and processing; it also got its first concert outing at Arenal Sound. “Here, we are using Aero 50
with Lab.gruppen [FP10000Q] amplifiers, so, via Ethernet from the amps, our DASnet software can not only control the amps, it can also monitor the inputs and the clipping,” Damiano explains. “Using DASnet, we can change the presets inside our speaker cabinets, mute the drivers or the woofers, add delay, create groups, even see the temperature; it’s a lot more than just a monitoring system.” Two DSPs were used: a
DAS DSP-2060 and DAS DSP-4080 – one for FOH and one for the stage, and further processing was achieved via Lake Controller software and a Lake LM 26.
“I use the FOH DSP to send
the main L/R sends, then down here [by the stage] I have a second DSP which divides the PA into three throws: short, medium and long,” Damiano reveals. “Then I have eight sends for the subs and two for the long and short throws of the delay towers respectively – the same for the infills and frontfills.” Although some of the artists opted to use IEMs, the powered D.A.S. [Road 12A and 15A] wedges and sidefills were in use throughout the festival. “You know, at all 12 festivals I
have worked on this year, it’s been louder on stage than out front; thankfully, our monitoring setup was very good – and powerful!” smiles Damiano. “It’s getting a bit crazy, actually, but high volume on stage seems to be what the bands want. If the police measure more than 102dBA out front then they can make us stop, but on stage, there’s no restriction, and that can be an issue – sometimes it just takes over!” When tuning the PA, Damiano used Smaart Light 7, which he rates for its multichannel capability. Because of the massive area, however, the tuning process was quite a challenge. “It’s impossible to make the audio perfect everywhere, but we always try to keep the same curve that we have on the main PA; I actually ended up changing the mic position more than 50 times,” he explains. “With the virtual electronic arc, the subs in the centre have no delay at all, and those outside are delayed to open the coverage; it works really well, actually.” Because the vast audience space in front of the main stage
stretched some 160m back, Damiano also had to make a number of tweaks to the system. “For the long throw, we took out the mids; most people push the highs to compensate for the lack of power, but if you do that, you risk killing the dynamics of the equipment,” he says. “The mid throw we kept absolutely flat, and for the short throw we took 3dB off the high
LX-218A subs lined the front of the main stage
40
and played with the EQ a little bit so as not to kill the people at the front. This system hits hard
right at the back, so you can imagine what it can do at 10m!” During the Thursday night
performances of both Second and Love Lesbian, I flitted between FOH tower and the photo pit. At FOH, the sound was phenomenal; and true to Damiano’s word, it didn’t kill you at the front either – OK, if you walked right in front of one of the subs, you felt it, but overall, it
was pretty comfortable: loud, but pure; and not harsh whatsoever. All in all, Arenal Sound was
unlike any festival I’d ever been to. The bands were great, the crowd was super-friendly, the weather was fantastic, and the beer was ice-cold – what more could a festival-goer want? Aside from air conditioned Portaloos, not a great deal..! n www.dasaudio.com