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APR Audio Successfully Consistent at Jazz World Glastonbury
APR Audio has won praise for turning the Jazz World stage into one of the best-sounding and most consistent venues at the Glastonbury Festival, pulling Shuttlesound’s Jason Kelly into their team to help maximise the performance of the Electro-Voice line array systems.
Following the success of their work here in 2005, APR Audio was once again asked to provide EV X-Line PA and X-Array monitor systems for the Jazz World stage, which attracted crowds of up to 30,000 to hear artists such as Amy Winehouse, Corinne Bailey Rae, Damian Marley, Rodrigo Y Gabriela, John Fogerty (allegedly festival organiser Michael Eavis's favourite band of all time!), Guillemots, Mr Hudson & the Library, Fat Freddies Drop and Seth Lakeman.
“Jazz World is generally regarded as the musicians’ stage,” according to APR Audio’s crew chief Matt Gunter. “This is where the real musical talent plays, and I suppose we do go the extra mile for them. But this stage is respected by the performers, engineers and audience because of the consistency of the sound. Jazz World uses the same PA every year, and we bring good experienced crew. We saw the noise police only once – we ran at 96dB all weekend, and had no problems at all.”
For the main PA, Shuttlesound’s Jason Kelly helped design a system using EV’s X-Line XLVS and XLVT cabinets flown from 16m towers, with 28x X-Subs deployed in 2-wide 6-high stacks, plus 4 for centre fill. EV’s new XLE cabinets provided front fill, and the system was run from EV’s Precision Series P3000RL amplifiers. “We used EV’s dedicated IRIS management software to control the system, but kept it very plain and simple, mainly to keep the levels in touch.” At front-of-house, the main console was a Midas Heritage 3000, with a Venice 160 used as a main control to drive the system. EQ was provided by Klark-Teknik DN370 for grab EQ on the H3000 and DN9344 for the main system.
On stage, APR Audio provided EV XW15A wedges and X-Array cabinets for side and drum fills. All speakers were run from Klark-Teknik DN9848 digital system controllers, and monitored via KT’s Elgar control software. Monitor engineer Laurie Brace had just a PC next to his Heritage 3000 mixer, allowing him to tweak the inputs. Loads of extra space was freed up by remoting all the monitor amps together and locating them out of the way.
“We had some very positive comments from band engineers, production and audience alike,” reports Matt Gunter. “Despite the weather, the system performed flawlessly. We used 16m towers this year and a different deployment of the X Subs that allowed us to focus as much sound as possible in the Jazz World field and that helped us to keep both the band engineers and the noise police happy.”
APR Audio’s Jazz World crew included FOH babysitter Rob Ritchie, system tech Jason Kelly, main stage tech Martin Shaw and monitor engineer Laurie Brace.
APR also supplied a full XLC system for the Cinema Field, running as part of a Dolby Digital Surround system. Owner of APR Audio Andy Reed says he is “very pleased with the huge amount of positive feedback my crew and I have received from Glastonbury. I’d like to thank Paul Barretta at Shuttlesound, EV’s UK distributor, for his continuing support.”
18th July 2007
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