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22live deploys new Martin Audio subwoofer system design at Creamfields North

Sound production company 22live returned to the Creamfields North site on Daresbury Estate, in the Cheshire countryside, where they made their debut last year on one of the stages. With ten stages set for the four-day dance music festival, the Martin Audio rental partner this year doubled its account.

22live were entrusted with delivering sound for a second stage in a large-scale Big Top. This was in addition to the 14,000-capacity Steel Yard stage which they also equipped last year. This industrial superstructure was described as the largest in Europe when originally designed by Acorn Events.

Boasting a large overhead video screen, Steel Yard comes into its own after 1 a.m. on the Saturday night, when it runs through to 4 a.m., and this year saw electronic music icon Eric Prydz headlining. 22live director Paul Timmins oversaw the sound system installation - both of this and the #3 stage, renewing his long acquaintance with event production company LarMac Live.

Noting the natural rake of around six metres over the 110 m distance to the downstage edge, Timmins’ concern was fitting a new sub design within the heavily populated tech built into the front of the structure. “Unlike conventional rock festivals, at Creamfields a high SPL is required all the time”, he says. “For this type of event you need high impact, so we changed what had been a broadside sub array to a spaced cardioid array to create greater impact, although I realised we would sacrifice a bit of controllability and risked a bit more low-end offsite. Whereas for certain other outdoor events, controllability and offsite noise is probably top priority you have to design to suit the event, and DJs at this level often ask about the subs. Although there are still noise propagation and offsite considerations, with ten stages working together it’s a collective responsibility.”

22live deployed twenty-four SXHF 218 subs in eight ground stacks of three, under a flown WPL line array, sixteen elements per side as the main hangs. A further four SXHF 218s (two a side) were flown at the top of the delay towers, each comprising eight Martin Audio WPL, set around 70 metres back. The system was designed by system tech Sam Millen - who operated in the same role last year - and 22live Technical Director Simon Gladstone.

Paul Timmins’ other concern was working within the parameters of the superstructure - particularly being able to accommodate an extra stratum of subwoofers (last year the broadside design was only two high). “The Acorn structure is like a hangar, containing a lot of production in terms of moving lights and video”, he explains. “Since there are weight restrictions, you have to work with a ground-based sub solution. And since the entire back of the stage is a video screen, effectively everything has to go out wide to avoid obscuring sightlines and detracting from the artistic element.”

Thus 22live made sure to be able to recess the spaced sub array under the stage, since the pit was already heavily populated with confetti cannons, pyro and CO2. LarMac Live and their technical production manager Alex Mackie had been accommodating in this regard. “As a result, we managed to squeeze an extra six or eight inches height which was just sufficient to get all the subs, three high under the stage.” Sam Millen worked with the Display software’s “Hard Avoid” feature inside. “The room is reflective, with a silvery stage covering, so we had to keep the sound off the side and especially off the back wall”, says Timmins.

Torus T1230s were designated for nearfield coverage. “But that also provided challenges; because of the increased height of the stage (the audience) was having to look upwards; therefore anything on the front edge of the stage would have obscured the video.” In the event they located the four Torus boxes in the pit on stands. Completing the soundscape, twelve WPS enclosures were used as in- and out-fills.

Set in a large Big Top, Stage #3 presented less of a challenge for 22live. Here they flew two hangs of twelve WPL, underpinned by a further spaced array of sixteen SXHF218 subs, in eight stacks of two - and this time no delays were required. All main passive PA systems on both stages were powered by Martin Audio iKon multi-channel DSP amplifiers in 1-box resolution, with the delays in Steel Yard run in 2-box res.

Crew boss for both stages was Nick Jackson, with Sam Millen system teching Steel Yard and Neil Winterbottom doing likewise on Stage #3.

(Photos: Geoffrey Hubbel/LarMac Live)

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