Sound Solutions for Jennifer Lopez Concert in Tashkent

A crucial factor was that the entire L-Acoustics and DiGiCo set up for the Tashkent show was supplied locally by YASTREB-Sound. For reference, YASTREB-Sound holds the status of an L-Acoustics Certified Rental Agent. Furthermore, all of the company’s engineers have completed official L-Acoustics certification programs. This not only ensures a consistently high level of engineering expertise but also highlights the ability of the local industry to deliver events on a truly global scale.

Technical Preparation and Modeling

The project began well before the artist’s team arrived. Eduard notes: “We carefully calculated the arena’s acoustics, considering stage dimensions, audience distance, and weather conditions. The goal was to deliver consistent sound quality to every seat.”

For this, the team relied on L-Acoustics Soundvision, a professional acoustic modeling platform. It enabled precise simulation of sound propagation, optimal placement of line arrays, subwoofers, and delay lines. This approach significantly sped up deployment and minimized commissioning risks.

System Architecture

System design took into account the acoustic challenges of the stadium. The objectives were to achieve even coverage across central, side, and upper tiers, deliver sufficient low-frequency energy on the field, and compensate for the absence of delay towers using ground-based solutions.

The system consisted of L-Acoustics K1 and K2 arrays for main and side coverage. Kara II front-fills were deployed for the near field, while additional K2 and Kara II clusters, reinforced with L2 elements, covered the upper tiers. Low-frequency extension was handled by KS28 and SB28 subwoofers, deployed both in flown and ground-stacked configurations.

A particular challenge was the inability to deploy traditional delay towers on the field. Engineers resorted to localized ground-based arrays — technically demanding due to weight and load distribution — but critical to maintaining consistent coverage.

Eduard Asadov explains: “We had to set up compact ground arrays, which are technically complex and extremely heavy. But this was the only way to compensate for the lack of classical delay coverage.”

Working with DiGiCo

FOH mixing was managed on a DiGiCo Quantum 326, while monitors were handled on a Quantum 338. FOH duties were led by Craig Doubet, FOH engineer for Jennifer Lopez, with over 30 years of professional experience, including more than 20 years mixing for the world’s largest arenas.

Craig commented on the platform’s benefits: “The Quantum 326 is on another level. I really enjoy working on this console — it offers an enormous channel count, exceptional flexibility, and powerful onboard tools like Mustard and Spice Rack processing, along with True Solo and customizable macros. All of these features streamline the workflow and enable quick, precise adjustments, whether it’s fine-tuning Jennifer’s vocals or managing the full band mix.”

Additionally, the FOH setup integrated the Fourier Audio transform.engine, connected directly to the Quantum 326. The integration provided stability, ultra-low latency, and expanded creative options for fine dynamic processing.

For MON, the DiGiCo Quantum 338 was operated by César Benítez, a renowned MON soundengineer known for his work with Ricky Martin and Enrique Iglesias. The Quantum 338 was pivotal in ensuring reliable monitor operation. Its built-in processing and expanded channel count minimized the need for external devices and delivered full transparency when managing a highly complex mix. Special focus was placed on handling a large number of personal monitor mixes and the high dynamic range of the show – demanding both rock-solid reliability and instant response from the system.

Sound Quality and Industry Development

Ultimately, system performance is judged by audience experience. Eduard Asadov noted: “The most important thing is a happy audience. And of course, the FOH engineer I hand the system over to. If he’s satisfied, we’ve done our job.”

Craig Doubet added: “When I first walked in and saw the system – before even listening – I thought, this is serious. And once I heard it, I was impressed.

Significance for the Regional Industry

This concert was more than a technical achievement – it was a milestone for the sound industry in Uzbekistan and Central Asia as a whole. It demonstrated that the region has both the expertise and resources to host events at an international standard.

Such progress will elevate the industry’s profile and drive the growth of local projects. With specialists of this caliber, high-quality shows featuring regional artists are now a realistic prospect.

Equipment List

L-Acoustics K1 – 36
L-Acoustics K2 – 74
L-Acoustics L2 – 2
L-Acoustics L2D – 4
L-Acoustics Kara II – 42
L-Acoustics SB28 – 18
L-Acoustics KS28 – 48
L-Acoustics SB18 4
DiGiCo Quantum 326 (FOH)
Fourier Audio transform.engine
DiGiCo Quantum 338 (MON)
DiGiCo SD Rack 2
DiGiCo SD Rack MINI 1