{"id":14026,"date":"2020-04-03T07:30:04","date_gmt":"2020-04-03T05:30:04","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=hot-news&p=14026"},"modified":"2023-01-31T11:53:34","modified_gmt":"2023-01-31T10:53:34","slug":"l-isa-delighted-audiences-ears-on-bon-iver-tour-supporting-ii","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/l-isa-delighted-audiences-ears-on-bon-iver-tour-supporting-ii\/","title":{"rendered":"L-ISA Delighted Audiences\u2019 Ears on Bon Iver Tour Supporting i,i"},"content":{"rendered":"\n

Firehouse Productions deployed an L-Acoustics PA for Justin Vernon and company\u2019s latest North American trek, which added L-ISA Hyperreal Sound technology for its second leg, giving fans a super-wide sonic panorama experience<\/em><\/em><\/em><\/em><\/p>\n\n\n\n

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EAU CLAIRE, Wisconsin \u2013 April 2020<\/strong> \u2013 Bon Iver\u2019s fourth and most recent studio album, i,i, showed up on numerous music critics\u2019 \u201cbest of\u201d lists at the end of 2019, widely praised for its m\u00e9lange of acoustic instrumentation, otherworldly electronic and experimental elements, and, of course, frontman Justin Vernon\u2019s inimitable voice. To be expected, Bon Iver supported the release with a tour of arenas in select North American cities, with Red Hook, New York-based Firehouse Productions<\/a> supplying an L-Acoustics K2 and Kara PA for the trek. But the second and latest leg of the tour was even more special\u2014and spatial\u2014thanks to Firehouse\u2019s deployment of L-ISA Hyperreal Sound<\/a> technology.

According to Firehouse Productions Account Rep Chris Russo, the tour\u2019s L-ISA configuration featured three central arrays, each composed of 16 K2 plus three Kara down, flanked to the left and right by hangs of 24 Kara as the Scene system, which extended over the full width of the stage. Farther out to the left and right, two per side, 12-enclosure Kara arrays served as the Extension system, while two fill arrays of 12 K2 expanded outfill coverage to 180\u00b0 of seating.

Two hangs of 10 KS28 each were flown close to the center K2 arrays providing homogeneous LF coverage, while three ARCS II per side down below were used for nearfield outfills, and six Kara lined across the stage delivered frontfill. Fifty-two LA12X amplified controllers powered the entire system, and four new Milan-certified P1 AVB processors plus a pair of L-ISA Processors rounded out the L-Acoustics system complement.

Although Bon Iver FOH Engineer Xandy Whitesel had mixed using L-ISA technology for a select \u201cone-off\u201d show with the band at the Santa Barbara Bowl a couple of years ago, this was his first opportunity to tour with the setup. \u201cAndrew Gilchrest, our system tech, and I found that the mix image and tonality represented at FOH was very consistent and natural-sounding throughout each venue with L-ISA,\u201d he shares. \u201cEven the far \u2018nosebleed\u2019 seats of the arenas sounded fantastic, as did the extreme left and right sides of the main floor where the L-ISA coverage very transparently transitioned over to the outfill coverage. There was no low\/mid \u2018wonk\u2019 from seat-to-seat\u2014it was all very clean and consistent\u2014and there was also a noticeable attenuation of low-end bleeding back onto the stage, which allowed the band to enjoy more precise in-ear mixes.\u201d

Drawing on Bon Iver\u2019s full catalog material, the two-hour nightly show was performed by six musicians\u2014two drummers\/percussionists and four multi-instrumentalists\/vocalists\u2014generating 95 inputs from the stage, not including guests, talk mics, and local channels. All musicians were on hard-wired IEMs, eliminating the need for stage wedges. Front-of-house and monitor positions both featured DiGiCo Quantum 7 consoles, and Whitesel\u2019s desk fed the L-ISA Processor via direct outs from each channel.

Whitesel points out that his approach was to avoid \u201cglitz,\u201d at least from a sound reinforcement perspective, so he made judicious use of the L-ISA technology\u2019s vast potential. \u201cThe band\u2019s music is generally complex enough, so there\u2019s no need to add fanciness to make it interesting,\u201d he says. \u201cWe did use some dynamic movement of elements in a couple of the songs that really invited it, but our goal for L-ISA was to enable a quality and consistent immersive experience for the audience to more fully engage with the music\u2014not to be distracted by the sound\u2014and we absolutely achieved that. It was very apparent that audiences were stoked and totally engaged.\u201d

Firehouse\u2019s Russo agrees: \u201cThe L-ISA technology definitely widens the \u2018sweet spot\u2019 typically only found at or around FOH and a thin slice up the center. Xandy did a great job using all of the technology\u2019s resources. His mix was well balanced and dynamic, and the technology gave him a much wider canvas to paint on, which enhanced other show elements. L-ISA increased the resolution of Xandy\u2019s already detailed mix, which deepened the audience\u2019s connection with the band and their music, in turn making for an exceptional experience.\u201d<\/p>\n\n\n\n

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  • \"LA_Bon_Iver_L-ISA_4.jpg\"
    Boston \u00a9 James Dean<\/figcaption><\/figure><\/li>
  • \"LA_Bon_Iver_L-ISA_2.jpg\"
    Minneapolis \u00a9 Graham Tolbert<\/figcaption><\/figure><\/li>
  • \"LA_Bon_Iver_L-ISA_3.jpg\"
    Chicago \u00a9 Graham Tolbert<\/figcaption><\/figure><\/li>
  • \"LA_Bon_Iver_L-ISA_1.jpg\"
    Minneapolis \u00a9 Graham Tolbert<\/figcaption><\/figure><\/li>
  • \"LA_Bon_Iver_L-ISA_5.jpg\"
    Boston \u00a9 James Dean<\/figcaption><\/figure><\/li><\/ul><\/figure>\n<\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n

    <\/p>\n","protected":false},"excerpt":{"rendered":"

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