- Glastonbury's Pyramid Stage has traditionally been equipped with Turbosound Flashlight systems, but this year, in a major departure for the organizers, SSE Hire provided one of the world's largest Nexo GEO T Tangent Array systems. Nearly 100 GEO T4805 cabinets were used, configured with two far-field arrays of 24 cabinets each (25m offstage each side) and two near-field arrays of 11 cabs flown from SSE's Teepee structures, each about 7m offstage. There was also a centre array of six T4805s for centre image/near-field, and two field delays (eight cabinets each) 130m down-range from the system. Camco Vortex amplifiers powered the whole system. SSE's Chris Beale says they used 12 CD-18 subs per side, plus nine S2 subs under the near-field arrays.
- Adlib Audio supplied crew and equipment for five stages, the largest system being on the Cabaret Stage which featured a Nexo Alpha system with six high, three bass and two sub enclosures per side, with a Soundcraft Series 4 at FOH and a Soundcraft SM20 for monitors. Adlib's FD2 speakers were used on the Theatre Stage, and also on the Circus Stage. An FD2 system also handled the Outside Circus stage and the Dance & Fire Stage, with an A&H GL2200 desk FOH. Adlib's Andy Dockerty mixed The Inspiral Carpets on the main stage on Friday, with Steve Cole mixing monitors.
- Bristol-based Thunder Ridge used Powersoft Digam digital amplifiers to power their X2000 system on the One World Stage. With the help of Arbiter Pro Audio, along with their Thunder Ridge existing stock of Powersoft, the whole of the FOH system, and the major monitor fills were under total digital power. Digam technology is highly efficient, dissipating only 5% of the input energy as heat. These compact, lightweight amplifiers can generate up to 3,500W per channel into 2 ohms.
- Sennheiser UK sponsored the New Tent, working closely with sound company Southwest Audio and production company Reality Check to provide a fully spec'd stage, with evolution series wireless and cabled microphones. The other stages also had full Sennheiser technical support, ensuring that the Sennheiser and Neumann users on the bill, including Super Furry Animals, Doves and Alison Moyet had round-the-clock cover.
- XL Video was sole supplier of video equipment for the Pyramid stage, in conjunction with Production Network. Left and right of stage was 39sq.m of Barco D-Lite 14, configured in 14:9 format, and XL Video's 25sq.m Mobile LED trailer was used as a delay screen. Backstage, XL supplied a GVG 1200-based PPU with two Sony D35 cameras, plus Doremi hard drives and Betacam playback for running images and inserts between band performances.
- Radiohead debuted a new visual effects package linked to LED fixtures. All the stage kit was supplied by Bandit Lites, who sourced 48 4ft James Thomas Pixelline 1044 high brightness LED battens from A.C. Lighting. Working to a design by LD Andi Watson, the strips were installed in 24 8ft strip vertical towers at 3ft intervals across the back of stage. The battens were controlled by a Beta version of High End Systems' Catalyst software, which includes control of LED fixtures amongst its new features. The software interfaces between video and lighting, taking video pixels from a QuickTime movie and mapping them to LED cells via an Artistic Licence Artnet Ethernet-to-DMX interface. This can then be controlled via DMX from a lighting console, with stunning results.
- James Thomas' PixelPAR 90L also debuted at Glastonbury: 12 of the Par 64-sized colour-changing fixtures were used effectively as truss toners on the Pyramid Stage. They were also used in the Circus Tent and on the Lost World Stage, while the Jazz Stage lighting rig utilized four Pixelline 1440 LED battens. The PixelPAR 90L unit is rated at just 90W, and is typically 90% mo
