Adlib provides integrated production for Rick Astley’s "The Reflection Tour"

The Audio System

The audio design utilised a redundant AVB network infrastructure to manage a large-scale L-Acoustics L-Series loudspeaker system in an aesthetically pleasing configuration, making for a clean, symmetrical stage that complemented the lighting and video setup. 

Loudspeakers & Amplification

The main hangs consisted of 6 x L-Acoustics L2 and 2 x L-Acoustics L2D cabinets per side, managed via LA7.16 amplifiers. Side hangs featured a similar L2 configuration, while rear hangs utilised 24 x L-Acoustics KARA II. A single L-Acoustics L2D was deployed as a centre hang.

Low-frequency support was provided by a combination of 16 x flown L-Acoustics KS28 subwoofers and 16 x ground-stacked KS28 units, all driven by LA12X amplifiers. Ground fills and localised coverage were handled by a mix of L-Acoustics A10-Wide and A15-Wide loudspeakers.

Delay & Drive System

A four-way delay system comprising 24 x L-Acoustics K2 was deployed to maintain coverage across arena lengths. The drive system was built around a DirectOut Prodigy MP and an L-Acoustics P1 processor, providing a redundant AVB network system supported by L-Acoustics LS10, Luminex Gigacore, and Netgear M4250 switch infrastructure.

Audio Control & triplex

Adlib collaborated with its sister company, triplex, which provided the Front of House (FOH) and Monitors packages for the tour. This partnership included the supply of specific control and microphone packages tailored to the engineers' technical requirements. The monitor position utilised a DiGiCo Quantum 7 console, while the FOH station was equipped with a Yamaha RIVAGE PM5.

The IEM infrastructure featured Sennheiser Spectera systems, providing a high-density digital wireless monitoring solution. For the stage inputs, Shure ADX2 handhelds and Shure ADX1m micro bodypacks were deployed. The microphone package also included DPA 4099 microphones specifically to capture the brass section.