Juanes Tour Profile

Jul 1, 2013 9:00 AM, By Matt Gallagher

'LOUD AND UNPLUGGED' TOUR FEATURES ACOUSTIC INSTRUMENTS, NEW ARRANGEMENTS

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photo of José Amable Frometa

Front-of-house engineer José Amable Frometa

Juanes sings into a Shure KSM 9, and Frometa says, “the goal with [Juanes’] vocal is to make it clear but not loud. Juanes himself doesn’t like the feeling if his voice is loud in the mix, so I keep it simple. The Summit insert gives me the coloration and compression. I use a short bright reverb and couple of delays with manual tap. Guitars are right behind Juanes’ vocal in the mix. They are also slightly panned. I use the thicker preset and a bright room with short decay from the DiGiCo effects library. Each 6-string guitar gets a DiGiTuBe [circuit that emulates the non-linearities of a tube amplifier] and graphic EQ inserted.

“The preamps on the SD Series are great,” Frometa continues. “The boards put out a very clean sound with an outstanding image. I use very little EQ—mostly high- and lowpass filters. DiGiTuBes are a nice feature. I created a fader/mute snapshot for each song. Dynamic EQ and compression are the features that help me the most in keeping up with the coloration changes from the guitars. Macros are another function I use a lot. It’s nice to be able to recall a window or toggle between settings in one channel with the touch of a button. The 4-page section with 10 assignable LED Macro buttons makes navigating the board a lot faster.”

photo of Anselmo Rota

Monitor engineer Anselmo Rota

On this tour, Frometa notes, “The mix structure is what’s most affected by venue size; some nights the guitars will need an extra push to find the desired balance. In most of these mid-sized to small venues, direct sound becomes a heavy part of the mix, so I use delays on drums and percussion to closely match the P.A. sound. Some nights the stage is just wide enough to accommodate the band, and the P.A. gets stacked right on each side, barely three feet away from [stage-] left and right guitar players, so every acoustic stringed instrument gets a graphic EQ inserted.”

For the P.A. system, 3G Productions spec’d a d&b audiotechnik rig comprising 12 V8s and four V12s per side, six J Series subwoofers per side, and eight Q10s for side hangs per side with four Q1s for front fills. “The ease of the rigging and the lightness of the box makes it a super-easy rig to fly,” Perez says. “I was blown away by the clarity and volume of the little box. More surprising is that it is a passive box. Whether we have all 16 boxes in an amphitheater or a small arena, or a small theater with just eight or 10 boxes, the SPL and sonic clarity is the same. The rig changes day to day since the venues are all different, but until now the Vs have been nothing but workhorses in terms of adapting to fit each venue.”

Rota, who has toured with Juanes previously, also uses the SD 10’s onboard feature set exclusively, including multiband compressors and DiGiTuBes, to handle the band’s 22 channels of IEMs—16 stereo mixes and eight mono outputs for effects. Daly notes that drummer Waldo Madera and bassist Pedro Felipe Navia use d&b M2 monitor wedges. “We’re using eight reverbs,” Daly adds. “Everybody has a full-on front-of-house mix, pretty much.”






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