Adlib renewed its excellent and long term working relationship with Grammy
nominated US rock band Panic! at The Disco, providing sound, video and lighting
production, plus crew for their recent UK and European tours. Once again Tony
Marino was at the helm as the highly-respected tour manager.

The band released their fifth studio album, “Death of a Bachelor’ in January 2016
and have had a mega busy year.

Lighting designer Alex Specht took a floor package for the European dates, which
was supplemented by a full overhead rig and video for the high-profile UK gigs in
Manchester, Cardiff and two sold out nights at London’s Alexandra Palace where this
leg of the tour came to an exhilarating end.

The high-impact floor package comprised two grids of 3 x 5 Ayrton MAGICDOTs
which were built into special roll-on-roll-off dollies designed by Adlib and
streamlined for quick deployment of the 30 MAGICDOTs upstage.

In front of the dollies on flight cases were four Claypaky Mythos plus two more
either side downstage, giving a total of 10 Mythos, which offered many options due
to their great flexibility.

Six Sharpy Washes were joined by six Chauvet STRIKE 4 LED blinders.

A grandMA2 light was supplied as Alex’s console of choice.

Two Green Hippo Hippotizer Karst media servers were used to store and play back
all the video content which was timecode triggered. The content was supplied by
Panic!’s production and had been created ahead of their summer shows in the US.

Tom Webber looked after the lighting package on the European dates and was then
joined by Adlib’s Mike Summerfield, Jon Priest and Peter Lea, all of whom really
enjoyed working on the tour.

For audio, Adlib supplied a complete control and monitor package for the European
leg of the tour, tech’d by Julien Helme in Europe, adding a full L-Acoustics K1 / K2
racks-and-stacks system for the four UK dates and joined by Tony Szabo and Gavin
Murray.

Adlib’s systems engineer Szabo, worked closely with Panic’s FOH engineer Spencer
Jones (also the Production Manager) and their monitor guru Spud (Jeremy
Groshong).

Alexandra Palace was the largest iteration of the system, for which they installed 10
x K1 speakers a side, each K1 array had four KARA downfills. This was
supplemented by the usual Adlib formula of two delay hangs of 8 x K2’s positioned
just behind FOH. These same K2 hangs had been the side hangs in Cardiff Arena
which is a wider lower room.

Sixteen KS28 subs were positioned under and next to the stage in a stack of two
and then three and then another three stacked with four ARCS front fills on top. L-
Acoustics KARA speakers were utilised along the front lip of stage to cover those
fans who managed to get the prime viewing position dead centre of the barricade.

The subs and K2 were powered by the new L-Acoustics LA12X amplifiers with the
rest of the system driven by LA8’s as Adlib have been growing their stock of the
new amps. Adlib’s Lake Control rack dealt with the system EQ and signal
distribution and runs over fibre and Dante.

The Control rack utilises two Mac Mini’s in a Sonnet rackmount. These computers
are configured for redundancy and run everything to do with the system – L-
Acoustics Network Manager, Smaart v8, Dante Controller, iTunes for wav playback,
Focusrite RedNet. The Lake system is controlled using a Motion Computing tablet on
5G wifi. Finished off with a Lectrosonics HM/R400A RF system and Earthworks
measurement mic.

Spud’s console of choice for the monitor mix was an Avid Profile supplied with
Venue DSP local and stage racks.

A DiGiCo SD10 was specified by Spencer for FOH complete with SD rack and Madi
interface, with an SD9 in the loop for the opening acts. The band supplied their own
full set of Shure IEMs which were run with a set of Shure UHF-R wireless radio mics
and control from Adlib who also provided a standard mics-and-stands package.