CREAMFIELDS
The Adlib team at FOH at CF07; LarMac Live’s Ian Greenway; Britannia Row Productions Audio Crew Chief, Alex Hore; The Capital Sound team at FOH; Capital Sound’s Oliver Fallon.
CAPITAL SOUND London-based Capital Sound offered two separate sound solutions for two stages, CF03 and CF08. The larger, CF03 - also known as the Generator - boasted an Outline GTO system. Creating the sound design for the stage was Ben Turnbull. Having been involved with the Generator stage previously, he explained the changing nature of the space. “This year, our Outline system consists of 12 C12s a side along with 24 GTO-SUB. It’s a similar array to last year with the C12s,” stated Turnbull. “One of the main differences has been with the sub set-up where we have gone for a cardioid arrangement - which is in part to do with the overall goal to reduce off site-noise.” However, Turnbull stated that the Outline subs rear rejections were already fantastic. “With cardioid there’s virtually no noise backstage,” he enthused. The set up also consisted of Mantas 28s for delays. “Last year we were using another product for the delay position but it’s great this time round to have a system that all the same brand means everything gels a bit more.” The system was powered by Powersoft X8s with control coming from Midas PRO 2 console. Finally, for system processing Turnbull made use of an Outline Newton which also allowed any touring to be switched in their own console. On the other side of site, Capital deployed a Martin Audio MLA system for CF08 – known as the Warehouse. Overseeing the audio for the stage was Oliver Fallon. Although this was his first year at the festival, Fallon was more than enthused with the results he and his team had achieved. “MLA is just ideal for this stage,” he began. “The slap back you can get on this style of temporary structure can be tricky.” However, he coined the MLA’s zoning software as “amazing” to overcoming this. “The software allows you to create dead-areas. I’ve got the cut-off point right by the door so there is a notable high-frequency drop off as you leave the venue.”
The system in total comprised of nine MLA and one MLD for the down fills each side. Then eight MLX subs were arranged in a cardioid format on the front of the stage. “When you hear it, you wouldn’t believe it’s only eight subs,” stated Fallon. For control, Fallon used Midas PRO 2C2 with two Lake Processing LM 44s. “One of other elements of control that has been really useful has been the MAXX BCL Processor, via Waves, which we have used mainly for the low end,” stated Fallon. ADLIB The most local of the three suppliers - with its new warehouse only being down the road in Liverpool – Adlib supplied PA and crew for CF05, CF06, CF07, CF09 along with the hospitality area. For the project, the team opted to utilise two brands with CODA Audio systems being utilised on CF05, CF07 and CF09 while an L-Acoustics system was used on CF06. Discussing this year’s offering was Audio Crew Chief and System Designer, Billy Bryson. “Our main aim was to reduce rear and off axis low end in CF06 and CF07,” he stated. “We achieved this by using an end-fire sub configuration, with five stacks of two-high subs spaced along the pit and another identical array underneath the stage.” For the CF06, 20 L-Acoustics KS28s were deployed alongside the main hang of 12 K2s per side and 4 K2 per side serving as delays hung from audience trusses. In the case of CF07, 20 CODA Audio SCP Sensor controlled subs were deployed in an identical end-fire configuration alongside the arrays of 12 AiRAY with two ViRAY as downfills. Behind the main hangs were eight flown SC2 Sensors controlled low frequency extensions which allowed Bryson precise control of low frequencies within the arena. The System Engineer commented that the subs had been well received throughout the weekend adding: “We’ve been getting compliments from both production and even 40
