We Out Here

WE OUT HERE

WE OUT HERE

For its inaugural year, the organisers of We Out Here festival join forces with Neuron Pro Audio and A-Live Sound to provide a full Danley sound solution sitewide.

A newcomer to the UK’s festival scene, We Out Here promised to join the musical dots between soul, hip-hop, house, afro, electronica, jazz and beyond. With the backing of Gilles Peterson, who wanted to celebrate UK club culture and its community, the line-up looked to offer something new to this year’s season. With this particular genre, audio quality was always going to be of the upmost importance. Enter Kyle Marriott, Managing Director of Neuron Pro Audio. The Manchester-based audio company has specialised in Danley Sound Labs for a number of years – a strength which proved to be exactly what the festival organisers were looking for. “We have worked with the NVS Music Group on projects such as Outlook and Dimension Festival in Croatia and it was through them we got involved in this project,” began Marriott. Along with the NVS connection, Neuron also got put forward by A-Live’s Ian Mackie who recently took over distribution rights for Danley Distribution. The two companies collaborated, for all 12 stages, providing with full Danley Sound Systems, from the smaller DJ stages all the way up to the main festival stage. Almost the entire range of Danley brands were out on display from the Mini 180, the Nanos and the Cubes, all the way up to its larger BC218/BC415 sub and J3-94s.

Jumping into a one brand solution sitewide was somewhat of a risk, especially as Danley is not necessarily well-known within this sector. What’s more, this was not your traditional main stage PA array. “In total we are using one box per side, two front fills and six subs - that is it,” stated Marriott matter-of-factly, continuing, “With this set-up we were able to provide audio for 6,000 people at full capacity, although we were actually set up for up to 10,000.”

The boxes in question consisted of two Danley Sound Labs J3-94s, four SH46s on front fills, and one SH95HOs for the centre front fill with SH96HOs for the 60m delay. For subs, four BC218s and two BC415s were selected. Powering the system were eight Danley DNA20K Pro amplifiers. “I think it’s safe to say a lot of people were sceptical it could be done,” mused Marriott. “When someone says we can replace the traditional 12 to 16 box-a-side line array with some front fills and a box hung at 10m it just doesn’t sound plausible. But throughout the festival we were achieving 107dba at FOH and still had more in the tank.” It’s no surprise, he added, citing Danley’s pitch.

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