Everywhere you went except in 'the lap of the gods', of course - the mids and highs were fantastic, even when interfacing with the 3s and 2s. They interact well together and the general tonal quality is the same for all of them. That really helps to keep the coverage smooth. Unlike most arenas, theatres come in all sorts of shapes and sizes - so versatility is paramount. Also, you know what it's like with sold-out shows.
Coverage is everything.
There's nothing worse than a system which sounds joyous where you're mixing, but 20 yards to the left sounds horrible. And obviously being self-powered there's no amplifiers on stage, which helps. We've got quite a lot of monitors and stage space is at a premium. This is one of those tours where if it gets too loud, it's just wrong - there's no two ways about it. And when we got to Australia we had the opportunity to use Canegreen's MSL4s, which in the theatres we were doing were perfect.