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Eight KARA were utilised for front fills, positioned around the bespoke curved stage, which was one of the main set elements, together with a 56 foot long, 8 foot wide thrust from centre stage, going through the audience to FOH.Eighteen SB28 subs were also strategically placed around the stage front, run in cardioid mode and in an L-C-R arrangement.Their knowledge and professionalism goes far and beyond.” The total IEM mix count – wireless and hard-wired - is 20, with the drummer on a thumper seat.

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A single wedge feed goes out to the C-stage (behind FOH) for audience participation moments when Enrique gets fans onstage.

There arre also approximately 20 x Shure radio mic systems in action and four Sennheiser 5000 systems with additional transmitters for the guitars and a full range of ‘conventional’ wired mic inputs for drums, percussion, etc.,fed into the system via a standard Adlib line system and split to both consoles.

The radio systems were networked together using Shure’s WWB (Wireless Workbench) and Sennheiser’s WSM (Wireless Systems Manager).

Enrique and the band performed onstage and behind FOH at the back of the arena so the wireless coverage needed to be as good on the C-stage as it was on the main.

Adlib’s crew consist of Marc Peers as crew boss and include Systems Engineer and L-Acoustics aficionado and KSE, Tony Szabo. The L-Acoustics K1 / KARA system was specified by Enrique’s FOH engineer Brad Divens and comprised of 14 x K1 speakers per side for the main arrays complete with 4 x KARA downs, each supported by an array of 6 x K1SB subs flown beside them.