For the Slam Stage, Adlib crew chief Hassane Essiahi and his team worked closely with sound engineer Dave Pringle to ensure that all the bands and DJs had the requisite levels of energy and volume to make it rock.
They chose to use a JBL VerTec system, all ground-stacked, with the main stage stacks containing six VT4889 elements a side, augmented with two 4889s per side at the edges of the stage, plus AA FD2 in-fills along the stage lip. For subs, there were eight VT 4880As per side. The four delays comprised three Nexo Alpha S2 subs, three B1 bass and six M3 tops per stack.
The FOH console was a Soundcraft Series 5. The system was controlled via Dolby Lake processors. Compression included dbx 160As and Avalon 737s, the latter a favourite with DJs for its warm, natural sound.
The VerTec amps were a combination of Camco (for the HF) and Crown ITECH 8000s for the subs, and the Nexo delays were driven with Camco V6 and Crown 5002VZs. Monitors comprised a Midas XL3 console with XTA graphics and ADLIB MP3 wedges.
For King Tut's Wah Wah tent, Richie Nicholson worked with his team of Steve Pattison (FOH), Kenny Perrin (monitoirs), Laura Davis and Kenny Kristiansen.
They also installed a VerTec system - eight VT4889s per side flown off a ground supported trussing system, plus another two 4889 elements per side on top of Adlib subs at the FOH position for delays, shooting the sound down this very long tent. The stage subs were eight ground stacked JBL VT4880As, and ADLIB FD2 speakers were used for in-fills and out-fills onstage.
(Jim Evans)
