Adlib's new V-Dosc system was utilised for the PA, with front hangs of 12 V-Dosc per side, complete with 4 dV-Doscs per side for down-fills and side- hangs of 12 dV-Doscs elements. For front- fills, they used eight ARCs cabinets. The subs totalled 16 of the new high-powered L-Acoustics SB28s and 8 SB218s - all ground-stacked.
The front hangs and subs were driven by LA8 amps, with the side- hangs and fills powered by the Lab.gruppen standard, complete with Adlib's speaker cabling and infrastructure to make it work.
At front-of-house they provided two Soundcraft Vi6 digital consoles which were set up festival style as A & B systems and flip-flopped for the nine bands, all of whom received exactly the same facilities via the on board dynamics and effects. Adlib's Vi6s have just been upgraded to Optocore fibre multicores.
Both FOH desks were babysat by Dave Kay, and the system was looked after by Adlib's Tony Szabo. Most of the bands also brought their own engineers, and any that didn't were mixed by Kay.
The system was driven by five Dolby Lake Processors, one of which was set up as a matrix input switcher for the consoles to keep the signal digital all the way from the console to the outputs. Szabo also utilised a Meyer SIM3 to align the system and aide with the system tuning.
Andy Liddle came onboard as LD, working with Dave Reason who was looking after the lighting for the DVD recording by UK One Productions. Liddle designed a DVD-friendly rig that would offer enough scope and flexibility to light all the bands and make each one look a bit different.
UK Rigging supplied all the rigging, truss and motors for both Audio and Lighting. Over stage were three lighting trusses in a flat U shape, this was mirrored directly behind to incorporate all the LED and video equipment. Two further trusses were in the rig, a front truss and an audience truss.
The main lighting system was a mix of 20 MAC 700 Profiles, 20 MAC 700 Washes, 16 Atomic strobes and 16 linear Moles. 12 Studio Beams and 16 MAC 550s were used on the front truss along with a further 6 linear moles.
On the floor were eight MAC 2000 Spots and eight MAC 250 Washes. These were positioned behind the ColorWeb (supplied by HSL) which gave some great effects. 12 floorcans were positioned around each of the bands to provide key lights for the cameras.
Console-wise, Liddle programmed and operated the show using a WholeHog II, and Dave Reason's key lighting was all run off an Avolites Pearl Expert.
XL Video supplied nine onstage drops of Barco I-12 screens. Graphics content for these and the ColorWeb were driven by Adlib's Catalyst digital media server, run by Hugh Davies-Webb through another Hog II desk.
(Jim Evans)
