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Since the release of her 2015 debut EP Running with the Wolves, Norwegian singer, songwriter, and producer AURORA has captivated global audiences with her ethereal voice and unique blend of electronic pop and folk influences. A beacon of originality, her music is characterised by emotional depth and lyrical complexity, and is complemented by a dynamic stage presence which creates an immersive and inspiring concert experience.
AURORA recently completed a European tour which included a mixed itinerary of arena and theatre shows ranging in capacity from Brussel's 8,000-seater arena Forest National to Edinburgh's 2,200 Usher Hall. In total, the tour reached over 60,000 fans across the three-week period. Event production specialist Adlib provided audio and video for the tour.
Adlib Account Manager Craig Hamilton comments:
We deployed a CODA Audio system at the request of AURORA's Front of House Engineer Paul Inge Vikingstad. The system was to provide not only the fidelity, coverage and definition to showcase AURORA's phenomenal vocal range, but also deliver the flexibility to deliver excellent and consistent results across venues of varying size and capacity.
The requirement for a truly scalable solution was achieved through a combination of CODA's compact and lightweight VCA family' of ViRAY, CiRAY and AiRAY line arrays with SCP and SC2 subs, supplemented by units from CODA's HOPS (high output point source) and APS (arrayable point source) ranges. Designed to be the rental company's best friend, units from across the VCA range, whose units share the same sonic signature, can be flown together in different combinations to allow for optimum flexibility.
In addition to Paul, the touring Audio team also included Adlib's Billy Bryson, who assumed the role of a Systems Engineer, and freelancer Keiran Lowrie, who served as an Audio Technician for the tour.
As the Systems Engineer, Billy Bryson was responsible for system design and calibration:
In its largest configuration, the system comprised 12 x AiRAY and 4 x ViRAY in the main hang, with 6 x SC2 sensor-controlled bass extensions flown behind, to allow us to steer the low-frequency pattern to suit the geometry of each venue.
Additionally, side hangs of up to 12 x CiRAY per side were deployed, and a centre hang of 3 x APS flown from the front lighting truss ensured excellent coverage. Subs were on four touring carts of 3 x SCP each, with one on either side also including 2 x APS as outfill. The subs were deployed left and right in an end-fired configuration to retain the best possible tonality and impact, with four single SCPs in the centre to fill in for the nearfield. HOPS8 were utilised across the downstage edge to complement the centre hang and keep the image feeling natural.
Carrying a mix of AiRAY and CiRAY allowed for true scalability between the arenas in mainland Europe and the theatre shows in the UK. The lightweight nature of the CiRAY made it perfect for split systems in theatres such as Edinburgh's Usher Hall where three hangs were flown from the house advance truss to cover the hard-to-hit upper balcony.
Summing up his experience, Front of House Engineer Paul Inge Vikingstad was full of praise for the system and the Adlib team:
I've been more than impressed with the performance of the CODA Audio system, not to mention the dedication and professionalism of Adlib's Billy Bryson and Keiran Lowrie. They were a dream team to work with.
If further endorsement was needed, the excellent quality of the audio on the AURORA tour did not go unnoticed by music writer MK Bennet, who, reviewing the Manchester Apollo show in online magazine Louder than War, reflected that:
O2 Apollo, with its dauntingly high ceilings and beautiful old-school design, has always been difficult to fill with sound, something stops the waves from reaching the corners, but not tonight because along with several technical victories, the sound is sinuous mercurial as it climbs and slivers into every quiet space.
Adlib
Photo credit: Steve Sroka Adlib
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