On the 29th of August 1994, Oasis released what would arguably become Britian’s last working class indie guitar record, an offering that within four days, would become the fast-selling debut album in British chart history. 30 years on, Oasis frontman Liam Gallagher has reprized the album’s monumental effect on live audiences with a sold out solo UK tour. Skan PA Hire provided sound reinforcement and audio crew to help deliver the occasion.
For Production Manager Davey Murphy, he declares this tour as one of the most important he’s ever been involved with. He begins: “It's nice being able to take charge of one of the UK's biggest artists of the last 30 years. The sound had to be incredible for a show of this stature.”
The tour included 4 sold-out nights each in Manchester and London, making mini residencies as fans thrived on the 90s soundtracks.
“We've taken advantage of Skan being part of Clair Global and moved to using L-Acoustics with help from Britannia Row. We had to get this completely right, and between Skan and Brit Row, they've really stepped up as we’ve made such a big change to our sound reinforcement.
“Liam's also made changes to his lifestyle and it's done wonders. His voice is just incredible and he’s the happiest on stage he's ever been!”
FOH Engineer Sam Parker knows that with a heavyweight tour, making people happy on the other side of the stage is what it’s all about: “We want to make fans jump up and down, dance, and enjoy themselves. Liam really vibes with his audiences.”
These live shows have an additional guitarist, a keyboard player, several backing singers, and a strings section. Sam furthers: “A lot of those elements aren’t on the original record, so it's a full mix. You've got to create the energy of a rock show, and then find room for these other components that you can embellish.”
Sam’s console is a Yamaha PM7. He’s using a Chandler TG1 Compressor, Mac Pro with Focusrite Rednet PCI Reaper record, and Smaart 9 software.
“Skan packages are top of the game,” he comments. “Incredibly well prepped, neat, tidy and tested. We have always been very well supported by them but being part of the Clair Group has really expanded their inventory. If they need to duplicate the rig for a TV show in another location, they'll do it down to the last degree. The accuracy is unreal.”
“It’s a really full-on show with the crowd giving 110% every night,” Systems Engineer Mark Pantlin confirms.
Working with an L-Acoustics K1/K2 system, Mark has spec’d main arrays of K1 over K2, with side hangs of K1 over K2 and K3 270-degree hangs. Ground sub arrays are KS28’s in cardioid pods of three, each carrying an A10 Focus for front fill, A15 a reutilized for outfills, and delays are more K2. The system is driven by Prodigy MP with Milan AVB card and acoustic measurement is via M1 with a P1 with Earthworks microphones.
“This system was designed around the larger shows in Manchester’s Co-Op Arena and the London’s O2, to give a very even SPL across the audience area with solid impact and a controlled onstage environment,” Mark says. “L-Acoustics is the right product for Liam as it suits this type of music so well and provides a natural, organic sonic signature without sounding overly processed. The predictability is also excellent, which means the design work is a joy, as you know what you’ll achieve accurately.”
Mark is assisted by FOH Technician Lee Saddington and PA Techs Claus Kopplin and Rob Wilkins.
He continues: “It’s been a really great experience working with the Skan team. The support is exceptional from Skan’s Chris Fitch and our superb Audio Crew Chief, Finlay Watt, plus Josh Lloyd and Joseph Walton from Britannia Row have been great.”
In monitor world, engineer Bertie Hunter can be found on a DiGiCo SD7 Quantum with a Midas XL42 pre-amp. To navigate his 16 mixes – 12 ways of IEM mixes for the band, and four mixes for the crew, he employs Shure PSM1000’s.
Working closely with Finlay who doubles as Monitor Tech, Bertie begins: “We’re using a dual pre-amp and EQ unit. There's a split across two channels, a main vocal channel, which goes through the pre-amp, and the other side goes down to a compressor, like a parallel compression channel.”
In his extended arsenal, Bertie has a Bricasti M7 Stereo Reverb Processor, Distressors, a MacBook Pro with DiGiGrid MGB Reaper Record, Smaart 9, and Shure Wireless Work Bench.
“Liam’s moved into a sort of analog sound. We have four wedges on stage just for him, 4 x d&b audiotechnik M2's on two mixes, a front pair for vocal and reverb, and a side pair to keep time and melody,” he explains. “We also have some d&b V Series for side fills. Over the years we’ve worked on reducing the stage volume, for health reasons and to make things sound really nice as opposed to just being really loud!”
To combat that rock n roll volume, UE Live in-ears have been trailed for the first time. “They sound fantastic - I think it's the happiest the band have been,” says Bertie. “They feel natural, and they keep up with the volume that Liam produces and have the sonic capability of overcoming his loud vocal.”
The ‘30 Years of Definitely Maybe’ touring crew ended their UK shows with a headline slot at Reading & Leeds festivals, bringing indie rock royalty to 40,000 revelers in what has been a generation defying summer of live indie music for Oasis fans.
