{"id":1139411,"date":"2026-03-24T13:05:08","date_gmt":"2026-03-24T12:05:08","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=press-release&p=1139411"},"modified":"2026-03-25T13:28:42","modified_gmt":"2026-03-25T12:28:42","slug":"nine-inch-nails-continue-to-push-forward-with-l-acoustics-on-peel-it-back-tour","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/nine-inch-nails-continue-to-push-forward-with-l-acoustics-on-peel-it-back-tour\/","title":{"rendered":"Nine Inch Nails Continue to Push Forward with L-Acoustics on\u00a0Peel It Back Tour"},"content":{"rendered":"\n

Britannia Row and FOH engineer Jamie Pollock deployed a flagship K Series system for NIN\u2019s sold-out arena return, delivering high-impact sound across 22 North American dates<\/em><\/p>\n\n\n\n

\n\n\n\n

LOS ANGELES, California \u2013 March 2026 \u2013<\/strong>\u00a0Nine Inch Nails have just completed the third and final leg of their 60-plus-date\u00a0Peel It Back Tour<\/em>, which kicked off in Ireland in June 2025 and wrapped up in Sacramento, California on March 16, 2026. The first tour by NIN since a limited run in 2022, the string of arena shows, with Boys Noize opening every date, sold out across Europe and North America and was supported by a large L-Acoustics K1\/K2 rig with KS28 subs provided by Britannia Row Productions, a Clair Global brand.<\/p>\n\n\n\n

\u201cThis was a \u2018standard\u2019 K Series arena spec for me,\u201d says systems engineer Terence Hulkes, whose credits include multiple tours with Depeche Mode and David Gilmour, as well as stints with Beck, Swedish House Mafia, Dua Lipa, BTS and Mumford + Sons\u2014all using L-Acoustics PA systems. The enclosure count on the latest tour was slightly higher than typical, he notes, not only for extended headroom but also to accommodate greater vertical dispersion in higher-roofed arenas and, where necessary, 270-degree coverage. \u201cI like to use the angles to fine-tune SPL target coverage and frequency response without the restriction of simply not having the box count for it to be an option.\u201d<\/p>\n\n\n\n

\n
\"Britannia
Britannia Row Productions carried an L-Acoustics K Series system on Nine Inch Nails\u2019 recent Peel It Back Tour<\/em><\/figcaption><\/figure>\n<\/figure>\n\n\n\n

In total, this third leg of NIN\u2019s\u00a0Peel It Back Tour<\/em>, a 22-show run across the US and Canada, carried main hangs of 16 K1<\/a> over four K2<\/a> per side, side arrays of 12 K1 over eight K2 per side, and 16 K2 per side for the rear 270-degree arrays. Eight KS28<\/a> subs were flown per side with another 24 KS28 end-stacked in pairs across the stage face. Four A10 Focus<\/a> spread out atop the ground subs provided front-fill, with an additional four horizontally arrayed A15 Wide<\/a> per side for near out-fill. \u201cWe also carried four X8<\/a> with pole-mount brackets as auxiliary front-fill,\u201d Hulkes reports, \u201cwe used them when necessary for hard-to-cover odd spots around the stage.\u201d<\/p>\n\n\n\n

Thirty LA12X<\/a> amplified controllers per side were flown in custom Brit Row flying carts alongside the arrays, with another six per side on the ground under the stage. Processing included three L-Acoustics P1<\/a> at FOH using dual-redundant Milan-AVB signal distribution with analog XLR backup.<\/p>\n\n\n\n

Jamie Pollock, recently appointed an L-Acoustics Artisan of Sound, is a veteran systems designer and FOH engineer whose credits span Radiohead, Depeche Mode, Peter Gabriel, and the Grammy Awards telecast. Having toured with the K1 system since its pre-launch beta release\u2014first with Radiohead, then a string of early adopters\u2014Pollock describes the rig design as a true collaboration. \u201cI discovered the art of a systems engineer working with Radiohead, but always considered myself more of a mixer. Understanding the system and design is essential to me as a front-of-house engineer. When we start a tour, I\u2019ll have the initial conversations, design system options, and then bring Terry into the conversation so I can get his thoughts and opinions. My role these days is more of a mixer and a producer, so at a certain point I hand it off to him and he takes it to the next level. The PA team that we had on this tour was the same people that we\u2019re used to working with, so I knew the system would be deployed correctly and with care and precision.\u201d<\/p>\n\n\n\n

\n
\"The
The tour\u2019s main hangs comprised 16 L-Acoustics K1 over four K2 per side, each paired with eight KS28 subs, plus 12 K1 over eight K2 for out-fill<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

None of the subs on the tour were in a now-typical cardioid configuration. \u201cI think there\u2019s a time to use cardioid, but I prefer the sound of subs when all the drivers face the same direction,\u201d states Pollock. \u201cI never really have a problem with low end, and to me, subs are just an extension of the full-range sound we get out of these large arrays. When I tune, I start with just the mains and get that right first. As we add subs, it\u2019s adding in a musical way, and then having the correct amount of subs and configuration gives us the control.\u201d<\/p>\n\n\n\n

The show, a spectacle of lights and video projected onto floor-to-ceiling scrims, started with Trent Reznor at a B stage piano in the audience before switching to the A stage with the full band, consisting of Reznor, Atticus Ross, and three touring band members. The focus then returned to the B stage for performances with Boys Noize before again returning to the main stage for NIN\u2019s final set.<\/p>\n\n\n\n

\u201cThe B stage started with an \u2018acoustic\u2019 feel with some live mic elements and then built to a lot of electronics, drum machines, and synthesizers,\u201d Hulkes elaborates. \u201cWe only used the main stage PA for this. We made sure the floor coverage of the PA was consistent in SPL and frequency response during design and tuning and achieved very respectable levels for that part of the show.\u201d He used the Autofilter in L-Acoustics Soundvision software to get a baseline FIR balance for the arrays: \u201cThen I walked the venue to align and calibrate the PA with L-Acoustics M1 suite and listened to verify and fine-tune manually to taste.\u201d<\/p>\n\n\n\n

\n
\"L-Acoustics
L-Acoustics Artisan of Sound Jamie Pollock at the FOH mix position<\/figcaption><\/figure>\n\n\n\n
\"Systems
Systems engineer Terence Hulkes at the L-Acoustics LA Network Manager system control interface<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\"
\u00a0PA tech Juan Beilin flying the tour\u2019s L-Acoustics loudspeaker arrays and amplified controllers<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The L-Acoustics sound system was networked via Milan-AVB on the tour. \u201cThat definitely simplified the signal routing and was much more flexible and configurable in software without having to manually re-patch input cabling,\u201d Hulkes points out. \u201cIt was also great to have the software routing available with the main amp racks flown in the air, as they\u2019re not the easiest to access to move cables around when they\u2019re hanging about 60 feet up in the roof. Also having AVB I\/O on the front end of the P1 processors was a necessity to handle all the required input for system utility I\/O, house feeds, et cetera, as all connected devices could access the AVB streams over the network.\u201d<\/p>\n\n\n\n

Hulkes gives a big shoutout to his experienced PA technicians: \u201cThanks to Richard Trow and Juan Beilin for their efforts working with me to turn my PA design into reality on the day at the gig and get the system deployed, because it wouldn\u2019t have happened without them.\u201d<\/p>\n\n\n\n

\n
\"A
A view of the B stage, with the main stage PA seen in the background<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Every system has its own sound, Hulkes concludes, \u201cAnd the K Series just does something that people like. I\u2019m always excited to see what\u2019s on the horizon with L-Acoustics and to get the opportunity to try out new products and developments in the field.\u201d<\/p>\n\n\n\n

For more details on Nine Inch Nails\u2019 recent\u00a0Peel It Back Tour<\/em>, visit\u00a0www.nin.com<\/a>. Britannia Row Productions can be found online at\u00a0www.britanniarow.com<\/a>.<\/p>\n\n\n\n

Press release assets are found by clicking here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Britannia Row and FOH engineer Jamie Pollock deployed a flagship K Series system for NIN\u2019s sold-out arena return, delivering high-impact sound across 22 North American dates LOS ANGELES, California \u2013 March 2026 \u2013\u00a0Nine Inch Nails have just completed the third and final leg of their 60-plus-date\u00a0Peel It Back Tour, which kicked off in Ireland in […]<\/p>\n","protected":false},"author":56,"featured_media":1139414,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"news_tags":"","tags_api":"","footnotes":""},"news-tag":[],"class_list":["post-1139411","press-release","type-press-release","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nNine Inch Nails Pushes Forward with K Series on Peel It Back Tour- L-Acoustics<\/title>\n<meta name=\"description\" content=\"Britannia Row and FOH engineer Jamie Pollock deployed a flagship K Series system for NIN\u2019s sold-out arena return.\" \/>\n<meta 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