For the PA configuration itself, Keay opted for a four-wide hang. "The outside two columns comprised three Flashlight boxes, then a column of three Floodlight, with the inside column of two Floodlights incorporating the final Floodlight cabinet dropped down as an infill," he explained.
Under each side were nine Flashlight TSW-721 21" bass enclosures, stacked three high on their sides and splayed around 20°. The sound was completed with six 21" bass across the front of the stage, stacked on their sides to increase vertical dispersion - where it was really needed. Delays consisted of three stacks of Floodlight/TSW-721s - set at 7ft, to get the sound over the crowd. Keay commented: "About 250ft out you could still feel the kick drum - which was awesome! And since there is a lake starting around 400ft out, we had noise complaints from a town 37km away - I verified it with the police."
Crew on duty included project manager Gino Latino, while Luke DeRuiter was the FOH technician, working a Soundcraft Series Five and a Vienna (while Pat Shore operated monitors from the twin Soundcraft pairing of an SM20 and SM12). Among the visiting FOH techs who accompanied the performing bands was Jason Sound’s Jody Perpick - who had been heavily involved in development of the new Flashlight II.
