L-Acoustics’ Australian L-Acoustics community has brought great sound to several festival gatherings this year. NW Group provided K Series across Sydney WorldPride, one of the world’s biggest LGBTQi events. We met up with their Head of Audio Ian Shapcott to learn more about the deployment!
From lightning-fast punk rock chords to designing K Series systems for the world’s top performers, Ian Shapcott knows how to create a great live music experience. Having played the guitar in the band ‘Victor and the Grasscatchers’, one day Shappy’s life changed forever. He got a chance to work with Ivan Simon, the original owner of IJS Concert Sound & Lighting. He agreed – and decades later has become NW Group’s Head of Audio by combining technical know-how and an ear for dynamics.
Introduce yourself for our readers
“I’m Ian Shapcott, but everyone calls me Shappy. I’m originally from Brisbane, Australia. I used to play guitar in a punk band (Victor & The Grasscatchers) in the 80s – I was always interested in what the bloke out front was doing whenever we rented a big PA.”
How did your mohawked curiosity turn into a day job?
“I was really fascinated with the whole process of setting up, micing & mixing the PA. The ‘bloke’ out front was Ivan Simon, the original owner of IJS Concert Sound & Lighting. Over 30 years ago, he asked me if I’d like to go out on a tour & mix some bands.”
What did you say?
“I responded HELL YEAH! I quit my job as an engine rebuilder and haven’t looked back since.”
Do you remember your first L-Acoustics system?
”Yes I do! It was V-DOSC in 1998 in Sydney for a Metallica concert. It was the first time V-DOSC had hit Australia. I sat behind Big Mick at FOH and couldn’t believe how much sound could come out of one line of PA.”
Fast forward and you’re now Head of Audio at NW Group …
”I worked for years on different jobs and developing my craft. I met Chris Kennedy, Founder of Norwest Productions Pty Ltd (part of NW Group), in the mid-’90s. Chris had faith in me to deliver and we went on to accomplish some BIG gigs worldwide. For this I am grateful. In 2011, I took on a full-time role as Head of Audio where I provide technical oversight for complex jobs at the design stage and where necessary – ensure successful implementation of the show.”
Given your background, what are your specialities?
”Major projects for me are opening ceremonies for different international competitions. Since the Sydney Olympics in 2000 until Tokyo – there seems to be one every year!”
How did you start working for Worldpride Sydney?
”NW Group was contracted by SUBVRT who was managing the project for Sydney WorldPride; I designed some of the venues and setup/mixed FOH at the Domain stage.”
Take us through the main stage setup
”The Domain stage hosted the WorldPride Opening Ceremony, Dance Party & Rainbow Republic shows. The main system was 12 K1 + 3 K2 down with 6 K1-SB flown behind each hang. Outfill was 12 K1 + 2 K2 down per side. Seven flown KS28 in cardioid, combined with 8 ARCS Wide front-fill and 4 delay towers of 9 K2 to get sound right to the back.”
Take us through your WorldPride kit list
”Across the Domain stage which hosted the WorldPride Opening, Dance Party & Rainbow Republic shows, it was K1 & K1-SB. The WorldPride Beach party featured K2 & flown KS28 that proved to be largely sufficient in providing enough low-end.”
Did you say K Series on the beach?
“For the WorldPride Beach Party, we headed to Bondi where the stage was built right on the edge of the sand with the audience on the grass banks. The main system consisted of 12 K2 & 6 KS28. 12 K2 out-fills covered the far ends of the audience area while 4 delay towers of 6 Kiva II ensured full coverage.”
Bondi Beach is a legendary surf spot. What about concerts?
“We got some great low-end on the beach. As the stage was 6 meters high off the sand with a wall between it and the audience, we flew 6 KS28 behind the mains per side. Everyone was amazed at how much sub SPL we got with a few boxes.”
What challenges do you face on the Domain main stage?
“This main stage had strict SPL limits. With Soundvision I was able to predict which setup would work best. I had to minimize SPL spilling over the road and onto the hospital. It’s still a party – so I had to make sure we got maximum SPL in the audience area!”
What’s your favourite L-Acoustics contribution to the world of pro audio?
“Soundvision. It helps to be able to direct SPL exactly where it is needed. When we have to drastically reduce levels due to sound restrictions/sensitive neighbours, it’s no issue with Soundvision. I find it to be such a valuable tool. If you can get it right in the software, it’s smooth sailing through the gig.”
Any notable upcoming projects?
“Rest assured, there’s always something exciting coming up to keep me on my toes! I hope it’s not the normal L/R setup as I prefer a challenge.”
If you could give a young Shappy starting out in the industry a bit of advice, what would it be?
“Be on time. When you’ve completed a task that someone has given you, ask what you can do next. Ask lots of questions but don’t be annoying.”
