Another First
The event also marked the first outing of the new D.A.S. Convert 15A.net self-powered loudspeaker.
Specifically, three vertically-stacked Convert 15A.nets per side with an additional four Aero 12As were positioned in front of center stage to provide front fill.
The Convert 15A.net incorporates proprietary digitally convertible dispersion (DCD) with a 2,000-watt, three-channel amplifier. It’s connectivity also allows monitoring and control via new DASnet.
Damiano used Rational Acoustics Smaart version 7 to assist in the system tuning process.
It was a bit more challenging than usual due to the vast size of the coverage area, which stretched more than 160 meters (390 feet) to the back, and just about as wide.
“It’s impossible to make the audio perfect everywhere, but we always try to keep the same curve that we have on the main PA. I actually ended up changing the mic position more than 50 times,” he notes. “With the virtual electronic arc, the subs in the centre have no delay at all, and those outside are delayed to open the coverage; it works really well.
“For the long throw,” he continues, “we took out the mids. Most people push the highs to compensate for the lack of power, but if you do that, you risk killing the dynamics of the equipment. The mid throw was kept absolutely flat, and for the short throw, we took 3 dB off the high and played with the EQ a little bit so as not to kill the people at the front. This system hit hard right at the back, so you can imagine what it can do at 10 meters.”
A Bit Crazy
A DiGiCo D5 digital console handled all mix needs at the main stage front of house position, with another D5 supplied for monitoring. Although some of the artists opted to use in-ear monitoring, powered D.A.S Road 12A and 15A wedges were the primary choice on stage. An LX-218A and an Aero 12A provided drum fill.
“At all 12 festivals I have worked on this year, it’s been louder on stage than out front. Thankfully, our monitoring setup was powerful,” Damiano told me with a smile. “It’s getting a bit crazy, actually, but high volume on stage seems to be what the bands want. If the police measure more than 102 dBA out front then they can make us stop, but on stage, there’s no restriction, and that can be an issue – sometimes it just takes over.”
By the way, the beach stage was essentially a mini-version of the main configuration, with two hangs of 10 Aero 50s; the same monitoring, a side fill setup that relied on three Convert 12As for the mid-highs, a little less sub, no delays, and stacks of D.A.S. powered Aero 8A compact line arrays for front fill.
During the Thursday night performances, I flitted between the delay tower and photo pit. At FOH, the sound was exceptional, and true to Damiano’s word, it didn’t kill me at the front. O.K., I felt it right in front of the subs, but overall, it was comfortable – loud but pure, and not at all harsh. Nice work.
Paul Watson is the editor for Europe for ProSoundWeb and Live Sound International.