Vintage 2010 - "Celebrating 5 decades of British Cool" was the first of what will be an annual music and fashion-led festival of 'cool', dating from the 1940s, 50s, 60s, 70s & 80s . It features leading DJs, bands, collectors, purveyors of vintage clothing and classic vinyl, alongside contemporary bands and brands inspired by the UK's richly expressive music and fashion heritage.
The refreshing entertainment concept was set in the beautiful surroundings of the Goodwood Estate, ensconced in a secluded valley overlooking the Sussex coast, with a capacity of 20,000. James Neale crew chiefed the 20-strong team and oversaw all of the project's sound requirements.
Adlib supplied an L-Acoustics V-DOSC system (eight a-side with three dVs), for the Orbit stage, with Soundcraft Vi6 consoles at both ends of the multicore and d&b M2 wedges for stage monitors. The subs were L-Acoustics SB28s and the system was driven by LA8 amps.
Adlib's Richy Nicholson and Ben Booker looked after FOH and monitors respectively, mixing for many bands themselves and co-ordinating with any guest engineers, and their team was completed by Otto Kroymann, Pete Seddon and Tommy Bradshaw onstage.
The line up included The Faces, Mick Hucknall, Ronnie Wood and an assortment of other famous rockers, with Peter Hook (ex Joy Division) headlining on the Sunday.
The systems for the 40s, 50s, 60s, 70s and 80s stages had some similarities and were based on Adlib's well established festival spec with plenty of flexibility, and also some specifics relating to the styles of music involved.
The 40s Stage had a dV-DOSC system and dV Subs with ARCs in-fills for a smooth hi fidelity sound, together with Adlib MP3 wedges, again driven by LA8s, with Labgruppen PLMs for the wedges. A Digidesign SC48 console was supplied for FOH and a Yamaha LS9 for monitors, all looked after by John Fitzsimmons and Chris Smethurst.
The 1950s is the decade of the birth of rock 'n' roll, so Adlib supplied a Nexo Alpha system which packed a suitable punch, with another Digidesign SC48 for some FOH finesse, and a Yamaha LS9 for monitors.
For this and all other stages - Adlib also supplied a complete DJ set up including Technics 1210 turntables, CDJ 1000 digital CD decks and a variety of DJ mixers. The wedges were again MP3s and the amps Labgruppen PLMs, all minded by Adlib's 50s team of Steve 'Patto' Pattison and Rui.
The swinging 1960s set fashion & music worlds alight with its transition from pop to psychedelia via mods and rockers and riots - so Michael Flaherty and Joe Harling ensured some of the best flower-powered audio on site came via Adlib's new Coda Airline LA8 system. This was driven by Labgruppen PLM amps with a Yamaha PM5D for FOH and a Yamaha M7CL for monitors.
The 1970s was represented by two stages - one indoor and one outdoor. The indoor one was styled on a Northern Soul disco, complete with Nexo Alpha for sound, recreating the non-stop party marathons for which the genre was famous. The monitors were the ubiquitous MP3s and Kenny Kristiansen engineered using a Yamaha LS9 console.
A JBL VerTec rig , comprising of four VT4889 mid-highs and four VT 4880 subs a-side was used outdoor, complete with MP3 wedges - the one audio component to transcend all timeframes , PLM amps, a Digidesign SC48 for FOH and a Yamaha LS9 for monitors, looked after by Simon Fuller and Alan Harrison.
For the 1980s Adlib provided an L-Acoustics Kudo system with SB28 subs, the omnipresent MP3 wedges and an LS9 mixer. The system was powered by LA8 amps, with Carlos Herreros moving, grooving and mixing the nights away.
The final arena was the Roller Disco - a skating track made from a converted fairground ride with a wooden
