Adlib light and sound for Creamfields 2017
- Details
The four-day festival was staged at its regular site on the Daresbury Estate near Warrington. Adlib was working directly for creative production specialist LarMac LIVE.
On site, the Adlib crews were led by Hassane Es Siahi (Hass) who also designed the audio in CF03 and Adlib’s Kevin Byatt who was project manager over all of the disciplines.
CF03 (this year co-hosted by Armada and Mega) is a large tent built on a slope presenting immediate topographical challenges in getting even sound coverage. Added to this, the tent skins were swagged - hammock style - over the king poles, creating further reflections, so dealing with the sonic detractions involved conscientious detailing.
The main PA in CF03 comprised 12 a side L-Acoustics K2 hangs and 32 of the new L-Acoustics KS28 high power subs – a left-centre-right array of these all running in cardioid mode.
Four-a-side ARCS II speakers provided front-fill, and for the outfield, Hass positioned three KARA a side ground-stacked on flight cases, plus a delay stack on the tent king-poles at the back of the FOH position directly facing the main entrance.
Hass used a Soundcraft Vi600 console, chosen because it is “straightforward and simple”. Being DJs there wasn’t a need for multiple plug-ins and other magical tricks, “It’s all down to tuning, EQ’ing and controlling the system” confirmed Hass, for which he extensively used the LA Network Manager.
In CF03 they specified a ‘classic’ DJ monitor set up with two L-Acoustics SB18s per side and three KARAs sitting on top, mixed by Adlib’s Matt Gadsby using a Soundcraft Vi1.
In CF05, a Coda AiRAY sound system was spec’d, which has been used before in the space and proved ideal for delivering the clarity, detail, low end and general sonic excellence required for this tent, sponsored by Pepsi Max, which saw high energy performances from Paul van Dyk, Ferry Corsten, Sander van Doorn, Timmy Trumpet, Rob Harnetty and loads more leading and emerging artists.
The console was a DiGiCo SD9 and Adlib also supplied a Shure radio mic package, as was the case in the other arenas.
CF10 Hospitality saw another Coda sound system design, featuring eight Airline LA12 speakers with six TiRAY out-fills, running with SCP-F subs for the main system, complete with Adlib’s proprietary AA speakers for DJ monitors along with some Adlib MP4 wedges, and a Soundcraft Si desk for control.
Lighting and visuals are an equally important part of the technical equation when it comes to creating a comfortable, stimulating, fully immersive dance music vibe, and whether its 8 lights or 800, the positioning has to be perfect, the programming spot-on and the operation skilled and naturally rhythmic.
Adlib’s own Ian designed lighting for all three arenas in which the company was involved.
In CF03 Adlib’s Tom Webber operated, working alongside crew chief Ian Wood and techs Jon Barlow, Jeff Bond and Chris Little using a grandMA2 full size console for control with a grandMA2 light for backup.
Over the stage a full ground support system was installed by Prism, complete with PA wings, and into the roof section of this, ADLIB flew eight pre-rigged truss fingers of different lengths, all raked, the shortest offstage and longer ones onstage.
The lighting included Claypaky Mythos 2s and Stormy LED strobes, Ayrton Magic Blade Rs and Magic Bursts, Martin MAC Auras and MAC Viper Profiles – all dotted around on the pre-rigged fingers and audience trusses. Chauvet Slim PARs provided front light on the DJ area.
Atmosphere was kept pumping for the weekend with five machines, two Jem ZR44 smokers, a couple of ProFusion DF 50 hazers and an MDG theONE hazer.
In CF05 James Betts Gray was the main programmer / operator, Jordan Willis was the crew chief and Peter Lea the tech. A grandMA light was specified as the main lighting console with an onPC system running as backup.
Lights included Claypaky Sharpies and Stormy CC LED strobes, 4-lite Moles, Chauvet COLORband PiX LED battens, Robe LEDBeam 300s – chosen for their small size and punch – Martin Rush MH7 hybrids and a pair of Chauvet Colorado strips for illuminating the DJ.
Kevin Byatt comments, “We always love working on this event – being a Liverpool brand, popular, friendly and very well organised, we are very proud it’s earned its place as one of the best loved dance festivals worldwide.
“We have a great relationship with LarMac Live, and Creamfields always involves a lot of suppliers collaborating and working together, with plenty of inter-company camaraderie and teamwork. I think this is one of the things making it a truly unique festival production phenomenon.”
(Jim Evans)
