Adlib in Overdrive
Adlib supplied lighting, audio production and crew for the highly festive ‘Christmas with the Overtones’ tour, renewing a long term working relationship with the popular five-piece harmony group. Adlib’s audio team was led by Mario Leal, who was tasked with getting the CODA PA fine-tuned and sounding crisp each day for the band’s FOH sound engineer Mark Clements. Paul Allen was the our and production manager steering the ship. The PA was specified by Mark and monitor engineer Cristiano Vuolo, explained Mario, and he, together with account handler Dave Jones, all worked together to ensure everything was coordinated smoothly and efficiently. A typical set up was 12 x ViRAY left-andright with three sensor-controlled SCP subs a side on the floor (six in total), together with six TiRAY front fills. Covering the balconies are CODA C712s. The whole system was driven by 20 x CODA Linus 10 amps, which, were set up and aligned utilising LINUS Live software which gives full networked control over the amps and the arrays, with the EQ and zoning taken care from aLake control rack. Adlib supplied two Avid Profile consoles – for FOH and monitors. The Overtones used an 8-way Sennheiser SR2000 IEM system from Adlib, there were no side fills, keeping the stage clean and clear, and for atmosphere they added four of Adlib’s new MP5 wedges across the front. Two Adlib MP4 subs were allocated to the drummer and the bassist, with the third shared between the guitarist and keyboardist. The mics were six (five and a spare) Shure UR4D hand-helds with a Beta 87A capsule. Lighting designer Neil Holloway collaborated closely with touring operator and lighting director, Tess Minor for the tour. Hung on the back truss were five Martin MAC Viper profiles and six MAC Aura LED washes. Two ProLight Solar 36 LED washes were used in conjunction with another two on the floor, while eight Auras were deployed upstage/downstage stage left and right for low angled side washes, and six MAC Quantum Washes were set up in an arc around the back of the set risers. A grandMA2 light with an onPC as backup were utilised for control. Adlib’s lighting account handler was Dave Eldridge, who ensured that everything ran smoothly.