakers provided “incredible” sound on Celine Dion’s recent 22-date tour, according to rental firm’s Solotech’s VP R&D, technological solutions, Francois Desjardins.
“It was incredible, and the atmosphere was really relaxed. We felt that we had achieved something really special; the entire audience had great sound and the feeling that Céline had on stage was really good,” Desjardins commented.
Dion’s tour kicked off in Tokyo and Macao, where she had last performed ten years earlier, and then moved on to Jakarta, Taipei, Manila, Bangkok and Australia, before concluding in Auckland, New Zealand.
Desjardins added: “We needed a loudspeaker system that would be available at every venue on the tour, this was the first time we’d used L-Acoustics on a Céline Dion tour, but we’d been looking at it for a while and we were confident that we would get the consistency of sound we wanted. Not only were we right, but the support we got from the L-Acoustics suppliers along the way was amazing.”
Most of the venue information was supplied by Alvin Koh, L-Acoustics head of application for Asia. Desjardins and the tour’s system engineer Jon Trudeau managed to design each system in L-Acoustics’ Soundvision software ahead of schedule, and address the challenges faced within each venue.
“System engineer Jonathan Trudeau was in direct contact with each provider so we could talk to them about how the system was to be set up, and they were able to check that everything was working properly,” commented Desjardins. “We did this for every venue and using Soundvision made it very easy. The software is quite straightforward: you simply input the loudspeakers and it gives you a result. This means you always have a consistent starting point, then it’s just a matter of taste when you’re tuning the system. For everything else, I just followed the guidelines. With other software we use, the results are not always as good. With Soundvision, I always achieve the result I was looking for.”
The 40,000-plus capacity of Tokyo Arena called for a large system which comprised two hangs of 16 K1 with four K2 and a centre hang of four K2; two hangs of 20 K2 for side fill; two hangs of delays of 16 K2 each and two of 14 K2. A dozen Kara provided front fill, and two ARCS Wide were positioned left and right on the stage lip for outfill. Low frequency was handled by 12 K1-SB, flown behind the K1 hangs, and 40 SB28 floor subs positioned in front of the stage. Delay subs were four stacks of three SB28.