Entec Sound is supplying
a d&b J-Series line array
system for the current Tool
UK and European arena tour,
which FOH sound engineer Ian
‘Big Nobby’ Hopkinson
simply & conservatively
states is “The best
system I’ve ever used”.
Entec’s systems engineer
Stef Serpagli confirms that
the system has been pushed
to astonishing limits with
the exceptionally high SPL
levels demanded by the Tool
sonic experience, “It’s
basically on 11 all the time,
and it’s holding up
really well!”.
The most common configuration
for the arrays is 12 x J-8
tops and 4 x J-12s a side
for the main hangs, plus 6
x C4 tops, flown two wide,
and 4 x C4 subs per side as
the side hangs to give 180
degree coverage. For Wembley,
the main hangs were increased
by 4 x J-8s per side –
adding up to the most J-Series
that Entec has hung to date.
Massive levels of sub bass
are provided by 14 J-Subs
and 12 B2s, run in cardioid
mode, arranged in a delayed
sub array around the front
of the stage for even coverage.
The main J system, all the
subs and the 4 x Q7 front
fills are driven by d&b
D12 amplifiers, and the C4
with P1200A’s. The system
processing utilises a combination
of d&b’s Rope C
software in conjunction with
a Lake Contour systems, chosen
for its flexibility and because
the side hangs needed a processor.
They have been using the compressors
on the Lakes which are “Fantastic”
claims Serpagli.
The biggest challenge has
been getting the intense levels
needed all the way to the
rear of the arenas and simultaneously
getting the vocals crystal
clear and sharp. Tool’s
lyrics are complex, and address
a myriad of philosophical
and spiritual issues, so it’s
vital to hear them above the
general loudness of the environment!
Hopkinson has been able to
achieve all these criteria
with the J-Series.
He is babysat by Erik Sanderson-Evans,
who says, “As always,
Entec’s gear is in top
condition, the crew are excellent
and they look after us really
well”.
d&b’s Ralf Zuleeg
and Jonas Wagner came to the
show in Munich to set up and
tweak the delayed sub array
– the first time they
have used both J-SUBs and
B2s combined for the task.
The results have impressed
everyone and satisfied even
the most hardcore of noise
junkies.
Hopkinson uses a Midas XL4
console at FOH – his
desk of choice. He’s
an XL4 fan because it’s
a classic console …
that “just works when
you switch it on”.
