The Killers’ Imploding the Mirage stadium tour visited Europe in May and June using a d&b audiotechnik SL-Series PA system provided and supported by Capital Sound, now part of Solotech UK Group.
As long-standing clients of Capital, the band’s sound team was able to draw on the company’s continuing investment in d&b systems to specify an extensive GSL/KSL set-up. ‘The first time I used the SL Series was at a festival in Memphis,’ says the band’s FOH engineer, Kenny Kaiser, who works closely with monitor engineer Marty Beath on all aspects of the touring sound specification. ‘We just turned up and used it, and I was floored – it was awesome.’
Planning ahead, the pair worked with Solotech to finalise the system design for the 2022 tour, setting on main hangs of 16 GSL8 and four GSL12 cabinets left and right, plus ten flown SL-Subs per side and 14 GSL8 and two GSL12 left and right for side arrays. On the ground, SL-GSubs were to be stacked six-wide and two-high, their arrangement of 21-inch loudspeakers extending the system’s cardioid pattern control down to 30Hz. ‘Low end is always an issue in stadiums but the control here with the flown subs and the G-Subs,’ Kaiser says. ‘It’s just great.’
For delays, the smaller KSL8 was deployed in hangs of 16 cabinets per side. All arrays are flown in compression mode, but smaller KSL8 arrays can be rigged from roof structures where needed, in tension mode to save weight. ‘With the SL-Series, d&b seem to have nailed the concept of quick rigging,’ says Solotech’s Robin Conway. ‘Speed of deployment is a huge factor – it’s so safe to fly, especially in compression mode.’
Kaiser and Conway both report set-up and optimisation with d&b’s ArrayProcessing software to have been straightforward. ‘It’s a powerful system that does throw a long way,’ Conway says. ‘And with ArrayProcessing, that takes care of the frequency response front-to-back. It means the system tech can focus on the finer details and how the arrays interact with each other.’
The system’s performance in these large venues has been enjoyed by the sound team: ‘I’ve been impressed by the evenness of the coverage,’ Kaiser says. ‘Compared with previous d&b systems I’ve used, [the GSL] sound is smoother, more uniform.’
As with all the SL-Series, the GSL employs a combination of cardioid techniques which result in the rejection of energy to the rear, meaning a more comfortable working environment onstage – as well as lower off-site sound emissions. ‘The back end is quiet and it’s really clean on stage, which makes life easier for everyone,’ Kaiser confirms. ‘Marty can get his mix out without fighting, so everyone’s happy. And when everyone else is happy, I’m happy. And we’ve had comments from guests and promoters on the tour, saying it’s some of the best sound they’ve ever heard at their venue.
‘GSL goes up really quick,’ he adds. ‘The team arrives on site about 3pm, and it’s always up, checked and verified in three hours. In terms of tourability, I’d give it ten out of ten – honestly.’
The Killers tour will continue with GSL through the forthcoming European festival season, and then for North American and Australasian shows later in 2022.
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