According to Gearhouse’s audio operations manager, Llewellyn Reinecke, only a
handful of sound engineers have the technical ability to obtain acoustic excellence in a
venue of this nature, and freelancer Friedrich Wilsenach achieved just that.
Historically, the structure was designed as a car showroom, which has earned it the
reputation of being a challenging, but not insurmountable, environment for sound
engineering of live events.

However, as one of the larger indoor event venues in South Africa, the TicketPro
Dome was able to accommodate as many of Yusuf Cat Stevens’ Johannesburg fans as
possible, over two nights, at the end of November. His considerable popularity was
evident as far back as the early 1970s when his hit Can’t Keep It In held the number
one slot on the national hit parade for six weeks.

The Cat in SA

The seed for Yusuf Cat Stevens’ strong connection to South Africa was sown in 1961,
when he heard the music from King Kong, which he claims as one of his all-time
favourite musicals and which played a significant role in his creative process. Stevens
introduced African harmonies and traditional sounds into two of his best-known hits,
Wild World (Bana Bana) and Peace Train, which he recorded with a local choir, the
Incwenga Voices.

Recording a children’s album in South Africa marked Stevens’ return to music, and
thereafter to the stage, after 25 years, to honour Nelson Mandela at the Cape Town
46664 concert, in 2003.

The Peace Train tour, Stevens’ first ever tour of this country, kicked off at the
TicketPro Dome in Johannesburg. However, unlike the many of the music concerts
held at the Dome, this one demanded softer, more intimate sound management.
According to Wilsenach, South African audiences are accustomed to loud shows. “The
first half of Yusuf Cat Stevens’ show is very intimate and quiet – with ballads
accompanied by acoustic guitar, predominating.’ For this reason, Wilsenach felt that
an average of 88dBs was more suitable for a concert of this nature. “Initially, Stevens
and the international FOH engineer, David Hefti, liked the relatively low level, but as
the mix developed during sound check and grew louder, they discovered that the
venue presented some unique challenges,’ states Wilsenach.

L-Acoustics provides innovative solutions

The transition from a controlled and near perfect studio environment to concert
venues will always hold challenges. Naturally, the artist and FOH Engineer want as
close a sound replication as possible. “We can’t correct every single room mode error
in a large-scale venue. Finding the middle ground meant tweaking the system by
capturing many transfer function measurements with Smaart (by Rational Acoustics)
in multiple positions, and arriving at an average room mode that then gets corrected.
In addition, the fine adjustment of input channel EQs in certain frequencies needs to
be achieved,’ says Wilsenach. “If you have good coverage and intelligibility in a
reasonably quiet environment, you don’t need a high SPL level. The audience
automatically adjusts to it.’

To overcome the reflective challenges of an indoor arena, Wilsenach used L-Acoustics’
prediction model, “Soundvision’, one of the first 3D sound design programmes
capable of operating in real time. As Reinecke explains, “This prediction software
system, combined with laser inclinometers from TEQSAS, uses laser precision
measurements. By aiming each speaker in the array at specific areas within the
audience ear level, optimal coverage with minimal reflection (echo) is obtained. You
then achieve coverage of the prediction area at the same level throughout the venue.’
Wilsenach also made use of L-Acoustics Array Morphing – a tool that controls low
frequencies through a band filter, as opposed to using a parametric EQ.

But for Wilsenach, the core of any L-Acoustics system is the Network Manager that
ensures real-time control and monitoring of LA8 amplified controllers, with high-level,
hands-on system control.

A further challenge emerged during the first night’s performance. The large industrial
air conditioning system was turned up for the audience, increasing the room noise
floor by almost 6dB, which made the ambient noise level much louder, making it
difficult to sustain the relatively soft performance suggested by the music.

The delay speakers’ volume had to be increased to overcome the air conditioning
noise. Before the second night’s performance, Wilsenach requested the Dome’s
management to switch off the section of air conditioning above the retractable seating
behind FOH. Management at the Dome is deeply committed to providing
Johannesburg audiences with the best possible live event experience. As such, they
respected the importance of providing the best possible sound quality and obliged –
despite the fact that such a decision has never been made before, and event
management needed to absorb the considerable cost implications of switching the
system on and off.

According to Wilsenach, large rock concerts that average around 100 dBs SPL are not
affected by the air conditioning. However, due to the lower sound levels demanded by
this show, simply turning off the air conditioning system proved a highly effective
solution that was fairly simple to implement, especially due to the Dome
management’s willingness to accommodate his request.

The aim of the sound management was the same for each venue in the country –
Kirstenbosch, Cape Town and Durban ICC – to obtain even coverage and dispersion
with adequate level and intelligibility for a gentle and intimate show. However, the
implementation varied with different line array systems installed in each venue.

The Peace Train runs smoothly

Technical rehearsals for Yusuf Cat Stevens’ The Peace Train tour ran for three weeks
prior to the first show. The production team for the Johannesburg leg of the tour
included the three local contractors appointed by Gearhouse Group SA – systems
technician: Friedrich Wilsenach; support monitor technician: Simon Panos; and stage
technician: Makhosini “Fats’ Ngwenya.

A total of 86 instrument and personal monitoring input channels were programmed for
the show by the monitor mix engineer, Mike Gibbard, and mixed on a Digico SD10.
FOH engineer, Hefti, ran a multitrack recording from the FOH console via AVB into a
Protools HD system using an AVID S6L mixer totalling 64 input channels. In addition,
Stevens insists on a 2-track recording of every performance, which he listens to after
the show to ensure that the result satisfies his intention.

The Peace Train Tour commemorates the 50th Anniversary of Stevens’ debut album
and first major hit, Matthew & Son released in 1967. With his acoustic guitar (Gibson
J-200) combined with a voice that reputedly has grown richer over the span of his
career, Stevens delighted audiences with his ballads and other favourites, which hold
a special place in the hearts of many South Africans.

The significance of the message in Peace Train is one that remains evergreen. It was
strongly influenced by the song from King Kong, Shosholoza – which loosely
translated means “go forward’ or “make way for the next man’. Its modern meaning
is one of support for any struggle.