Delta Sound received the Best Sound Production Award for their work on RedFest 2014, so this year, Delta had the same goal…. as with any other project; to deliver the best sound production possible. 2015 Festival highlights were acts such as The Script, Iggy Azalea, Bastille, Kiesza, GRL, Jeremih and KidInk.
Contracted by promoters Done Events, Delta Sound were once again the main supplier of the full PA system and full production control for both the main stage and the additional “Reebok Classic stage”.
Due to the amount of control equipment required FOH the area had to be larger than usual. So to avoid unnecessary sight line issues the promoter split the positions; stage left for Audio and stage right for Video and Lighting. “I took a slightly different approach with the system this year. The main system stayed as K1 but I flew K1 Subs behind as an addition and reduced the out fills to Kara and ground stacked them. The reason for these changes was to try and keep the sound contained in the bowl. We had other stages in close proximity and Delta is also making a conscious attempt to try and reduce the noise offsite. The K1 Sub gave the engineers extra sub in the air thus reducing the amount of sub needed from the floor SB28. As I arc the ground subs to widen the horizontal pattern by driving them less it reduced the offsite spill. The Kara out fills stacked on the stage gave me the ability just to fill a small pocket that the K1 main didn’t cover again not spilling out of the bowl as much as a large hang of K2 for example” explains Al Woods who continues, “Initially I was concerned by the mix position being off to one side, but after walking the field I found the horizontal coverage to be very even and a very good representation of the whole system was achieved at FOH. You have to love the K1 for that!”
On stage monitoring consisted of L-Acoustics 115XT speakers for floor monitors, Arcs wide and SB28 subs for side fills and a mixture of SB18 and SB28 subs for DJ fills and drum subs. The IEM and RF systems consisted of Sennheiser 5000 series and Shure UR4 radio microphones and Sennheiser 2050 and G3 IEM. The Patch for all the stage monitors, side fills and IEM was controlled electronically via 2x BSS Soundweb, a Galileo and LA Network Manager. Devised by Delta`s Engineer Mehdi Khelil it meant that no physical patch changes were needed from any console. At the push of a button mixes were sent to the right IEM or amplifier input. The speaker preset was also changed to avoid unnecessary stage monitor patches.
Consoles, the generic “flip flop” FOH and Monitor control used 4x Digi Design Avid Profiles and a 60 way Delta Passive split system. The Script were supplied with a Digico SD7 at FOH and a Soundcraft VI6 at monitors, plus a Delta Sound 72 Way Split.
Mics and stands were also supplied for all but 2 of the artists. “It was a long meticulous process sifting through the Artists Riders making sure that everything was exactly as required. As for our team on stage, Mehdi Khelil, Phil Down, Tom Gelissen and Glen the Mod did a fantastic job. Mehdi looking after RF coordination, Tom the consoles, with Phil and GTM running patch and mixing up. It was a few long hard days for all of us but the end result was worth all the effort” closes Al Woods.