{"id":20196,"date":"2022-02-21T15:41:19","date_gmt":"2022-02-21T14:41:19","guid":{"rendered":"https:\/\/www.l-acoustics.com\/?post_type=hot-news&p=20196"},"modified":"2023-01-31T11:21:09","modified_gmt":"2023-01-31T10:21:09","slug":"l-acoustics-k1-and-k2-are-good-things-for-dan-shays-first-headlining-us-arena-tour","status":"publish","type":"press-release","link":"https:\/\/www.l-acoustics.com\/fr\/press-releases\/l-acoustics-k1-and-k2-are-good-things-for-dan-shays-first-headlining-us-arena-tour\/","title":{"rendered":"L-Acoustics K1 and K2 are Good Things for Dan + Shay\u2019s First Headlining US Arena Tour"},"content":{"rendered":"\n

PRG Nashville supplies a robust K Series loudspeaker package for its first outing with the duo<\/em><\/p>\n\n\n\n

\n\n\n\n

NASHVILLE, Tennessee \u2013 February 2022 \u2013<\/strong> When three-time Grammy Award-winning country duo Dan + Shay hit the road in March of 2020 for their first official headlining US arena tour, they played three consecutive sold-out shows, selling more than 40,000 tickets combined. Then Covid struck, grinding the trek\u2014along with everything else\u2014to a sudden halt. A year and a half later, the highly-anticipated tour finally picked back up, rescheduling and resuming the 30 remaining sold-out shows on the three-month run, which carried an L-Acoustics K Series loudspeaker system supplied by touring provider PRG Nashville.<\/p>\n\n\n\n

Presented by AEG Presents, \u201cThe Arena Tour,\u201d as it was officially dubbed, was in support of the duo\u2019s latest album, Good Things<\/em>, with PRG Nashville supplying all audio, LED, and lighting systems. \u201cThis was our first tour with PRG, and as soon as I knew that they\u2019d be our touring partner, I went to our production manager and said, \u2018Hey, if we can have it, we\u2019d love to be on an L-Acoustics rig,\u2019\u201d shares Taylor Bray, who has been Dan + Shay\u2019s front-of-house engineer for the past eight years. \u201cI\u2019ve mixed our artists on a lot of different systems, but some of the best shows have been on these big festivals with huge L-Acoustics PAs where we\u2019d walk up with no soundcheck\u2014line check only\u2014do the show, and then afterward think, \u2018Damn, that felt good!\u2019\u201d<\/p>\n\n\n\n

PRG Nashville had the available inventory to accommodate the rider request and consequently carried a tight single-truck pack of 32 K1<\/a>, 40 K2<\/a>, 6 Kara<\/a> enclosures, 18 KS28<\/a> subs, and 48 LA12X<\/a> amplified controllers housed in custom racks. For the shows, main arrays comprised 16 K1 flown over four K2 downs per side, augmented by adjacent out-fill arrays of 16 K2 per side. Ground subs were grouped in threes and vertically strapped to six KS28 chariots in an asymmetrical cardioid configuration, and each sub cluster was topped by a single Kara front-fill enclosure. Two L-Acoustics P1<\/a> processors paired with M1<\/a> measurement tools provided overall system tuning and processing.<\/p>\n\n\n\n

Each night, the artists would open their show out on a plus sign-shaped B-stage 60 feet out from downstage, returning there several times throughout the two-hour performance for their quieter, more intimate numbers. With the full band Each night, the artists would open their show out on a plus sign-shaped B stage 60 feet out from downstage, returning there several times throughout the two-hour performance for their quieter, more intimate numbers. With the full band portions of the show being louder, the audio crew point to LA Network Manager\u2019s relatively new Cardioid Extended (Cx) preset library<\/a> as being a huge benefit to keeping the full system under control.<\/p>\n\n\n\n

\u201cThe Cx preset for the KS28 subs really cleaned up everything\u2014not only the stage but the room too,\u201d says Eric Thomas, PRG\u2019s FOH system tech, who first worked with the artists on their Super Bowl LIV Pregame Show two years ago. \u201cIt really helped keep the energy in the room and tighten up the low end. It felt like a 100-percent improvement in sub energy.\u201d<\/p>\n\n\n\n

\u201cThe increased subwoofer directivity and rear SPL cancellation really saved me in my world on stage left,\u201d agrees monitor engineer Austin Brucker. \u201cAlso, our tracks operator was three feet behind the full stack of subs on stage left, plus our guitar tech tuned acoustic guitars just a few feet from an array, but there were never any complaints from any crew about volume. Other systems have beaten us up in the past, but with L-Acoustics, onstage, it almost felt like the loudspeakers weren\u2019t on. During soundcheck, I\u2019d sometimes walk out just to make sure that stuff was happening, and there was never any shortage of energy out front. That ability to keep the deck super-quiet was great for us, but also allowed our principals and musicians to perfectly hear themselves, focus on their performances, and deliver amazing shows.\u201d<\/p>\n\n\n\n

On the other end of the fiber at front-of-house, Bray reveals another tool he appreciated having perched on his Avid S6L mixing console\u2014a pair of tiny self-powered L-Acoustics 108P used for talkback, cues, and nearfield monitoring. \u201cI used a very multipurpose pair of 108P on my bridge and absolutely loved them\u2014I wanted to take them home with me,\u201d he says. \u201cI\u2019m not sure how L-Acoustics did it, but aside from some missing low-end information, what I heard on these completely translated to what I heard on the K1 mains. During those times when the PA was going up, or we weren\u2019t allowed to make noise in the room because of LED, there was still a lot of work that could be done. If it sounds On the other end of the fiber at front of house, Bray reveals another tool he appreciated having perched on his Avid S6L mixing console\u2014a pair of self-powered L-Acoustics 108P used for talkback, cues, and nearfield monitoring. \u201cI used a very multipurpose pair of 108Ps on my bridge and absolutely loved them\u2014I wanted to take them home with me,\u201d he says. \u201cI\u2019m not sure how L-Acoustics did it, but aside from the difference in the operating bandwidth, what I heard on these completely translated to what I heard on the K1 mains. During those times when the PA was going up, or we weren\u2019t allowed to make noise in the room yet, there were still elements of the mix that could be worked on. If it sounds right on the 108P, it\u2019ll sound right in the room. Plus, if Dan or Shay wanted to listen back to how anything sounded the night before, they could step into my \u2018office\u2019 and get a really accurate representation of their performance.\u201d<\/p>\n\n\n\n

With K1\/K2 arrays paired with KS28 subs, Thomas notes that the crowd was \u201call smiles\u201d regardless of where they were standing or seated. \u201cI would walk around quite a bit while the band performed and found that our coverage was within 3dB almost everywhere. Even while standing at front-of-house, I could turn around and see the people up in the 300s having a good time and know full well that they were doing alright. That\u2019s the beauty of this system. It never feels like it\u2019s 100-plus feet away. Even at long distances, it\u2019s still intimate, like you can reach out and touch it. And though it feels in-your-face, it\u2019s not at all fatiguing\u2014no hot spots, no harshness, no ringing ears. I can\u2019t say that for most other manufacturers\u2019 systems.\u201d<\/p>\n\n\n\n

At the end of the day, for Bray, the L-Acoustics system was the right choice for \u201chelping audiences best connect with what the artists were wanting to share,\u201d he says. \u201cAs the audio team, we\u2019re all trying to make things hit<\/em> more and give people more of an energetic and personal connection to what\u2019s happening onstage. K1\/K2 provides that, and we heard so many compliments nightly to that fact. Management, other bands, fellow engineers, and audiences were all really, really positive about what they were hearing, including the fact that the lyrics were so intelligible in so many venues that were accustomed to hearing muddy, murky sound.<\/p>\n\n\n\n

\u201cMy mom even came to a show and told me, \u2018Their voices sounded great\u2014I could understand them, and it felt really good.\u2019 And yet, at the same performance, I put enough energy on the floor that management came back saying, \u2018Hey, it\u2019s pumpin\u2019!\u2019 So if you can make both mom and management happy in the same room, that\u2019s a special rig.\u201d <\/p>\n\n\n\n

For more information on Dan + Shay\u2019s upcoming performances, visit www.danandshay.com<\/a>. PRG Nashville can be found online at www.prg.com<\/a>.<\/p>\n\n\n\n

\n\n\n\n
  • \"\"




    The Dan + Shay audio crew at front of house. Front row, left to right: Austin Brucker (Monitor Engineer), Taylor Bray (FOH Engineer), and Eric Thomas (SE\/Crew Chief). Back row: Taylor Pescatore (PA\/Stage Patch), Justin Stiepleman (PA\/B Stage), and Justin Curtiss (Monitor Tech\/RF)<\/figcaption><\/figure><\/li>
  • \"\"




    (L-R) Justin Curtiss, Eric Thomas, Justin Stiepleman, and Taylor Pescatore preparing to fly the tour’s K1\/K2 arrays

    <\/figcaption><\/figure><\/li>
  • \"\"




    Dan + Shay pose for a photo at one of The Arena Tour\u2019s 33 shows<\/figcaption><\/figure><\/li>
  • \"\"




    PRG supplied all audio, video, and lighting elements for the tour<\/figcaption><\/figure><\/li>
  • \"\"




    One of the tour\u2019s six KS28 cardioid-configured ground sub clusters on its chariot and topped with a single Kara enclosure for front-fill<\/figcaption><\/figure><\/li><\/ul><\/figure>\n\n\n\n

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