JPS Australia


‘Coachella for accountants’ – Xerocon Brisbane 2018

Xero  Con 1

Xerocon was launched by leading accounting software brand Xero back in 2010 and today is the largest accounting technology conference in Australasia.

It brings together more than 3000 accountants, bookkeepers and financial professionals from Australia, New Zealand and Asia.

“Hailed ‘the Coachella for accountants’, Xerocon has achieved an almost cult-like following amongst the best in the business, so it was essential that Xerocon Brisbane 2018 delivered unrivalled heights of engagement and emotion,” said Laura Roberts, Managing Director of brand communications company INVNT and Xerocon’s event agency.

Held at the Brisbane Convention & Exhibition Centre, JPJ Audio were contracted by INVNT and technical directed by Matthew Russell, to supply an audio solution to match the event’s high production values. A solution was required that could cater to the opening act of a high energy DJ to clear crisp intelligible audio to enhance the meaningful and passionate stories told by keynote speakers.

The show was held in the round plenary style and as with most corporate productions, it was imperative that the video screens could be viewed with no obstruction. Fortunately JPJ Audio are very experienced in working PA placement into a video setup and as usual, delivered a successful outcome.

With four massive video screens forming a cube above the round stage, a neat and tidy PA system was required so as not to interfere with the visuals. Eight hangs of nine L-Acoustics dV-Dosc were deployed all in a left/right configuration at each corner.

It was planned to add L-Acoustics dV-SUBs to the PA hangs but weight restrictions on the roof were severe and so the subs were placed under the stage.

Xero Con 2We had twelve SB218 subs in a circle to get a nice wide rumble and big sub feel for when the content had low end in it, just to help get the crowd pumping,” added Matt Morrison of JPJ Audio. “We also had twelve L-Acoustics 108P around the stage for front fill. Originally the client wanted them underneath the stage with the subs so they were hidden but a solid fascia was added to the set which meant you couldn’t hear them! We redesigned the system by placing them around the video monitors onstage to cover the first few rows. It all looked neat and tidy in the end and of course, sounded great.

Control for the plenary system was on a compact yet powerful Digico SD11 operated by Gary Flemming.
During the day the venue was broken into six theatres, one used the plenary control whilst the others all had their own small control system, three with Soundcraft Si compacts and two with Yamaha O1V96. These all fed The PA People who provided silent-disco PA systems.

The PA People handed FM receivers out to everyone and set up an FM control which we plugged in to and that’s how all of the breakouts could go at the same time,” explained Matt. “Everyone in the crowd had a receiver into which they could punch a pre-set frequency to listen to whichever breakout they wanted. It was a great little system.

With audio, lighting and video all competing for weight allocations, this was no simple project but JPJ’s experience shone through.

JPJ Crew:

Tim Seconi, Will King, Matt Morrison, Daniel Charlton, Matt Debien.


Priscilla Queen of the Desert

Priscilla 1

Ten years on and Michael Waters tells a different story

After winning a glittering array of international awards on Broadway, the West End, Europe and Asia, Simon Phillips’ spectacular production Priscilla Queen of the Desert has returned to Australia for its 10th anniversary celebration tour.

Opening at Melbourne’s Regent Theatre, the show is set to tour the country over the coming months with all audio supplied by JPJ Audio.

Sound designer Michael Waters created the original production over a decade ago and since then he says that the evolution of digital technology is clearly the biggest change.

We started with a digital platform of a Yamaha PM5d but since then I’ve moved onto a DiGiCo system which makes everything a lot more flexible,” he commented. “It sounds great and combined with the Aviom system, it makes it all streamlined. The progression of the networked L-Acoustics amplifiers has made a big difference too. Ten years ago we were using Crown 5002 amplifiers which sounded awesome but everything eventually had to move into the digital realm. Having the flexibility of networked processors, coupled with remote control accessibility via my iPad, means I can wander the building and mix off my iPad. We didn’t have that technology at our disposal back then!

The Stealth Core 2 infrastructure with the DiGiCo means there is a lot more processing available on their consoles. With the SD10 that Michael uses, he goes direct from the DiGiCo system, from the SD rack straight into the LA8 amplifiers – basically cutting out a drive system.

A lot of the system processing is done on the console itself, which in turn is controlled by the iPad,” he added. “I have complete flexibility in control of the sound system including the mix itself just from the one app. There is also processing going on with the LA8s and that’s also controlled from the iPad via Network Manager.

Priscilla 8Michael is still using an L-Acoustics dV-Dosc PA system, describing it as fantastic, with the configuration used at Melbourne’s Regent Theatre very similar to the original. The only difference is the addition of a KARA centre cluster and several more delay subs to ensure the disco beats are everywhere and with even coverage in the huge barn that is the Regent.

There are quite a lot of L-Acoustics subs in the system – DV-subs on each of the four L/R arrays, SB28’s on the aprons, SB18’s on the Delay Cluster and then spread out in the stalls,” said Michael. “In the dress circle there are Meyer 650P’s and then a pair of L-Acoustics SB118 subs above the mix position in the roof. That way we can keep the vibe jumping along all the way to the back!

Microphones are still DPA 4066, double mic’ed with a DPA 4061 for the three Queens and also the three Divas who fly through the air. All DPA’s are run on Shure UR-4D wireless systems and Shure Micro Belt packs.

I had to go with the DPA 4066 because of the amount of head dresses that all require quick changes,” explained Michael. “If we were to use lapel mics on the forehead, they would just get ripped off. The DPA 4066 also allows for a higher SPL which is good as there are so many disco come rock numbers in the show. The only exception is the young boy who uses a DPA 4061 because his contribution is only in quiet scenes.

Microphones for the band include Shure Beta 52, Beta 91 for the kick, Beta 57 and Beyerdynamic Opus 87 for the toms, and a smattering of Audio Technica AT4050’s, Firefly DI on the bass and a couple of Coles 4038 ribbon mics on trumpet and saxophone, which sound very warm and smooth in the high end.



Miley Cyrus 2011

This tour marked Cyrus’ first visit to Australia since being introduced to local audiences as Hannah Montana in 2006. Miley Cyrus has released ten albums and sold in excess of 500,000 singles in Australia.

Dates June 21 – July 2, 2011
FOH Engineer Paul David Hager
JPJ Audio Crew Tristan Johnson
Simon Farrell
Dave Richardson
Speaker System L-Acoustics
Main Hang 32 x K1 Element
6 x dV-Dosc Elements
12 x K1 Sub Bass
24 x SB28 Sub Bass
Side Hang 18 x V-Dosc Element
6 x dV-Dosc Element
Rear Hang 18 x Kudo Element
6 x dV-Dosc Element
Front Fills 4 x ARCS (outside)
4 x dV-Dosc Element
2 x dV-Sub
Amplifiers and Drive 54 x LA8
1 x K1 Drive Rack (Dolby)
4 x Dolby Lake DLP4D12 Processor
1 x BSS FCS-960 Stereo EQ
1 x Motion 1200 wireless tablet
FOH Control System (Support Act)
1 x Avid SC48
6 x BSS DPR 402 (2 Ch Comp.)
1 x Summit TLA 100A Tube Comp
2 x Drawmer DS201 (2 Ch Gate)
1 x Lexicon PCM90 Reverb
1 x TC Electronics D-Two Delay
2 x Yamaha SPX990 Multi-FX
Monitor Control System
1 x Midas Siena 400 40ch
10 x Clair 12AM Monitor Speaker
5 x Lake Clair iO Controller
8 x Crown MA3600VZ
1 x Clair ML 18 Sub Bass
1 x Crown MA9000i Amplifier
8 x Urei 5547A 1/3 Octave
Wireless Microphones
2 x Shure UR4D-Q5 Dual Receiver
4 x Shure UR1-Q5 Beltpack TX


Massive Attack – Sydney Opera House

Massive Attack - Sydney Opera House forecourt

Massive Attack toured Australia in March 2010 off the back of their album `Heligoland`. JPS provided a L-Acoustics K1 system for the tour.

Tour Dates

March 12, Perth, Kings Park
March 15, Sydney, Opera House Forecourt
March 19, Canberra, Royal Theatre
March 20, Melbourne, Myer Music Bowl
March 21, Adelaide, Entertainment Centre
March 23, Brisbane, Riverstage

Speaker System L-Acoustics K1
24 K1 Enclosures
12 dV Dosc
8 x Arcs
16 x SB28 Sub Bass Enclosures
12 LA Rack
36 L-Acoustics LA8 Amplifiers

Coldplay 2009

Coldplay returned to Australia for another sold-out tour in Feb 2009. As Coldplay like numerous other acts are using the D&B J system, JAS was commissioned to supply our largest arena system to date.

The system design, handled by Tony Smith who has been with the band for many years, was in a 270 ° 6 hang setup with 2 delays down the room.

The system was made up of of 4 x 16 deep hangs of J8 & J12 with 12 x flown J-Subs. The outer 270 ° hangs were 2 x dVDosc subs and 8 x dVDosc boxes each. The 2 x delays up the room consisted of 4 x J8 boxes per hang. The delays had a 40m trussing system running down the room to supply the power and signal.

Coldplay brought their own Digidesign Venue D-Show console packages which were supplied by Wigam UK.

The band used a full in-ear monitoring system so no monitors were needed other than for the opening acts which used a JAS “Wayloud” monitor system with Yamaha M7CL consoles.


February 27 – March 12


72 x d&b J speakers
12 x d&b J-Sub
8 x d&b B2 Sub
4 x L=Acoustics dV-sub
16 x dVDosc

JAS Crew

Paul Gould – JAS audio chief / rigger
Eric Sanderson-Evans – d&b J system tech
Craig Gordon – system rigger
Connor Dune – monitor rigger

Soundcraft VI6 acquired by JPS

Continuing its tradition of investing in large-format digital consoles JPS recently acquired a Soundcraft Vi6 desk.

The new console from Soundcraft is the result of a joint development with sister console company Studer and uses touch-screen colour TFT monitors with integral rotary controls and switches mounted directly on the glass to provide a ‘where you look is where you control’ user interface.

The VI6 is currently on the road with Delta Goodrem who is touring again for the first time in three years.
Soundcraft VI6 Monitor rigger Tim Seconi and monitor engineer, Ben Shapiro with the VI6

Tour Dates  
  January 9 – February 3 2009
Sound crew
  Pat Richardson (FOH CVE)
  Tim Seconi (Monitor Rigger)
FOH Speaker System
  30 x L-Acoustics dV-Dosc
  8 x L-Acoustics dV-Sub
  4 x L-Acoustics SB 218 Subwoofers
  4 x L-Acoustics Arcs Cabinets
Amplifiers 24 x Crown MA-5002Vz Amplifier
FOH Drive system
  4 x BSS 366 Omni Drives
  4 x BSS FCS 926 Varicurve Parametric EQ’s
  1 x BSS FPC 900r Varicurve Remote
  1 x BSS FPC 900i Remote Interface
  1 x BSS FCS 960 Stereo EQ
FOH Control System
  1 x Yamaha PM5D-RH Digital Console
  1 x Lexicon 480L Reverb
  1 x Manly Vox Box
  1 x Tascam CD-RW901SL
  1 x Marantz PMD 321 CD Player
Monitor System
  1 x Soundcraft Vi6 Digital Console
  4 x L-Acoustics 115 Hi-Q Wedges
  12 x Sennheiser EW G2 IEM Systems


Santana 2008

Music legend Carlos Santana toured Australia in February and March 2008. One of the greatest guitarists of our generation, Santana played a series of Arena shows and one at the Tempus Two Winery in the Hunter Valley.

JAS supplied the speaker system and amps for the tour.


21, 24, 26, 28 February 2008
2 March 2008


46 x L-Acoustics V-Dosc
12 x L-Acoustics dV-dosc
28 x Wayloud 218 Subs
Crown VZ5000 and Lab Gruppen4000 amplifiers.

JAS Staff

V-Dosc systems tech: Robert “Jock” Bain
Systems tech: Craig Gordon
Monitor systems tech: Stephen May


Based on the 1994 Stephan Elliott film The Adventures of Priscilla, Queen of the Desert, the musical, tells the story of drag queens traveling through the Australian desert to put on a cabaret show.

Priscilla had its World Premiere at the Lyric Theatre, Sydney in 2006, and is now headed for the Regent Theatre, Melbourne.

Tour dates 2006 – 2009
Sound Designer Michael Waters
Head of Sound Andrew Foster
Radio Mic Technician James Kohler
Sound Technician Rachelle Holowko
FOH Speaker System
  24 x L-Acoustics dV-Dosc
  8 x L-acoustics dV-Subs
  4 x L-Acoustics Arcs
  4 x L-Acoustics SB-218 Subwoofers
  3 x L-Acoustics MTB-112b Enclosures
Amplifiers 16 x Crown MA5002VZ Amplifiers
FOH Drive system
  4 x BSS Varicurve FCS-926
  4 x BSS Omni Drive FDS-366
  1 x BSS Stereo Eq FCS-960
  1 x BSS Varicurve remote FPC-900r
Effects Speaker System
  12 x Meyer UPM2
  7 x JBL Eons 15″
  2 x JBL Eons 10″
FOH Control
  1 x Yamaha PM5D-RH Digital Console
  1 x Yamaha O3D 16Ch Console
  1 x Midas XL-88
  2 x 360 Systems Instant Replay units
  3 x Klark Technik DN-728 Delays
  1 x Roland SDE3000 Delay
  1 x TC Electronic 2290 Delay
Monitor Equipment
  1 x 9 Station Aviom Personal Monitoring System
  2 x Shure PSM 700 In Ear Monitor Systems
  1 x Yamaha 3210 Monitor Console
Radio Mics/Mics
  16 x Shure UHF-MA Radio Mic Systems
  16 x Sennheiser 1046 Radio Mic Systems
  32 x DPA 4066 Headset Microphones
  2 x Neumann KM-841
  2 x Neumann U-89i
  4 x AT4050
  4 x AT4050
  2 x Shure Beta 57
  1 x Shure Beta 52
  3 x Shure 565
  1 x Sennheiser BF-509
  12 x Countryman Type 85 DI Box