EUROPE – Godsmack’s 2025 European tour was the band’s first full-scale trek with a Meyer Sound Panther system. FOH engineer and production manager Scott Tkachuk, who works with UltraSound, was impressed with the performance of the system, which was provided by Denmark-based Victory Touring.
More details from Meyer Sound (www.meyersound.com):
Godsmack’s 2025 European tour spanned a range of stops across the continent and marked the hard rock heavyweights’ first full-scale run with Meyer Sound’s PANTHER™ large-format linear line array loudspeaker. From intimate theaters to packed arenas, one flexible rig delivered the explosive impact the band is famous for while keeping load-ins lean.
“This was a big leap for us,” says FOH Engineer and Production Manager Scott Tkachuk, who’s been on the road with Godsmack for 15 years. “We played everything from big arenas to smaller, club-like venues, and the scalability of the PANTHER system let us carry one rig that could handle it all.”
Tkachuk, who works with UltraSound, is a longtime devotee of Meyer Sound’s LEO system, so he approached the update thoughtfully. “PANTHER really surprised me,” he says. “It’s extremely high fidelity, and once we got it dialed, it had that same punch and warmth I rely on for Godsmack’s sound.”
The Meyer Sound system centered around 72 PANTHER loudspeakers, supported by 24 1100-LFC™ low-frequency control elements, with eight LEOPARD® compact linear line array loudspeakers as front fills. The system was driven by three Galileo® GALAXY 816 and two Galileo® GALAXY 408 network platforms and ran over a Milan AVB network with analog backup.
The rig was provided by Denmark-based Victory Touring and fine-tuned with support from systems tech Mads Nørgaard and longtime FOH Tech Aaron Lauzier, whom Tkachuk credits with helping him achieve the band’s signature sound. “Godsmack is straight-ahead, no-tracks rock and roll—my guitars are basically flat, my vocals are fat but natural, and the drums are tuned for feel, not just punch. The goal is for it to sound like a conversation—human, not hyped.”
“With PANTHER, I didn’t have to rethink anything,” says Tkachuk, who mixes on a Midas Pro X console with an analog front end and outboard gear, bypassing plug-ins entirely. “My show file transferred over with barely any changes, and the system kept all the punch and clarity I’m after without ever getting harsh. It’s loud, but it’s still comfortable—and that’s always what I’m trying to hit.”
Logistically, PANTHER’s lightweight and compact footprint paid off night after night. “I look at things through the lens of a production manager, too,” he adds. “Every room has its limits—sometimes you walk in and realize you can’t hang what you planned. But with PANTHER, we could still put in a proper rig without pushing the envelope. That’s huge.”
Maintaining consistent performance across that range of rooms was key to the tour’s success. “We had the big, 20-per-side arena setup, but I could scale it down to eight or ten per side for a smaller space and still get that in-your-face Godsmack sound.”
Tkachuk points to the benefits of the system’s digital network infrastructure. “We ran AVB right into the boxes, and the imaging was just next level. We even A/B’d between analog and AVB during setup, and you could hear the added definition,” he says, comparing the difference to switching from 1080p to 4K visuals with enhanced detail, space, and precision.
With a fresh approach to system design, Godsmack’s tour marked a leaner, smarter way to deliver the band’s full-throttle sonic impact. And with PANTHER out front, Tkachuk says the band’s sound met the moment. “What I aim for is clarity and impact without people’s ears getting hammered. One of the big reasons why I’ve been a big believer in Meyer Sound for so long is you get that energy that you expect, but you don’t get fatigued. When you’re out there every night, it can’t just be loud—it has to feel good. And with this rig, it did.”
