A Digico SD5 driven L-Acoustics K1 PA system is being used on Lana del Rey’s first US tour since 2014.
The LA to the Moon tour, supporting the artist’s latest release Lust for Life, has been on the road in North America this January and February. Upcoming dates include Argentina, Colombia and Brazil.
FOH mixing duties for the Sound Image-reinforced trek have been in the care of Kevin Madigan, best known for his work with David Crosby, Graham Nash and Steven Stills.
“We’re not trying to get huge SPLs—quality is the key, and that was taken into account with the PA choice and system design,” he said.
“It really is a show that’s very vocal-based. It’s all about the songs and her voice. So, keeping that in mind, I initially met with L-Acoustics’ Dave Brooks [application engineer, touring liaison] and we came up with a system design that allowed us to maintain the feel of intimacy in a large arena show. The coverage and the quality of the system make that possible and the linear reproduction of sound everywhere really helps people to feel as if they’re quite close up. The idea that, sonically, no one ever feels far away from the stage. To achieve that, we take a lot of care and spend a good deal of time every day listening and measuring so that the sound is consistent all the way to the highest seats in the arena.”
Brooks’ design proved successful not just in the room but on the stage as well. “In addition to the L-Acoustics system delivering the best possible audio product in the audience area, it’s provided a remarkable level of consistency on stage. Some things, such as sub timing and alignment, may change a bit from day to day, but we tend not to deviate from Dave’s and my initial design. It’s really our master blueprint for what we do every day.”
Brooks is using K1 for the main hangs, and K2 for down-fills and out-fills. The day-to-day system consists of 14 K1 over four K2 as the main L/R, with eight K1-SB flown outside of the main hangs. In addition, 18 SB28 subs are ground-stacked in groups of three across the stage in a cardioid configuration.
“We count on L-Acoustics because, at the end of the day, it’s all music and the common factor is usually that vocal,” added Brooks. “L-Acoustics systems in general, and this design specifically, have been a major factor in the success of getting that vocal out there and representing it well on each and every show.”