From supporting emerging bands in intimate venues with compact desks and IEM systems to providing complete touring packages for established acts, Urban Audio Productions’ expertise spans diverse locations and venues, relying on Shure wired and wireless products for audio consistency.
Since 2011, Urban Audio Productions (UAP) Technical Director Dan Lewis has steered the sound engineering for Noel Gallagher’s High Flying Birds as FOH engineer, and previously as system tech for three Oasis world tours. For the recent world tour in support of the Council Skies album, Steve Weall joined Gallagher as monitor engineer after previously supporting the likes of Louis Tomlinson, Rudimental, Jungle and Anderson Paak.
The Shure equipment used for these shows specified by Lewis and Gallagher, and includes Beta 58 microphones, Beta 91A kick drum microphones, Beta 98 instrument microphones for the toms, 16 channels of PSM1000 in-ear personal monitoring systems using the new P10R+ packs, AXT 600 Axient Spectrum Manager and P9HW hardwired body packs.
‘Using Shure kit provides a comfort blanket for reliability, good performance, and audio quality; it is the go-to set-up across the industry,’ Lewis says. ‘For a rental company, the Shure ecosystem makes it the complete package – Wireless Workbench, Spectrum Manager and a rechargeable battery solution make a suite of products that seamlessly work together very well.
‘In the past I have used a selection of wireless gear, which has brought about challenges, switching everything to Shure was my preference, as it allows for a seamless experience for all,’ Weall adds.
The Noel Gallagher show used 16 channels of RF split as eight channels of K10E and eight channels on G10E. This split of frequencies gives the flexibility to tour the world without issues. P9 hardwire packs were added for the backing vocalists and static musicians.
‘Dan and his team are extremely accomplished at supporting us on the road, but should we get stuck at the other side of the world, we have the confidence we can get assistance,’ Weall says.
Wireless Workbench software proved to be especially beneficial in the US, managing around 44 channels of wireless across the three acts on tour with ease: ‘It would have been extremely difficult to manage without Wireless Workbench,’ Weall explains. ‘With nearly 30 shows on the US run, I found it very reliable and consistent especially when on multi-band bills, where I take it upon myself to ensure everyone’s wireless works. The cloud features were helpful and stable.’
‘I’ve known and worked with Stuart Moots, Director Pro Audio at Shure, for a very long time, since he was our local rep, and he still supports me to this day, Lewis says. ‘It’s refreshing to have a company where I can pick up the phone and speak to someone knowledgeable straight away.
‘The team has such a depth of knowledge, and it is a one-stop shop, which we really appreciate. We’ve had a few enquiries with detailed questions to a number of the Shure team members over the years, and they have always been very amenable, responsive, and helpful.’
‘It fills me with immense pride to acknowledge the support that the team at Shure and I have provided Dan throughout this tour, and many other projects, underlining our longstanding partnership,’ Moots responds. ‘It’s great to see Urban Audio’s growth and dynamism as high-profile shows demand flawless execution and delivery, night after night. It’s testament to Shure’s unbeatable quality and dependability that helps Dan and Steve focus on their job and ensure the show’s sound is nothing short of spectacular.’
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