Synco Martin Audio W8LC's and W8LM's formed the principal sound reinforcement in the Floating Stage and Club Marquee, while in the third area, for the more strident, rock and roll vibe of the Dome, a vintage Martin Audio Wavefront 8 system delivered the goods.
On the Floating Stage RGJ rigged two stacks of six Synco Martin Audio W8LC enclosures per side on top of Martin Audio WLX subs. Out-fills provided width of coverage along the river bank, while W8LM Mini Line Arrays on wheels were used as in-fills as required. Additionally there were four Martin Audio W8LD's used as stand-alone front fills across the stage and a Martin Audio W8VDQ as a flown centre speaker.
"We tried to keep the sound natural and evenly dispersed across the centre, and I think we got it right," said Simon Honywill. "But it's very difficult because the PA is so close to the audience, the stage is low and we're next to a tow path."
The system also has to be set up to optimise orchestral reinforcement - this year the star attraction was Katherine Jenkins and the City of Birmingham Symphony Orchestra - as well as the Bootleg Beatles. It also included the customary avant garde highlight, highly dynamic percussion troupe The Noise Ensemble.
Over in Club Marquee - where the entertainment ranged from comedy to cabaret burlesque - the stage was reinforced with five Synco Martin Audio Mini Line Array (W8LM) enclosures ground-stacked on risers, with WLX subs underneath to add the low-frequency extension; delays were set around the outside of the tent - which was essential according to Simon Honywill.
Steve Carr superintended events in The Dome with a left/right PA, consisting of two four-way Martin Audio W8s supplemented by a pair of WS218X Martin Audio subs. "It was really rocking in there and we achieved everything we needed to," said Carr.
(Jim Evans)
