On the main stage, Russ Tite mixed The Kooks set on one of SSE Audio's four flagship Vi6 digital consoles, while another of their boards was on monitor duty with Kasabian's sound engineer, Mark 'Yogi' Novissimo.
SSE Audio's Pete Russell comments, "Sound engineers like Russ Tite really like the sound of the desk," he says. "One of the real plus points is that it has its own plug-in FX card with its own Lexicon DSP, so you can't run out of processing power. This is not the case with other digital desks, which can run out of DSP if you have lots of idle plug-ins."
He continued, "Both the eight Lexicon FX and 35 BSS graphics provide excellent sound quality, but what really wins it for the Vi6 is the fact that it's so easy to use."
Over in the more politically-focused Left Field tent, SKL provided a pair of their Vi6's - at the house and monitor ends. Said SKL director, Stephen Patterson. "The general feedback from sound engineers couldn't have been better and most commented on the quality of sound and the desk's ease of use; they really liked it."
Elsewhere at Glastonbury, a Soundcraft MH2 and a GB series desk were used in the Pussy Parlour (part of the Dance Village), and a K3 could be seen in The Glade (small outdoor dance stage).
In the Cabaret tent, Adlib Audio used a 40-channel Soundcraft Series 4 analogue console at FOH, with a 48 channel MH3 onstage, while in the Theatre tent, they fielded a Soundcraft Delta 24-channel console at FOH which was also used for monitors.
Commented Andy Brown, Soundcraft product manager tour sound, "Glastonbury was the perfect shop window for Soundcraft analogue and digital technology. The high profile given to the Vi6 by SSE and SKL, and the universally-great feedback received from sound engineers, demonstrated that this is now firmly established in the marketplace."
(Jim Evans)
