Although Balvin first returned to post-pandemic touring last year with a European and UK run, his latest tour, with its Back to the Future<\/em> homage promos, notably marked the artist\u2019s first proper US and Canada trek in six years. PRG served as the audio, lighting, and camera provider for the two-month leg, which kicked off at State Farm Arena in Atlanta and wrapped at Portland\u2019s Moda Center. For sound reinforcement, an L-Acoustics concert sound system was the first, final, and only choice according to FOH Engineer Joe Spitzer and System Engineer Eric Rogers, who were both touring with Balvin for the first time on this run.<\/p>\n\n\n\n \u201cJoe [Spitzer] and I first met JB [Production Manager Jean-Baptiste Blot] and the Motion Music team on ODESZA\u2019s A Moment Apart Tour<\/em> back in 2017 and we\u2019ve had a great working relationship with them ever since,\u201d says Rogers. \u201cWhen we were approached about doing sound for Jos\u00e9 [Balvin], management\u2019s request was for us to design a PA that would provide \u2018the best sounding reggaeton tour in the world.\u2019 After taking L-Acoustics K Series systems out on a couple of ODESZA tours, we were confident it would be the right choice for this artist as well. Nothing beats K1 and its perfect complement, KS28, for sheer horsepower and fidelity.\u201d<\/p>\n\n\n\n For most of the North American\u00a0Back to the Rayo<\/em>\u00a0dates, PRG deployed main L-Acoustics arrays of 12 K1<\/a> over eight K2<\/a> per side, each backed by a hang of 12 KS28<\/a> subs in cardioid mode and flanked by out-fill hangs of 20 K2. To properly accommodate the show\u2019s ample low-end, 18 additional KS28 were end-stacked in cardioid trios across the main stage face \u2013 each topped by a Kara II<\/a> front-fill \u2013 plus eight more Kara II surrounding the stage thrust. For rear upper bowl coverage, PRG also flew an LCR setup of three pairs of L2<\/a> enclosures for delay. The stage PA was powered by 52 LA12X<\/a> amplified controllers, with six LA7.16<\/a> for the L2 delays, and the entire concert sound system was driven off of two L-Acoustics P1<\/a> processors plus one DirectOut\u00a0PRODIGY.MP\u00a0in a redundant Milan-AVB<\/a> loop.<\/p>\n\n\n\n \u201cFull system coverage and response was pretty incredible for this tour,\u201d Spitzer shares. \u201cThe majority of these rooms were A-market arenas with very tall 300 sections and deep corners that are always hard to cover with traditional arena deployments. Our box count and delay package allowed for a lot of flexibility, and the consistency in this system\u2019s response definitely translated to the crowd, allowing Jos\u00e9 to connect night after night with all of his fans. It was a sight to see the upper sections jump just as high as the floor, and we all know they wouldn\u2019t be doing so if the audio quality up there wasn\u2019t 100 percent.\u201d<\/p>\n\n\n\n Tight system directivity and articulation for a show like Balvin\u2019s is imperative, and L-Acoustics Panflex came in quite handy. \u201cFor me, having eight K2 downs per side on the main K1 hangs was very beneficial for gain-before-feedback,\u201d he notes. \u201cWe configured the K2 in a 90-degree pattern, steering HF away from the 60-foot thrust. Jos\u00e9 spends nearly the entire show on that thrust, in addition to time on a B stage located at front of house, and having the ability to manually steer energy away from the thrust was incredibly helpful and necessary.\u201d<\/p>\n\n\n\n Up in the \u201cnose-bleed\u201d seats on the far end of the arenas, the tour\u2019s deployment of PRG\u2019s newly-acquired L Series enclosures was equally effective in getting the show\u2019s sound where it was needed. \u201cAdding delays to our touring rig was implemented very early on in the design process,\u201d Rogers recalls. \u201cThe decision to use L Series for that was quick and unanimous. Their size and weight, along with their incredibly expeditious deployment, made them a \u2018no-brainer.\u2019 And, in use, the performance of L2 delays with their cardioid directivity absolutely surpassed our expectations. They ensured that the audiences in the upper sections had a coherent and intelligible experience similar to those in the front row.\u201d<\/p>\n\n\n\n With reggaeton, bass is a huge element of the genre, and the combination of flown and ground-stacked KS28 subs reportedly delivered the goods. \u201cThe KS28 were a perfect fit for the gig; we had plenty of low end every night,\u201d says Spitzer. \u201cIt wasn\u2019t just about moving air; the subs were able to make sure the bass notes were heard in addition to being felt, which is incredibly important to me. It\u2019s one thing to experience low end for the sake of air pressure, but another to couple that with bass notes you might not experience on other systems. Paired with the overall power, punch, and musicality that K1 and K2 both offer, this whole concert sound system absolutely knocked it out of the park each night. And, as always, the support from the L-Acoustics team was unmatched. That\u2019s the cherry on top of a fantastic range of products!\u201d<\/p>\n\n\n\n For more details on J Balvin\u2019s upcoming concert itinerary, visit\u00a0ww<\/a>w.jbalvin.com<\/a>. PRG can be found online at\u00a0www.prg.co<\/a>m<\/a>\u00a0and on Instagram at\u00a0@prg.north.america<\/a>. Jean-Baptiste \u201cJB\u201d Blot and Motion Music can additionally be found at\u00a0@jean_baptiste_blot<\/a>\u00a0and\u00a0@motionmusicllc<\/a>.<\/p>\n\n\n\n![\"PRG](\"\/wp-content\/uploads\/2025\/07\/la-j-balvin-1-1024x683.jpg\")
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