Red Hot Chili Peppers live „UnlimitedLove“ Tour 2022 – Sound, stage and lighting design

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0:59 – The sound system
7:08 – Backup and more: Midas Heritage-D HD96
7:50 – PA System: d&b audiotechnik SL-Series
8:48 – Stage & lighting design
11:54 – Robe RoboSpot Followspot
12:44 – Signal distribution
15:20 – grandMA3 at FoH


Backstage insghts into the sound design, stage design and lighting design of the Red Hot Chili Peppers „Unlimited Love“ Tour 2022.

The Red Hot Chili Peppers on their first stadium tour - How does set and lighting designer Scott Holthaus manage to get the guys out of the miserable peepshow stage? For his wife, the matter is clear: A wave must be made.

And so it came to pass - the old surf spirit that has always surrounded the band now carries their vibes into the audience. A lot of things are different at this show, as one has already become accustomed to fat beams everywhere, plus some gobos - ready is the stadium look, that's supposedly the recipe.

Not so with Scott Holthaus, he likes it rather washy and carries for this purpose a row of Elation Proteus Maximus, several SGM P10 and a whopping 10 Ayrton Magic Panels. Lighting crew chief Pete "Pepper" Schofield is visibly pleased with so much equipment in the video. He has worked closely with Production Manager Narciso Martinez and production company Premier Global Production for many years.

Although Nook Schoenfeld showed him impressive fire and water effects with Cyberlights and a Hog 1 many years ago - Holthaus doesn't care much for gobo looks, even though colleagues like Dan Hadley have made very successful careers with them, as he notes with a wink.

LED screens with pixel frames

The LED screens are framed in a frame of COLORado PXL Bar 8 from Chauvet Professional, which, like the screens, can also be controlled by pixel mapping - again, the wave spills over, just as it did with Ayrton's Magic Panels.

The Magic Panels are flanked by the "Wings," as the lighting crew calls them, equipped with SGM Q8s, more Chauvet PXL Bar 8s and some Elation Proteus Maximus. And both panels and wings can be moved kinetically, making for a variety of possible stage looks.

The outer screens are also framed with Chauvet PXL 8 and 16, and at the feet of the screens are more Proteus Maximus and SGM Q8. Traditional blinders are nowhere to be found in this production, but the Q8s more than do their job.

Pepper's favorite, however, is the IP65-rated Chauvet Professional Color Strike M, dubbed "Screamers" by the crew, which act as sidelights in small numbers.

Robe RoboSpot tracking systems

Several Robe RoboSpot are used as chasers, the operators are positioned stage right, the advantages of such systems have in a short time made chasers hanging in the rig above the stage a thing of the past. Two spotlights are available for each of the four musicians. Scott Holthaus controls the intensity from the FoH via a fader on the grandMA3.

Signal distribution via ProPlex

The signal distribution for light and video is done by means of an EZ-LAN from tmb / ProPlex: Each signal can be output at each of the four dimmer locations by means of ProPlex IQ TWO 1616 Ethernet Nodes, up to nine different networks are possible. And there are so many signals that the parameters of the three grandMA3 from MA Lighting are by far not sufficient. They are supported by eight MPUs, also from MA Lighting.

d&b audiotechnik SL Series: Peace on stage

As much as the Red Hot Chili Peppers would like to whip the crowds into ecstasy during their first-ever stadium tour in Europe: On stage, they like to have their peace and quiet and the sound under control.

A requirement as if made for the cardioid designed SL series from d&b audiotechnik. GSL modules in the Main Hang, complemented by the more compact KSL series on the sides. At the time of the interview, d&b's tried and tested L modules were still being flown on the delay lines, but these too were replaced by the KSL series as the tour progressed.

Yamaha and Midas at the FoH

FoH soundman Toby Francis has worked with many bands, but now he's in charge of conjuring a homogeneous mix from the still pulsating energy of the Los Angeles band night after night with the Red Hot Chili Peppers.

The band's specification was for an analog system at FoH. FoH technician Andrew Kastrinels explains the FoH setup, from the Dante preamps and signal distribution for main console, the Midas HD96 as backup console, and the broadcast console. The signals are transmitted via Focusrite RedNet.

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