Train’s 25th Anniversary Drops of Jupiter Tour on the Right Track with L-Acoustics
LMG Touring delivers a K Series loudspeaker solution for FOH engineer Jason J-Mo Moore, who found great success with the manufacturer’s new Source Intelligence technology
SAN FRANCISCO, California – October 2026 – This summer, Train hit the road for Drops of Jupiter: 25 Years in the Atmosphere, a coast-to-coast run marking a quarter century of the Diamond-certified title track. LMG Touring delivered the full production package for the tour, audio included, and that package became the proving ground for one of the most talked-about tools in live sound right now: L-Acoustics Source Intelligence. At front of house, engineer Jason J-Mo Moore put it to work on Pat Monahan’s lead vocal night after night with stellar results.
Moore is no newcomer to a demanding vocal. He has run front of house for Train for more than 13 years, part of a touring career that began in 1997 and has since taken in Sister Hazel, Seven Mary Three, Collective Soul, Kenny Wayne Shepherd, and Selena Gomez. When an engineer with that kind of mileage says a tool changed the way he works, it is worth paying attention.
Every live engineer knows the two things that fight a vocal mic: bleed from the rest of the stage, and what happens when a singer walks toward the PA. Most just learn to live with them. For Moore, the chance to leave them behind was the whole reason to try it.
Mic bleed and speaker proximity have been issues since the dawn of time in the live music industry, says Moore. I jumped at the chance to tour without those two factors haunting the recesses of my mind.
Source Intelligence is L-Acoustics’ real-time vocal enhancement engine. It pulls stage bleed and room off the mic while leaving the voice itself intact, and it runs with low enough latency to sit inside a live mix. Moore’s first encounter with it in rehearsal was not subtle. Honestly, disbelief, he says. I was so used to hearing my virtual playback vocals with stage bleed. To hear the same tracks with no bleed was insanity.
Dropping it into the FOH setup was straightforward. Routing was no different from any outboard gear through the console, and it came with a bonus Moore did not expect: he could leave the vocals unmuted through line check, which made communicating with the stage techs far easier. Downstream, the cleaner input tightened everything. His EQ and compression moves got more precise, and his reverb and delay returns cleaned up.
Where Source Intelligence Earns its Keep
The payoff showed up in exactly the moments that usually make an engineer flinch: a loud stage, an open mic, a singer drifting into the PA. In those situations, Moore says, it performed perfectly. This is where it becomes a game changer for the industry. It allows you to focus more without having to watch out for your singer’s movements around the stage.
He can point to the exact moment it clicked, when Pat Monahan stepped in front of the right main hang and reflex took over before reason could catch up. I scrambled for his fader and pan, and then I thought to myself, ‘Hey, you don’t have to do that anymore.’
The result at the mix position was a rock-solid vocal with room to spare: almost endless gain before feedback on the main vocal, and enough headroom to push the background vocals without losing clarity. As for whether the band ever noticed the tech doing the work? Nothing, he says.
For more information, visit l-acoustics.com.
