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XTA Brings Power and Clarity to Download’s Metal Masses
Although many might not believe it, metal fans are just as discerning in their music taste as anybody else. Within the umbrella term ‘heavy metal’, there are a wide range of sub-genres and stylistic differences, so it’s vital that the PA at a metal festival offers both power and clarity, as the array of bands will inevitably be very diverse.
This was exactly the case at the 2006 Download festival, held over three sunny days in June at Castle Donington in Derbyshire - the spiritual home of the outdoor heavy metal festival for over a quarter of a century. With a 107 bands - headlined by Metallica, Guns N’ Roses and Tool - playing to a sold-out 75,000 crowd, the challenge for the festival’s audio suppliers was to ensure that every band had the aforementioned headbanging power and clarity, so that the fans could appreciate the subtleties of the music.
And with so many bands crammed into a hectic outdoor schedule, there was absolutely no margin for error: 110% reliability was essential which meant that XTA processing equipment was liberally used by all the main sound production companies.
On the main (Kerrang) stage, SSE Hire deployed an L-Acoustics V-Dosc line array system, which flip-flopped between two FOH consoles in order for band changeovers to be as swift and smooth as possible. Each console utilised 10 channels of XTA C2 dual stereo compression, while all noise gates were stereo XTA G2s.
With both units featuring ‘look ahead’ attack times, the C2 and G2 both cut in instantaneously, ensuring that the sound is fully under control at all times - with no unwanted peaks or noise - but always allowing every nuance of the pure music through. SSE also had optional XTA D2 dynamic equalisers on hand, should any band need their FOH sound to be specially-shaped.
SSE’s drive rack, which took care of the V-Dosc PA, was built around four XTA DP428 loudspeaker management processors. “At festivals we have a diverse range of engineers on mad schedules and what they need more than anything is confidence as soon as they arrive,” says SSE’s Rich Rowley. “The sight of XTA effects and control gear in the rack gives them one less thing to worry about, because they have the total confidence that the system is going to deliver superb sound.”
Over on the second (Snickers) stage, audio supplier Skan PA Hire used XTA DP428s and DP226s to control the FOH system, which comprised L-Acoustics dV-DOSC, dV-SUB and SB-218 sub line array components. G2 gates were also deployed at FOH.
“The service from XTA is exemplary and leaves all other manufacturers way behind,” says Skan’s Chris Fitch. “The speaker management equipment does its job in a very unspectacular, unseen way, but it’s fantastic. I suppose it could be described as ‘boringly good’!”
Stage Audio Services deployed XTA equipment on the other two main performance areas - the Gibson/MySpace stage and the Snickers Bowl. On the Gibson/MySpace stage, SAS boss Kevin Mobberley utilised six DP224s and 10 GQ600s on the monitor rig, with four DP224s, two DP226s, three C2 compressors, two SiDDs and two D2 dynamic equalisers. SAS also ran audio systems in a number of areas, some of which were in use for up to 18 hours a day.
At the Snickers Bowl - DP224s, DP226s and C2 compressors were in use. Both stages use the XTA equipment to control L-Acoustics PAs, comprising dV-Dosc and Arcs cabinets.
“XTA is the industry standard and the equipment performed faultlessly,” says Kevin. “It endured a punishing schedule, but throughout the event there wasn’t a single glitch.”
14th July 2006
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