Front of House mixer Denis Savage is the backbone of the audio staff for Celine Dion. Savage, along with longtime associate Daniel Baron (monitors) have been working with Celine for more than ten years and they form a remarkable pair of audio technicians. François Desjardins, a talented sound designer, assisted in his work by very competent PA tech Marc Beauchamp and Isabelle Lainesse who joined the team recently. Marc Theriault is the last member of this specialized crew and the only sound engineer I know that is in fact an engineer. Proud of his diploma from the ƒcole Polytechnique de MontrŽal, he is using techniques he developed himself to adjust and calibrate the in-ear monitoring system.

For the last four years, designing the actual version of the sound system has been a never-ending process. Denis Savage and François Desjardins worked hard at improving the overall audio quality in large venues. Every year, many improvements have been made to the rig to match CelineÕs success. In 1997, an average concert could draw between 10,000 and 15,000 fans.

In 1992 François Menard, co-owner of Solotech (Montreal) and Director of the Rental Department, came to an exclusive agreement with Celine's management and technicians. Exclusive technical equipment supplier from then on, Menard would have to make sure Solotech got everything they needed to make Celine's tours world-class. He always knew that Celine Dion was a one of a kind talent so he was ready to go all the way investing top dollar in the sound and lighting equipment he found on his technicians' wish list.

"This is a fabulous team and they deserve the best," says Menard before the final leg of the tour in Montreal. "We worked very closely with Meyer Sound Labs for these Montreal concerts, where we will test the very first MSL-6 prototype. We are involved in development of this custom built cabinet which is a special request from François Desjardins. Since venues are getting larger and larger, they need better coverage up there in the back sections. The MSL-6 is a long-throw very high SPL speaker. We are very pleased with the actual result and so far, it seems to do exactly what we expected from it."

François Desjardins shares the responsibility of the sound system with Marc Beauchamp, who joined the team two years ago in Europe. François is very concerned by the overall performance and consistency of the system. He is a perfectionist, always shooting for the best - and every where the crew goes, they receive positive feedback for the production.

Once they have the rigging points, the sound rig goes up in two hours - one hour per side. After the show, the whole thing goes down in one hour, setting records every where they go for a system that size. Marc Beauchamp explains: "The rigging hardware linking all the boxes together is François' design. It's a clever, very innovative and efficient system. Line up the speakers, insert the steel pin in the linking bloc and up they go. It is a long day and there is no time so every half an hour we save, we appreciate."

The venue has to provide 6 rigging points on each side of the stage, capable of supporting approximately 10,000 pounds per side. With all the boxes in place, the height of the sound rig from the top of the bumper to the bottom of the cabinets is 23 feet. Desjardins comments, "We were recently in Japan where rigging is not very popular because they fear earthquakes. Venue structures are different so often they use a super steel arch and they hang the rig from there. Then, they secure the arch to the main structure of the building. It looked a little bizarre but it worked!

"Basically, our main goal is to obtain excellent coverage while maintaining a decent SPL level, no matter where your seat is," continues Desjardins. "To achieve this, I try to properly evaluate every possible scenario. Proper time alignment, phase consistency within the array plus smooth frequency response are the key words. To do things properly, we use the Meyer 2201 SIM sound analyzer. It is a terrific tool to visualize what you hear. Almost every section of the sound system has its own set of adjustments for time delay and equalization. We use three Meyer CP-10s and up to 10 Klark Teknik DN-410 parametric equalizers. The delays are from the three Yamaha D-2040 line drivers. The whole array works in a certain time window and the reference listening point is at mixing position where frequency response and coherency should be at their best. With help from the SIM, we try to align everything in time, equalize to get the desired frequency response while maintaining phase coherence. - not exactly an easy task! Again, with the SIM and six Microtech Gefell M 296 microphones placed in specific area in the room, we aim for the best compromise for the ensemble."

In an ideal world, a spectator would be acoustically washed by only one speaker at a given time, but we know this is quite impossible. From any multi-speaker array, identical sound leaving similar or non-similar speakers will hit your ear at a specific time which will vary relative to the distance traveled, generating phase distortion, comb filtering at certain wave lengths and other nice problems. Sorry, but there is not much you can do about it! If you want to be a sound mixer, there is still time to go to school and register for "Compromise 101". Compromise about placement of the speakers in a night club because the owners will lose two tables meant for customers. Compromise because you have to mix and make important decisions from the under-balcony mezzanine in a concert hall and finally, compromise because you have to create unanimity while mixing for 12,000 people. Good luck!

In order to get the best possible compromise, Desjardins and Savage designed a system that uses Meyer Sound speakers and the final version of this system sounds spectacular. Meyer has a good range of speakers to choose from to get the job done. In the early days, there was only the MSL-3, UPA and subwoofers to work with. Now the core of the system is the MSL-5. Meyer Sound describes it as an extremely high power, high definition loudspeaker system designed for the large scale music applications. The MSL-5 comprises an all-horn integral loudspeaker cabinet constructed as a 30-degree arrayable section, with two proprietary 12-inch cone low-frequency drivers in a vented horn-loaded enclosure and three 2" throat (4" diaphragm), high-frequency horn drivers. Coverage is 40-degree vertical by 60-degree horizontal while maximum SPL at 30 meters, for a standard configuration of two 30-degree sections is 1200 dB at peak measurements. Frequency response goes from 100 Hz to 16 kHz (4dB).

The MSL-6 shares the same design but is a bit shorter while the horns have been changed to get a very high focus coverage, with 30-degree horizontal by 25-degree vertical. Combined with DS-2 mid-bass speakers and the 650-R2 sub bass enclosures, the system delivers the best of both worlds: smooth full hi-fi reproduction and a lot of punch at very high SPL.

The other speaker used in the array are MSL-2A, MSL-4 and the small UPM-1. The MSL-2s are located under the rig for side and front fill purpose. They are small and obstruct people's view at a minimum. With 90 degrees horizontal dispersion, they give good HF information in the area that are not covered b the big rig. The MSL-4 is a high-Q long-throw arrayable loudspeaker. It is, with the new MSL-6, the first high-performance, self-contained reinforcement loudspeaker. They have integrated the controllers, amplifiers and speaker component into one unit. The power system utilizes the Intelligent AC system, which provides for automatic voltage selection, EMI filtering, soft current turn-on, surge suppression, and dual circuit breakers. Finally, wherever you are, the automatic voltage selection will detect 80-135 VAC or 169-250 VAC; 50/60 Hz.

On each side of the sound system, the front coverage rig comprises one row of three MSL-6s at the top, two rows of six DS-2s, one row with three MSL-5s and, hanging on an angle are three MSL-2s for front fill purpose. Attached to this, in a nice arc, the second half of the rig will cover the close and far sides.

At the top in line with the MSL-6, there is a row with three MSL-5s, six DS-2s underneath, then one row of three MSL-4s and a row of MSL-2s. On the ground to complete the system, there are eight 650-R2s Meyer Sound sub woofer cabinets, each loaded with two 18" cone drivers. Inserted in between each pair of 650-R2s is a small UPM-1A - a very small under-balcony type of speaker. "We added these to give a little high-frequency to the spectator sitting right in front of the stage. They increase intelligibility when you are sitting in front of all those low-frequency speakers," explains Denis Savage.

For the last 20 years, Solotech has been faithful to Crown amplifiers and, with the exception of the self-contained Meyer speakers, 48 amplifiers are from Crown.

It is two o'clock in the afternoon. One hundred and ten feet away from the stage, Denis Savage is getting ready for the line check. A little less than 100 studio and MIDI lines are feeding the four consoles at mixing position - two Europas by Soundcraft and two Yamaha Pro Mix 01s. The main Europa is a 40 inputs console right in the center of the house. The second one has 28 inputs and is located on the left side. On the right side, all the audio processors and accessories are displayed in a spectacular wall of 19" rackmount cabinets. "I either mix in the center of the house or way off center in front of the rig. Never in between," says Denis. "I also try to mix at no more than 125 feet away from stage. More than that is just too much."

When I asked him: "Why that Europa?" I got a simple answer from Savage. "I just love the way it sounds. It does exactly what I want to do with the texture I like. Ergonomy is an important factor too. There are other consoles that will sound fine but their design doesn't suit me I guess. If I'm looking for a particular sound, outboard gear is always an option."

And what about Yamaha consoles?

"They are very useful because they are linked via MIDI with the main sequencer. The first one is doing a good job at cleaning the mix by muting all the unused microphones on live percussion. The other one takes care of acoustics guitars, a few samplings, and the four ambiance microphones that are fed into Celine's in-ear monitors to give her the feel of house and crowd reaction."

Celine's voice deserves very special attention on stage and in the house. While there is not much to say about the typical microphones used I the show, it is interesting to note that she uses a good old Shure SM-58. They have tried all the best wireless microphones and still, they always go back to the 58. The microphone signal is routed to her audio rack which follows her wherever she goes. For a television performance, they bring in the processing and audio crew.

The first thing the microphone hits is a BSS active mic splitter. Why? Because they discovered that Celine can hear the difference in her ear monitor when the mic has been split three times and there is an unexpected load at one end. "When you go on a TV show, you don't really know what they do with your feed," explains Daniel Baron. "This way there are no more problems - it is always the same." After the splitter, there is a superb mic-pre called Millenia Media. Savage and Baron chose this pre-amp after many A-B testing sessions. It has a pure uncolored sound with a very nice top end. Both monitors and FOH share the pre-amp signal. In the house, Savage uses a BSS DPR-901 multi-band dynamic equalizer/compressor. It is a very powerful tool that allows him to work on Celine's vocal tone and dynamics. In simple terms, the processor monitors the signal, detects the dialed frequency and, above or under a set threshold, it will compress or expand at a given ratio the selected frequency.

After this, there is a Meyer VX-1 for additional frequency shaping. At the end of the chain, we find a Manley Hi Frequency Limiter for precise and smooth de-essing. On the Soundcraft desk, the whole band is sent to a stereo group with an Allen Smart compressor in the insert. This compressor is similar to the Solid State Logic and it does a nice job on a subgroup mix. Other compressors used by Savage to control all this audio information are a pair of Aphex compellors for the two keyboard players and one Aphex Expressor for each bass guitar. Three Aphex Expressors with Tubessence for the back-up singers and a pair of BSS DPR-404s for the organ and acoustic guitars. The rest of the processing power is made up of a pair of DBX 905 Eqs inserted on bass drum and snare. One Eventide H3000 is primarily used for back-up vocals. Lexicon 480 L Mach. A for Celine and for back-up vocals, Mach. B for drums, Lexicon PCM 80 and 90 multi-purpose effects, a TC Electronic 2290 for delay effect and BSS TCS-804 time delay for the MSL-4.

One BSS Varicurve Parametric equalizer is at the final stereo out. This is the equalizer Savage uses for his personal and final decisions on the overall sound, while Desjardins is working on his side to improve room response with the SIM during the show. One of the strongest points about the SIM is that it can use the output of the board as a test signal during the performance. By taking an audio picture in time and comparing the test signal with the microphones monitoring the room, the analyzer can draw a curve that represents the difference between the two, helping decide which corrections should be made.

The more I talk with Savage, the more I realize that sound check is crucial. It is the last chance to find a potential problem and get prepared for the show. It's also the time of the day where the crew establishes the mood for the upcoming performance. Around five o'clock, Celine will check with everybody to warm up and evaluate the venue acoustics. Even though they perform with in-ear monitors, the hall responses vary quite a lot from one venue to another. Savage concludes, "Celine is great night after night. She is consistent, she has energy, and very good pitch. When it's show time - even if I'm not totally happy with what I've got - I have to concentrate, disregard the minor problems and mix the performance the best I can and, most of the time, have fun."

Walking around the Molson Center at sound check, I was very impressed with what I heard. Transition from one section to another was very smooth with minimum peak and dips in the overall response of the system. No flanging while walking. Coverage and intelligibility at the back was excellent, courtesy of the MSL-6 at the top of the rig since the delay tower wasn't on yet. Everything looked just fine for the show.

When you walk backstage you enter another dimension. It is the in-ear monitor zone where all you hear is a little drum behind a plexiglass and sometimes the Leslie 147.

Garwood Communications, a British company who helped in the development of the system, explains and promotes the system in writing: "The concept behind this is clever and simple. Replace the cumbersome and feedback-prone floor monitor and sidefill loudspeaker with a small wireless device, worn by the performer, which would deliver the monitor mix directly to his ears at a volume that he could control himself." Everybody on stage is wearing custom made in-ear monitions molded by audiologist Steve Forget of Montreal. Personal amplifier belt-packs are from Sennheiser and Radio Station (Garwood Communications). Celine, back-up singers and guitar player have wireless units for complete freedom of movement. Monitor mix to these stations is a complex task performed by Daniel Baron with the help of Marc Theriault.

It should be noted that one side effect of the in-ear system is that perception of low-frequency is much attenuated with no loudspeakers on stage. To compensate this, each performer has a low-frequency driver bolted with at their feet under the stage. They are called "shakers" because they generate vibration that simulate LF action.

Each in-ear speaker is being taken care of by Marc Theriault. He recalls: "The first thing I had to learn was how to make them all sound the same, trying to match efficacity and frequency response using resistors in the cable or acoustic filters in the little earpiece, right in front of the speaker. Measurements are made with my lap-top computer and a special microphone."

More than 80 inputs are matrixed via 24 different mixes using a pair of Soundcraft SM-24s with 48 and 32 inputs. Baron is also using a 12 inputs side-car for communication purposes. The ear piece is a tight fir and it isolates one from the external world so all communication has to be done through this system. To fulfill Celine's requirements, on his side of the Millenia Media pre-amp Baron expanded a complex audio path for everyone's different needs. Celine does not want any compression on her voice, which is not everybody's case.

From the mic-pre, the signal goes to a Midas 8 x 8 matrix that Baron will use to create and distribute many vocal feeds. One is re-routed to the SM-24 where Celine's vocals will be compressed and sent to everybody else. Another one is for Celine's processing in her mix. The equalizers are a Focusrite Red 2 and a Meyer VX-1. Then the signal goes through the Aphex Dominator for hearing damage protection only and finally, to the Radio Station wireless belt-pack. A third feed is kept flat - no EQ - and distributed to a Lexicon PCM 90 unit with a short reverberation time while an extra auxiliary send is derived from the equalized vocal and sent to a second reverb with longer settings. These reverbs are then returned to the Midas matrix for further redistribution. The last two inputs in the Midas take care of the instrumental mix sent by Savage from front of house. This mix-minus is compressed with a BSS DPR-404 quad comp and re-routed to Celine at low volume. The remaining outboard electronics for the band are: Focusrite Red Quad compressors for kick and snare drums and the two bass guitars; two Millenia HVV-3 quad mic-pres for percussion microphones, over-heads and hi-hat.

LXP 1, Digitech Studio quad and DBX Project One are the other two reverb processors for back up vocalists and musicians.

Watching all this very cool equipment and such in an elaborate set-up, I'm a little sorry that I had no in-ear monitor to evaluate the final results. Next time.

Loud and clear, that's it. It sounds spectacular. Somebody must be doing something right and the whole team should probably get the credit. To do a show like this, you need a team and Celine has one.

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