Immediately prior to the Glastonbury get-in, Adlib had shows with the Fun Lovin' Criminals and supplied two stages at Warwick University's summer ball, so the gear and crew from these was routed on to Glastonbury, where it was joined by more from the warehouse.
The Cabaret Tent featured a Nexo Alpha system with 6 high, 3 bass and 2 sub enclosures per side, with a Soundcraft Series 4 console FOH and a Soundcraft SM20 for monitors. This stage was run by a team led by Steve Cole and Tim Dalton and crewed in shifts to deal with the intensive schedule that kicked off at 11am every day and ran till 2.30am the next morning.
Adlib FD2 speaker systems were used on the Theatre Stage. They also featured on the Circus Stage with Allen&Heath GL3300 desks. In addition, an Adlib FD2 system handled the continuously running Outside Circus stage and the Dance & Fire Stage, where an A&H GL2200 desk was used FOH. The company also supplied a full selection of outboard effects, mics and other accessories for each stage
The biggest overall test was the rapid changeovers on all stages; the diversity of acts proving quite a challenge at times. Weapons of Sound were the highlight of the festival for all. They awoke everyone within a 200 metre radius of the Cabaret Stage each morning with their speedy, crashy creations, played on a variety of recycled metallic objects including car engines, pipes and supermarket trolleys. Finding the mics to optimize such offbeat instruments was "great fun" comments Adlib's Steve Cole.
In addition to running sound systems for all of the performance areas mentioned, Adlib's front line engineers were also in action, site-wide, mixing some of their regular clients. Dave Kay engineered The Coral, with Paul Roberts on monitors, and also handled The Basement And the Zutons on the New Band stages. Andy Dockerty packed his wellies and dirty mac for the weekend in anticipation, and mixed The Inspiral Carpets on the main stage on Friday, with Steve Cole mixing monitors. Marc Peers was also out on monitor duty for Tom MacRae on the Second stage.
(Sarah Rushton-Read)
