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Marquee Support Big Chill With New Equipment
Marquee Audio came to the aid of the Big Chill Festival at Eastnor Castle, near Ledbury, when it took the opportunity to expose some of the most recent arrivals in its sound reinforcement product portfolio to visiting engineers and sound crews.
Through the Festival’s principle PA company, Dobson Sound (who serviced the two main outdoor stages and the Club Tent) Marquee sales director, Andy Huffer, provided equipment from Focusrite, XTA and Yamaha.
The catalyst was the event’s sound supervisor, Andy ‘Baggy’ Robinson — a long time associate of the Shepperton-based suppliers, having first discussed the idea at a Yamaha Open Day earlier in the year.
Dobson Sound are also a long-standing customer of Marquee Audio and Paul Dobson was pleased to take advantage of an enhanced sound rig.
As a result, on the open air stage, experienced classical FOH engineer Jerry Eade was mixing off Yamaha’s new PM5000 sound reinforcement desk from Marquee Audio, with a similarly configured 52ch
board on stage.
XTA equipment, using Audiocore software, handled the system balance (a mixture of flown d&b C4 tops and subs, B2 subs on the floor and C7 infill), while over on the “Chill” stage an XTA rack of C2 compressors and G2 gates provided high quality FOH dynamics processing.
But the piéce de rèsistance was the new Focusrite Liquid Channel, a revolutionary modelling channel strip. A pair of these were available for engineers at the FOH position on the “Open Air” stage. Given a high-profile launch at Whitfield Street Studios recently, the Liquid Channel presented bands’ engineers with the chance to explore the enormous versatility of mic-pre and compressor profiles (and other favourite device replicas), offering total recall capabilities of any pre-programmed ‘classic channel strip’ combination.
Commented Baggy, “We were happy to take up Marquee’s offer of kit, and when I told the engineers the list of equipment at their disposal they were hugely impressed.”
And Jerry Eade agreed that the exercise had proved its worth. “We kept the Liquid Channel available throughout — and it was amazing how many visiting sound engineers commented on how cool a piece of kit it was.”
While Paul Dobson also saw this as a great opportunity to audition new kit, Andy Huffer summarised, “having the opportunity to run up new gear in the standard demo environment is one thing, but nothing beats getting it into the fresh air.”
5th August 2004
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