Las Vegas, Nev. (April 30. 2025)—Janet Jackson has extended her Las Vegas residency at Resorts World Theatre, giving more fans the chance to hear her perform through the permanently installed L-Acoustics L-ISA P.A. rig.
Los Angeles-based producer and FOH engineer Caram Costanzo, known for his decades-long work with Guns N’ Roses, continues to handle the house mix for Jackson’s residency, a role he assumed in May 2024, before her 94-show Together Again tour. Will Foley, who joined her audio crew at the same time, is reprising his duties as systems engineer for the production.
“When I learned about Janet’s Resorts World residency, I immediately embraced using L-ISA’s full capabilities,” Costanzo recalls. “I quickly worked with David Brooks from L-Acoustics to arrange learning time with the technology. At the L-ISA Studio in Westlake Village, with James Rudder, we built the show template, stepping back from my left-right tour mix to fully explore the immersive surround sound capabilities. Janet’s music is perfect for L-ISA—her stellar, high-powered studio productions demanded we create that same standard within the L-ISA environment.”
Although many of the songs from the Together Again tour have been carried over, some feature new arrangements. “The staging and production are redesigned for the massive 152-foot-wide stage. The show is an over-the-top Las Vegas performance, and the criteria was to create a sight-and-sound spectacle for the entire audience,” he says.
Costanzo mixes the show on a DiGiCo Quantum338 console and says he “loves its clarity; you can really create your own sound with it.” He adds, “The L-ISA software is very intuitive and well-crafted. We feed 64 inputs to the L-ISA Processor II through individual channels and groups. The system is remarkably consistent between shows. When returning for February’s second leg, I resumed January’s settings within just minutes. The reliability and precision are outstanding.”
He continues: “The theater’s seven frontal arrays allow me to create a template within the seven-array soundscape and then add instrumentation and effects on a song-by-song basis. I then incorporate the rear surrounds or effects, mults and especially adding more sonic intensity when appropriately called for.
“Everyone has been very positive comment-wise within Janet’s camp, and Janet is happy with what she’s hearing out front and the feedback she’s been given,” he concludes. “Audience response has been overwhelmingly positive, as well. I give credit to the entire audio crew—including systems engineer Will Foley and Brandon Andreasen, the venue’s head of audio—as well as everyone I’ve worked with at L-Acoustics.”
