Miami-based sound companies SRX Events and Mix3 Sound recently collaborated on production of the Mercedes-Benz Evolution tour. With Mix3 responsible for sound, video and lighting systems for each event, owner John Ferlito chose to put his new Eastern Acoustic Works (EAW) Anya line array system to the test.
‘One of the reasons we decided to purchase the EAW Anya system was for events like this,’ Ferlito asserts. ‘When I heard Anya, I knew it was exactly what we were looking for. It still amazes me how easy it is to use while sounding so great.’
The five-date tour takes in New York City, Chicago, LA, Atlanta and Austin, with a celebrity DJ and live band performing at each venue – either a combination of DJ Ruckus and British rock band Bastille or Grammy Award-winning musician/DJ ?uestlove and Passion Pit. The Chicago event took place at the Aon Grand Ballroom at Navy Pier – an 18,000-sq-ft room with a sweeping 80-ft domed ceiling, a large platform stage at the front of the room, and panoramic views of the Chicago lakefront from the other three walls. For Evolution, the main floor offered a dancefloor surrounded by several bars, numerous Mercedes-Benz vehicles and interactive attractions. The balcony, which wraps around the room, provided a VIP area and also served as the front of house location. DJ Ruckus and Bastille headlined the event.
‘The Resolution software makes set up of the system straightforward,’ Ferlito says. ‘Once you’re familiar with the program, it’s simple to enter the required information and let the software determine how many boxes are required to ensure even, consistent coverage throughout the venue.’
The PA comprised LR arrays, each comprising eight active Anya modules, with six EAW SB1002 dual 18-inch subwoofers groundstacked (two-wide/three-high) beneath. EAW JF56NT loudspeakers placed on top of the subs delivered front fill, while another JF56NT was positioned centere stage to provide monitoring for Bastille. EAW UX8800 DSP managed processing.
‘Navy Pier isn’t the easiest place to work, especially with the mix position (on this occasion) up on the balcony,’ sast Paul Cooper, FOH engineer for Bastille. ‘The lack of real treatment and the ceiling bowl create somewhat of a chamber, which is better suited to lower volumes.’
In addition, as a corporate show, the usual audience absorption wasn’t what it normally would be, with most of the floor space occupied by the stalls and car displays, adding to the acoustic challenge: ‘It was a very natural sounding system – it was directional but with enough spread to make out fills in the room unnecessary,’ he continues. ‘The clarity of the system shined through and everything was very clean. I would happily recommend it as an option to people based on its top-end clarity and spread alone.’
