During their recent seven-stop Australian tour, electronic dance music duo Goldfrapp stopped at the Sydney Opera House on October 2 for a side show. The show at the celebrated venue attracted upward of 2,500 people. Goldfrapp emerged as a six-piece band dressed entirely in white, and were fittingly accompanied by a 14-piece string section including two harps, on a stage set comprising bunting and a maypole.
Norwest Productions in Sydney, Australia provided the P.A. system for the stop, as well as for the Parklife Sydney and Parklife Brisbane Festivals, where an audience of 5,000 came to hear headliners Goldfrapp among other international and home-grown performers.
System tech Justin Arthur used Adamson Systems Engineering’s latest version of Adamson Shooter software, Version 2.7, which allows accurate predictions of all Adamson line array systems set up in any venue. Arthur’s design spec’d a system of flown stereo mains, with each array comprising 12 Y10s, a single SpekTrix with a 15-degree SpekTrix W (Wide Angle Vertical Enclosure) as an underhang, to highlight the first few rows of the audience.
Two sets of sidefills had six Y10 and five Y10 enclosures hung per side, covering the multiple balconies off to the sides of the stage. Another six SpekTrix enclosures were placed onstage as frontfills, with a stack of four T21 Subs aside. A total of 48 Lab.gruppen FP6400 power amplifiers powered the system, and processing was handled by five Dolby Lake 4-12s.
At front of house, a Digidesign Profile provided ample mixing room for both Ben Findlay and Arthur, who stood in for the opening act, Australian songstress Bertie Blackman. As the fourth show of the seven Australian dates, FOH engineer Findlay commented that it had been the best-sounding show on the tour thus far. Arthur says that the venue was perfect: “If one had to find a ‘problem’ [with the Opera House], the only thing that comes to mind is that the room is so live,” he says, “but that cleans up as soon as the room is filled with punters.”
At monitorland, there were a Yamaha PM1D, 14 Sennheiser G2 systems and a single EAW KF850 with a SB850 per side, processed with EAW UX8800s and powered by three Lab.gruppen FP+10000Qs.
“The P.A. sounded amazing,” Arthur says. “I have done a few shows in that venue with both Adamson Y-Axis and L-Acoustics KUDO, and the Adamson wins hands down. The P.A. was so clear and it was like having a pair of reference monitors 5 meters away rather than a P.A. at 60 meters.”