Canegreen and Corrs Cover Europe with Meyer Sound

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"The main thing is, the Corrs could go into any venue and they do whatever they wanted to do. It's so evenly dispersed between the different box types that it still sounded fantastic and smooth as you walk between them. It sounded lovely all the way around."

- Yan Stile, Managing Director, Canegreen

October and November found The Corrs wheeling through 18 arena dates in seven European countries with a substantial Meyer Sound system provided by England's Canegreen Ltd. The lively Irish band carried a well-rounded selection of self-powered loudspeakers, including MILO high-power curvilinear array, M3D line array, M2D compact curvilinear array, MSL-4 horn-loaded long-throw and UPA-1P compact wide coverage loudspeakers, as well as 700-HP ultrahigh-power subwoofers. Onstage, the players were monitoring through MSL-4s and DS-2P horn-loaded mid-bass loudspeakers, and legacy USM-1 extended range narrow coverage stage monitors. Further support was provided with legacy MSL-2 high-power loudspeakers.

As Canegreen's managing director, Yan Stile, explains, the variety of models of Meyer Sound speakers allowed the band to handle any venue. "We believe that, if you're an artist, you need to have every color in your palette. The Corrs could do anything. In smaller arenas, they could use a couple of hangs of MILO and, if there were bleachers, they could use the M2Ds. If there weren't bleachers, M2Ds could underhang below the MILOs. If they needed to throw a farther distance, they could use the M3Ds."

"MSL-4s and M2Ds were used for infill, for those little areas that you find in European venues," continues Stile. "In Europe, the venues are strangely shaped. You go to the Festhalle in Stuttgart and it's the most ridiculous shape! That's why we supplied every color in the palette."

The recently introduced 700-HP subwoofers are already proving to be a hit, according to Stile. "The engineer thinks they're fantastic, a very musical box. We've only got 12 on the tour, and even in the venues where we augmented with some extra equipment, we felt that those were enough. They're going to be very popular."

Augmentation of the main rig is something that has been made possible by Meyer Sound since the very beginning, thanks to consistency of design, configuration, and sonic signature between systems. "In the old days, the way Meyer Sound systems were configured was very stringently adhered to, in that input sensitivity and amplifiers and racking would all be the same," Stile recounts. "We'd travel round Europe with a 12-box or 16-box MSL-3 system, and, when we got to some of the bigger venues, we could locally pick up extra boxes from another Meyer supplier. They would be configured in exactly the same way—pin configuration, input sensitivity—and they would work. That was a really, really useful tool and a good way to pick up work. The client wouldn't have to pay for a big system to travel around Europe but could pick up extra bits locally for the bigger venues."

Twenty years later, on The Corrs' tour, he says, "We did the same thing in the (Palais Omnisports de Paris) Bercy in France, where we needed to add an extra couple of MILO boxes. We just called our friends at Dispatch in Paris and they supplied the extra equipment. Variables such as amplification and gain structure are not an issue because they're included in the box itself. But the same protocol and system prevails, through two generations."

Consistency between speaker system models is also key, Stile observes. "The main thing is, the Corrs could go into any venue and they do whatever they wanted to do. It's so evenly dispersed between the different box types that it still sounded fantastic and smooth as you walk between them. It sounded lovely all the way around."

The Corrs, comprising three sisters (Andrea, Sharon and Caroline) and a brother (Jim) were all encouraged to pick up instruments at an early age while growing up in Dundalk, Ireland, and were already accomplished musicians when all four siblings appeared in Alan Parker's film, "The Commitments," in 1990. Numerous multi-platinum records later, they boast a resume that includes playing a Christmas concert in the Vatican, selling out London's Royal Albert Hall on St. Patrick's Day, singing with Pavarotti, opening for the Rolling Stones, performing at the closing ceremony of the Commonwealth Games, and playing on four occasions at the request of Nelson Mandela.

Augmented on the current European tour by a guitarist, bass player, and drummer (usual drummer, sister Caroline, recently gave birth and was not on the tour), the Corrs perform with ear monitors supplemented with Meyer Sound monitors. "There's a big hang of MSL-4s and DS-2Ps, flown as left and right fills, which give a vibe on the stage for the rest of the band," reports Stile.

Canegreen, who also has tours with the Beach Boys and kd lang, among others, out on the road in Europe currently, offer a full-service package to their clients. That includes thoroughly researching each venue on the tour and sending crews out fully prepared.

"We've got an in-house facility, headed by Pete Hughes," reveals Stile. "He looks at the venues before the tour goes out and, using (Meyer Sound) MAPP Online, prepares documentation for the guys before they go. They take his book so that, when they get to the venues, they are completely prepared."

During the show itself, the crew used Meyer Sound's RMS remote monitoring system. The Windows-based, real-time, remote monitoring system offers extensive feedback to the operator of status and system performance data for every speaker in the system. In Stile's view, RMS provides the security of knowing what is actually happening with the system during a show. "It's a fantastic tool," he reports, "especially when you have flown boxes with amplifiers in, where otherwise you can't see what's going on. It's a great comfort, because you can see the screen at front of house."

December, 2004

FEATURED PRODUCTS

MILO

M3D

MSL-4

UPA-1P

700-HP

DS-2P

USM-1P

M2D

RMS

MAPP Online

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