As Exton's Ivar Ragnarsson explains, the festival's largest venue, Reykjavík Art Museum's Port Room, was the most challenging. "The room was originally a warehouse," Ragnarsson says. "It's about 10m wide and 45m long, and very reverberant." Ragnarsson adds that aside from the acoustical challenges, the room required a quick setup as it was also used for non-festival activities leading up to the event's opening.
Exton created a system that included left and right arrays of eight M'elodie line array loudspeakers each, along with four M'elodie loudspeakers as front-fill and six M3D-Sub directional subwoofers under the stage. A Galileo loudspeaker management system handled system processing.
"The M'elodie is the perfect system for this room," Ragnarsson says. "Setup is quick, and tuning is a breeze thanks to MAPP Online Pro acoustical prediction programme. And the M3D-Subs are great due to their cardioid pattern."
The festival's other large venue is NASA, a converted theatre outfitted with two MSL-4 loudspeakers per side and two UPA-1P fill loudspeakers, along with two 700-HP subwoofers. With eight bands per night for five days, Ragnarsson points to NASA as the most hectic venue at the festival.
Additional Meyer Sound systems covered the remaining venues, ranging from MSL-4 and 650-P subwoofers for the Iõnó theatre, to CQ-1 loudspeakers and 650-P subwoofers for the Organ nightclub. Performances at Frikirkjan Free Lutheran Church were amply served by eight UPJunior VariO loudspeakers and two USW-1P subwoofers.
(Jim Evans)
