“I’ve been very impressed overall, both with the Meyer system that we have out, and with our audio team’s ability to deal with fun wrinkles like the B-Stage, the band’s extensive use of wireless, and other bits and pieces of the band setup,” adds production manager Sara Full.
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The complete system includes 10 LEO over eight LYON per side for main hangs, 14 LYON per side for downstage side hangs, 14 LEOPARD per side for upstage side hangs, 32 1100-LFC low-frequency control elements (16 flown, 12 ground-stacked on the sides plus four center), six LEOPARD for front fills and a Galileo loudspeaker management system. Otherwise it’s used as a side or rear hang complement to LYON.
Sound Image audio crew chief Cameron Whaley says the LEOPARD has been helpful as the tour scaled to differently sized venues, being powerful enough to use as a main system when they’ve had extreme weight restrictions. Especially with a band like The Lumineers, whose music is so organic, you want a natural sound and not something that is overproduced.”Īlso employed is the LEOPARD line array system, the smallest member of the LEO Family. In others, I can still hear the ‘box’ that it’s coming out of, but with Meyer there isn’t a ‘system’ in the way of the band getting the music to their audience. “At this point, there are manufacturers making good systems, but the Meyer is the most transparent. “It’s by far my favorite system,” he says.
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Osmond started with Meyer’s older Milo system back on his first tour in 2013, and then went to LEO components on the second leg of the U.S., continuing to grow from the Lyon system and its 12-inch drivers to the LEO’s 15-inch drivers. “I’m still very involved in tuning the system in every room, and I did all the system design working leading up to this tour, down to the exact box count to be deployed.”Īs this tour grew, there was one constant: Meyer Sound’s LEO family. “It’s really an advantage to have a system tech background, as it helps get you consistency from a large system on a tour like this,” he says. Osmond credits his working as a systems tech as a way of boosting his engineering skills. He hooked up with The Lumineers in 2013, and it’s been a ride for him as the band went from clubs to arenas - “pretty much overnight” - as the cliché goes. Work with Ultra Sound led to touring with Tracy Chapman, first as monitor engineer and then at FOH, which he says was a “great experience, and really my first taste of being on a real tour bus and getting paid real money!” After that, interestingly, he worked as a system tech/crew chief on tours and shows with Bob Dylan and Grateful Dead-related projects.
The band was mostly playing bars in the beginning, working a Mackie 24 console with some JBL Eons, and he grew with the band over the next seven years. “I would go to concerts and found myself fascinated with what was happening behind the scenes.” He gravitated toward the mixing board, studied audio at a local trade school, and at 21 went out with Hot Buttered Rum, a progressive bluegrass act. Fortunately, Osmond was prepared, having already worked out on a spreadsheet exactly which system he’d need from supplier Sound Image at each step on the tour.Īs for Osmond, he grew up in the San Francisco Bay Area, a region that’s traditionally been a fertile ground for music of different genres. Signs of what was to come could not be ignored as that month-long European tour sold out in a single day. So in the early Spring of 2016, they went off to play the club circuit and a few 3,000-plus venues before heading to Europe, just as the album exploded worldwide. “This tour started on a smaller scale on purpose, because they weren’t sure how people would respond to the new album,” says FOH engineer and system designer Josh Osmond. Keeping That Open Mic Night Vibe in Arena Showsĭuring the course of The Lumineers’ Cleopatra Tour, the box count has tripled.
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