Andy Fig was aided by Entec crew chief Simon Chandler-Honnor and Andrew Russell who managed the lion’s share of the install, and Lee Stennett who ran networking and control. “After hooking up with Entec on Incubus last year, I knew exactly what to expect,” commented the LD. “In the office, Noreen O’Riordan and Adam Stevenson have an incredible grasp of exactly what designers need to make this work. They are so co-operative and supportive, just like their crew at the gig.”
During the latter stages of planning, Kilimanjaro hired Fraser ‘Stumpy’ McAvoy to look after a number of technical production issues in consultation with Dave Hale. His presence was welcomed by many of the key personnel, not least Andy Fig who commented: “Stumpy was such a great team player to have onboard. When you have people like this behind you – and pristine equipment for the job in hand – you literally can’t ask for more.”
A client of Entec for tours by the likes of Editors and Skunk Anansie, Stumpy has become a regular face on a number of the company’s special projects. “Lighting was already specified when I came in,” he stated. “I then recognised that we needed to add sound to the overall package. The in-house PA was designed to cover every seat in the auditorium and you can’t argue with that but there were a lot of practical advantages to hiring control and monitors from Entec, as well as their crew, whom I trust implicitly.
“This gave the artist’s crew the opportunity to visit Entec’s warehouse a day before the show to prepare the consoles and the monitor system, and check that everything would be ready to roll out the next morning. Their helpful nature and the amount of pre-production made everything go so smoothly on show day that if left us a comfortable window of time during soundcheck to work closely with Mr Iglesias.”
Audio fidelity is paramount for Mr Iglesias, whose FOH mix was engineered by Chris Carlton on a DiGiCo SD10 console while Wish Wadi ran monitors from a 48-channel Avid Venue Profile. Both desks were supplied with Waves plug-in bundles as well as a modicum of outboard gear, such as the TC Electronics M6000 MkII multi-processor, Tube-Tech LCA 2B compressor and Avalon VT737SP valve compressor.
Entec added d&b J8 cabinets as side fills and the stage monitoring combined both in-ear systems and wedges. While the majority of the musicians were using Shure PSM1000 IEMs along with d&b M4 wedges and a Y-Sub as part of the drum fill, Don Julio travelled with his own Shure PSM700 IEM system and requested his personal choice of Meyer Sound MJF-212 wedges.
Stumpy explained: “Mr Iglesias has a preference for the MJF-212, which isn’t the most commonly available product in the UK, but Entec responded very courteously, going out of their way to source exactly what he wanted. I think he just likes the additional energy that the wedges give him.”
The artist also brought his personal AKG C535 microphone while Entec provided the remainder of the mic systems including a Shure Axient Digital wireless hub, Shure SM58, 57 and 81 models, and DPA 4099 Core clip-on instrument mics, plus Radial DI boxes.