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LIVE SOUND EBOOK

June 2024

FESTIVAL
SOUND
Discover how exciting festivals around the world are
using the latest gear to ensure fans hear every note
 FESTIVAL SOUND

T
ON THE COVER:
he earliest known use of the word “festival” was in 1589 (“festifall”)
The newly and 435 years later, the gatherings are still with us, plentiful
redesigned Do and populous, creating temporary cities of fans, acts, crews and
LaB Macrodose
electronic music
infrastructure that come together every year with the aim of
stage at Coachella creating a great time.
featured a Meyer
Sound Panther line
array loudspeaker
As you’ll see in these pages, the modern music festival is a worldwide
phenomenon, with many following the templates established by long-running U.K.
4
Coachella Gets
system. and European events like Montreux Jazz Festival and the legendary Glastonbury. loud in the
In the U.S., however, festivals were usually relegated to being either rare but desert
PHOTOCREDIT:
Jamal Eid
massive events, like Woodstock, the US Festival and Live Aid, or annual mid-sized,
regional, genre-specific gatherings like the Newport Jazz Festival in Rhode Island
and the bluegrass-oriented MerleFest in Wilkesboro, North Carolina. 8
Allen & Heath
With the advent of oversized alternative-rock touring packages in the 1990s
Closes Out SXSW
like Lollapalooza, H.O.R.D.E., Warped and Gathering of the Vibes, however, the
2024
seed was planted for the modern-day U.S. music festival. After the turn-of-the-

9
millennium arrival of Coachella in Southern California, it wasn’t long before every
corner of the country launched its own multi-day mega-event, and today we
have Gov Ball (New York), Bonnaroo (Tennessee), Outside Lands (San Francisco), We Belong Here
Bumbershoot (Seattle), the eponymous Boston Calling and the no-longer- makes Itself
roaming Lollapalooza (Chicago), among many, many others. The next evolution Known With EDM
Festival
seems to be the emerging trend of nostalgia-based genre festivals; while the U.K.
has long had them with the likes of Rewind and Let’s Rock, the U.S. is now catching
up, fostering the R&B-oriented Lovers & Friends (Las Vegas), Indie-tinged Just Like
Heaven and New Wave-focused Cruel World (both in Pasadena, CA), and more.
10
Brit Row Takes
When they’re well organized, festivals tend to be a success for all involved. The L-Acoustics’ L2
fans get more bang for their buck, getting to Instagram to their hearts’ content System to Soho
as they see beloved acts and discover their next favorite band, while artists get House Festival
exposure to crowds that they might not reach otherwise in our age of tightly
formatted playlists and tunnel-visioned internet algorithms.
For live sound pros, however, festivals are often more like trial by fire. Whether
12
Jeep Beach
touring with an act or working as part of a festival production team, all involved Festival Hits
have to remain laser-focused on being part of a fast-moving, well-oiled machine Daytona
that gets acts on and off stage as smoothly and quickly as possible. Since most Speedway
engineers only get a line check (if they’re lucky), the first song of the set becomes
the de facto sound check, requiring a fast scramble on the desk to get everything
up and running. Given that situation, it’s inevitable that every mix pro has a tale 13
Bad Weather
of a nightmare festival gig, but truthfully most come off pretty well, leaving fans
Productions Rolls
happy and those behind the scenes looking ahead to the next gig. with Rocking The
Scroll through these pages to discover how festivals around the globe are handling Daisies
their audio needs. Whether working on local and regional fests or the massive long-
running brands that are known and streamed the world over, sound reinforcement
pros have many approaches to creating audio systems that can accommodate (and 14
Festival Mines
withstand) the widest number of visiting artists possible. Despite some recent, over-
The Daze
publicized predictions in mainstream media, festivals aren’t going anywhere, and
Between
there’s always something to be learned from how another professional tackles an
event, so dive in and feast on these festival features.

2
 FESTIVAL SOUND

The newly
redesigned Do
LaB Macrodose
electronic music
stage at Coachella
featured a Meyer
Sound Panther line
array loudspeaker
system for the
open-air format
site.

COACHELLA
GETS LOUD IN
THE DESERT
4
FESTIVAL SOUND

A
rguably the premier
festival in the U.S.,
Coachella sparked
some alarm within the
industry earlier this
year when its ticket sales got off to an
unusually slow start, taking a month
to sell out its first weekend. However,
later reports found the venerable
event still sold more than 80% of its
tickets, meaning that ultimately well
over 200,000 people descended on
to the grounds of the Empire Polo
Club in Indio, California on April 11–13
and 19–21 to experience great music
from more than 150 artists across six
stages—and every music fan wanted to
hear it all perfectly.
As ever, the main stages sporting
headliners were the focus for longtime
audio provider Rat Sound Systems, and
intriguingly, the company and its founder,
pro audio legend Dave Rat, were the
focus of an extensive, complimentary
feature in the Los Angeles Times
that profiled the efforts to make every
stage sound its best. “Every year there’s
new challenges,” Rat told the paper. “I
learn new stuff every year. We get to do
things that have never been done, and
on a big scale.”
Once something falls into place,
however, it’s fair to expect it will return
to the following year’s Coachella, and
that’s been the case with the Outline
Newton FPGA-based processing
platform that Rat Sound has been
using to power many of the festival’s
audio systems.
Since its debut at Coachella in 2019,
the Outline Newton processor has been
a cornerstone of Rat Sound Systems’
audio setup. Dave Rat noted, “We
use [Outline] Newton in our master
distribution racks. I do believe all of our
PHOTO: Jamal Eid
stages have it as we use the Newton
to tie into the event security override
system with the GPIO. The racks they’re in are our master drive
racks that convert just about any format to any other format,

5
 FESTIVAL SOUND

analog, Dante, AVB, AES, fiber or RJ45 inputs and outputs, engineer Ian Ingram designed the stage’s sound system and
switching between consoles and delay cluster distribution.” often could be found mixing FOH, much as he has done since
There was still plenty that was brand-new at Coachella, such as 2008 when he first provided the stage’s P.A. “We were going
the new open-air stage design employed at the Do LaB Macrodose for our best options for the position of the P.A. and how much
electronic music stage. Over the course of the festival’s two weight the designers should calculate for in their engineering,” he
weekends, Do LaB hosted the likes of Chase & Status, Alesso, said. “It’s not like a big tent, it’s not like an arena. Only Panther
Anna Lunoe, and DJ Tennis, plus surprise appearances including would allow for this kind of rigging with this kind of output on
back-to-back sets by Kaskade and Alison Wonderland and an this structure.”
impromptu party hosted by Billie Eilish. All of it was heard Meyer Sound’s Josh Dorn-Fehrmann worked with Ingram to
through a Meyer Sound Panther line array loudspeaker system. design a system centered around Panther and the 2100-LFC
The staging for the EDM acts was unique; eschewing the tent low-frequency control element. The Do LaB sound system,
format stages of recent years, Do LaB co-founder Jesse Flemming provided by Los Angeles-based integrator Launch, comprised
designed the Macrodose stage as an open-air space dotted with 10 Panther-L large-format linear array loudspeakers flown per
mushroom-like fabric sculptures that provided shade, side, supplemented by four Panther-W front fills
contained speakers and lights, and allowed crowds and 18 2100‑LFC low-frequency control elements
to grow and contract without having to be defined by The Yuma Stage configured in a gradient arc, intended to preserve
the physical sides of a structure. served up Gorgon bass impact while keeping low-frequency energy
City, The Blessed
Macrodose’s open design and structural elements Madonna and contained, preventing bleed to other stages.
required a low-profile sound system that could cover ARTBAT through a Beyond that, a half-dozen flown Leopard compact
the expanded audience zone, which extended 300 PK Sound robotic linear line array loudspeakers per side served as
line source system.
feet from the stage. Audio crew chief and systems delays. The team implemented an outer ring of 10

6
 FESTIVAL SOUND

the back, you were getting the same

epic sound experience.”
Of course, the Do LaB Macrodose
stage isn’t the only place to get an earful
of dance music at Coachella. One of the
most popular dance-oriented sites was
the Yuma Stage, where EDM fans could
catch house and techno from the likes
of Gorgon City, The Blessed Madonna
and ARTBAT. All of it was heard via a PK
Sound robotic line source deployment
from Los Angeles-based PK Alliance
member BNE Productions.
Designed by George Stavropoulos of
Sonic Lab Audio, head audio consultant
for the Yuma Stage, and PK Sound
Project Support specialist Paul Bauman
of PdB Sonic Design, BNE Productions’
deployment included main arrays of
10 PK Sound T10 robotic line source
elements per side. Using PK .dynamics
software, Bauman employed PK’s
Ultra-X40 compact loudspeakers as lateral surrounds. Every year, the variable horizontal directivity on each
The entire system ran on a Milan AVB network Coachella site module to sculpt acoustic coverage to the exact
and was controlled by Galileo Galaxy 816 and 408 hosts country parameters of the Yuma tent with tapered arrays while
festival Stagecoach
Network Platforms. on subsequent ensuring a smooth transition to the delay positions.
Ultimately, the system delivered coverage for weekends; for A total of two-dozen PK Sound T218 intelligent
an immersive sonic experience that reached every both events, Rat subwoofers handled low-frequency reproduction,
Sound fielded
corner of the Do LaB experience. “The first time I audio systems that
arranged in four cardioid columns of three on each
heard Panther in action, I was blown away by the used the Outline side of the stage thrust. Bauman applied reverse
system’s clarity and power,” says Flemming. “Every Newton FPGA- electronic delay steering to focus energy and improve
based processing
beat hit with precision.” platform.
low-frequency throw along the middle of the lengthy,
“With the open environment, people could wander relatively narrow tent structure.
out to the edges and chill, enjoy the lighting, the video, The L-R delay towers each had five Trinity Black
the structure, and the music without having to squeeze inside to robotic line array elements and three T218 subs in cardioid mode
experience great sound,” says Ingram, adding that he received per side. Six PK Sound VX10s handled front fill while four K12p
positive feedback on Do LaB’s sound from everyone from artists point source modules covered the rear VIP area. The on-stage
to fans. “I’ve had engineers from other stages come by and say, monitoring system included three T10s atop a single T218 per
‘This sounds great.’ Guest engineers have been really happy with side. Rounding out the audio system was a DiGiCo SD9 adjacent
the PA. And the audience has literally been turning around and to the stage for FOH and monitors.
thanking me for the audio.” “Our team has taken on increasingly high-profile events over the
“Large-scale outdoor events come with their fair share of past few years as a PK Alliance member, but Coachella is definitely
challenges, from unpredictable weather to ensuring everyone a new milestone,” says Saad Al-Jadir of BNE Productions. “We
in the crowd gets the best experience, no matter where they really enjoyed our collaborations with Framework, Sonic Lab Audio
are,” says Flemming. “On top of that, we design unique and and our partners at PK Sound on this year’s Yuma Stage. The real
complex structures that require creative solutions when it comes highlight was seeing people totally immerse themselves in the
to sound. Meyer Sound strategized with us to bring their new experience, and we’re proud to be able to contribute to that.”
Panther system to our new stage and they absolutely delivered!
Whether you were in the front row, in the center, or kicking it in

7
 FESTIVAL SOUND

ALLEN & HEATH

CLOSES OUT SXSW 2024
A
ustin, TX—Every year, South by Southwest brings them to a range of products in an immersive setting intended to
together artists, audiences and audio pros from present the company’s offerings.
around the world, taking over scores of venues Dozens of venues featured the brand’s mixing consoles,
across Austin to present hundreds of shows in a catering to a variety of performances and events. From intimate
week-long celebration of music. Once acoustic sets to large-scale concerts, the CQ and SQ
again taking part was Allen & Heath; while the console series handled them with aplomb, while Avantis and
manufacturer has been on hand at the festival for a Allen & Heath dLive systems were placed in more challenging live
number of years, 2024 saw it take that presence and has long been a sound environments.
mainstay at South
spirit of collaboration to new heights, as its gear was By Soundwest’s “SXSW 2024 represented a new level of partnership
used across dozens of venues. British Music and presence for Allen & Heath,” said Jeff Hawley,
The British Music Embassy stage, highlighting up- Embassy stage, Marketing Director for Allen & Heath USA. “Our team
seen here, but has
and-coming British talent, was equipped with several stretched out to on the ground stepped up the British Music Embassy
of Allen & Heath’s dLive consoles covering both front- other venues now stage with A&H consoles and a dedicated engineer
of-house and monitor mixing positions. The venue at the enduring lounge, a Green Room activation across from the
festival.
also featured a dedicated engineer lounge, offering a Convention Center, and on-site support of the 50
space for sound professionals to relax and network, or so consoles that were in use across Austin. From
while also getting hands-on experience with dLive and Avantis compact coffee shop rigs, to a live KUTX broadcast, to up-and-
systems. coming bands at famed venues, SXSW 2024 was a huge hit.”
Meanwhile, near the Austin Convention Center, Allen & Heath’s
Green Room activation space hosted SXSW artists, exposing

8
 FESTIVAL SOUND

WE BELONG HERE
MAKES ITSELF KNOWN
WITH EDM FESTIVAL
M
iami, FL—The organization
We Belong Here is
dedicated to building
community and one of
the ways it does that is
through its annual EDM festival, which
brings in acts like Grammy-nominated,
UK-based DJ and producer Duke Dumont,
Bob Moses, Gordo, Tchami, Wax Motif,
and others. For this year’s edition, Ft.
Lauderdale-based production house Light
Up The Night Productions teamed up with
DAS Audio to present 65 acts in 360 degrees
of sound at the event, held at Miami’s
Virginia Key Beach Park.
Jeff Taylor, Senior Pro Audio Sales
Engineer for DAS Audio, explained, “The
concept was not to create a full 360-degree
system, but rather to create almost a figure-
eight setup, with a stereo PA in the front for
the main audience, a stereo PA in the rear
to cover the VIP area, and outfills on the
sides. Besides being compact and easy to
deploy, we were able to create a fully active
cardioid rig, building a subwoofer arc across
the stage rather than your typical left and
right stacks. That enabled us to really focus
the low frequency energy toward the crowd, We Belong Here’s monitoring for the DJ booth.
without huge buildup on the stage area itself.” annual EDM DAS Audio could also be found on the smaller
To make that happen, Light Up The Night brought festival in Miami stages. “We had two stages essentially facing each
had the benefit of
the ARA Series to the festival, outfitting the main DAS Audio LARA other,” said Matthew Corrigan, Technical Director
“360 Experience” stage with the new speakers from line arrrays on for Light Up The Night Productions. “With DAS Audio
DAS Audio. A total of 16 LARA self-powered cardioid hand. Speakers and DAS Audio’s ALMA software, we were
systems with 12 LARA-SUB dual 18-in cardioid able to control each system to achieve consistent
subwoofers covered the stage’s front area, while 16 SARA systems sound and performance from every stage, everywhere on the
and 8 SARA-SUB cardioid subwoofers covered the rear VIP area. festival grounds. And the DAS support team were so great to
Front fill was provided by four AERO-20A two-way systems, work with. These guys are total professionals, and they really
and outfill was supplemented by a combination of AERO-20A know their stuff.”
systems and UX-218A subwoofers. The main stage had left and
right stacks of three SARA-100 and one SARA-SUB that covered

9
 FESTIVAL SOUND
BRIT ROW TAKES L-ACOUSTICS’
L2 SYSTEM TO SOHO
HOUSE FESTIVAL
L
ondon, UK—House music aficionados have always
been particular about sound quality and that may
have been one of the reasons the UK’s Britannia
Row Productions—part of Clair Global—fielded an
L-Acoustics L2 System, along with control packages
and technical crew, for West London’s Soho House Festival. Acts
on the two-day bill included Kelis, Sugababes, Tom Grennan,
Annie Mac, Pete Tong and Gabriels, among others.
The event marked the first time Brit Row has supplied the system
to an outdoor, urban environment in London in Gunnersbury
Park. The festival was launched to help raise funds for various
charitable causes through The Soho House Foundation, which
funds and empowers creatives from underrepresented groups,
as well as aiding disaster relief.
Brit Row System Designer, Josh Lloyd, designed the
rig in-line with the event’s strict noise restrictions, flagship L2 System
and the team used L-Acoustics Soundvision 3D sound
design and mapping software. For control, Brit Row
chose DiGiCo SD5 consoles for FOH and monitor
positions, which were utilized by all visiting engineers.
Lloyd noted about the new system, “The L2’s design
characteristics, such as the full bandwidth directivity, vertical
control and auto solvers, really lent itself to this kind of challenging
urban environment, which is a big, city-based residential area.
Running in cardioid mode, the L2 afforded us the kind of flexibility
needed to ensure a consistent sound level. The system also
benefits from a very directional control pattern. This meant that
we weren’t fighting gain before feedback on stage, and it has
controllable, high granularity that you can cut off or adjust as
needed. It was also amazing doing a festival with just two amp
racks on either side of the stage; it makes everything much more
energy efficient.
“It was great to hear the system outside, too.
Soho House Festival has quite a large stage, and
L-Acoustics’ new
the physical properties of the system look small
was in the house in comparison, but the SPL is so impressive, with
at London’s Soho lots of low end and punchy impact, that it was an
House Festival.
ideal solution. The mix of dance and pop acts on
the line-up all sounded great, and
the visiting engineers were suitably
impressed.”
Weighing in on the L2, FOH Engineer
Tom Gelissen, who operated the
system at both the Eurovision Song
Contest and Soho House Festival,
noted, “The fact that the L2 can
operate in cardioid or hypercardioid
mode comes at a great advantage.
It offers a nice on-stage experience,
and that helps indoors when used
in complex PA configurations, such
as Eurovision, but it also helps with
offsite noise control. As with every
system, it’s important to use it for
the right project. When applied in the
right situation, the L2 is a really great
step forward.”
10
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System_Contractor_News_072024.indd 1 25.06.2024 11:48:37

 FESTIVAL SOUND
JEEP BEACH FESTIVAL HITS
DAYTONA SPEEDWAY
D
aytona, FL—Daytona Speedway is used for loud
and fast events, and the second annual Jeep Beach
music festival lived up to its surroundings recently,
fielding a lineup that included The Wheeland
Brothers, Maggie Rose, The Wailers, Craig Morgan
and headliner Lee Brice. Ensuring everyone could
hear the acts giving it their all was a new TT+ Audio
GTX P.A.
An independent brand within the RCF family, TT+
Audio used the event to get its name and system
out there, spreading the word among live sound pros about
the GTX 12, a three-way line array module equipped with eight
transducers and designed to provide optimized directivity.
For Jeep Beach 2024, the system centered around two main
hangs of 11 GTX 12s with 18 GTS 29 subwoofers. Each hang was
divided into five zones of two or three GTX 12 boxes
Jeeps and music
per zone, driven by two racks that each housed three
were the draw for XPS 16K four-channel power amplifiers. The system
the attendees of was under RCF RDNet software control. Completing
Jeep Beach 2024
the system for the festival were L-Acoustics Kara
components for front fill and out
fill, plus L-Acoustics K2 modules
on the delay towers. A third three-
amplifier rack per side drove half
the GTS 29 subwoofers. Nine GTS
29s were deployed in stacks of
three across the front of each side
of the stage.
Wayne Pauley, production
manager and front-of-house
engineer for Lee Brice, dug the
system, remarking, “The new TT+
Audio GTX 12-inch box is one of
the best sounding boxes I have
heard in a long time. These boxes
sounded great from the moment
we put music through them for
tuning. The high end was so
clean and natural-sounding, I was
actually taken aback for a moment.
In these modern days where so
many boxes out there have a high
end that sounds ‘fabricated,’ it is
incredible to hear a box that can
deliver that range in a way that
sounds like it should … natural.”
Pauley and TT+ Audio’s GTX
P.A. system reunited a few weeks
later when Brice appeared as a
headliner at the Lonestar Jam in
Round Rock, TX.
12
 FESTIVAL SOUND

BAD WEATHER PRODUCTIONS

ROLLS WITH ROCKING
THE DAISIES
S
outh Africa—Rocking the Daisies, a festival dual- rental and events companies to provide equipment and
sited in Cape Town and Johannesburg, saw event support for each stage. Bad Weather Productions leveraged its
production house Bad Weather Productions handle relationships to handpick a team of 50-60 crew members, from
technical needs for the event—a challenge the lighting operators to front-of-house engineers, with teams
company has met for the last decade. The festival assigned according to specialties.
took place across three days at Cloof Wine Estate, near Cape The festival opted for d&b audiotechnik systems across all
Town, followed by one day at SuperSport Park, Johannesburg. stages, applying V and Q series systems across a total of five
Acts on hand included BRIT Award-winner Stormzy, singer- stages within the two events. In both Johannesburg and Cape
songwriter Greentea Peng, U.S. rapper Denzel Curry, and UK pop Town, the main stage was equipped with arrays of 16 J-Series mid-
band, The Vamps. high loudspeakers per side, with flown J-Subs supplemented by
“It’s been an incredible journey working with Rocking the Daisies ground-stacked B-Series subwoofers. On Cape Town’s Maybelline
over the last 10 years, and watching it develop into one of the most Stations stage, a d&b Q-Series system was chosen as the main
diverse festivals in the country,” says Jonathan Bandli, co-founder PA, while the Savannah Beach Club, dedicated to showcasing
and creative director of Bad Weather Productions. “This year, local artists, opted for V-Series line arrays and V-Subs, supported
we were entrusted with handling the AV by J-Infra large format subwoofers. A V-Series system was also
production for four stages in Cape Town deployed on the Heineken House stage.
The Johnny Walker
and one stage in Johannesburg, making Jungle stage at
Power consumption and truck footprint were significantly
it one of our most complex projects South Africa’s lowered with d&b due to the reduced weight of the loudspeakers.
to date.” Rocking the Daisies This saves costs on transport and diesel,” confirms Bandli.
Festival had
The resource challenges of working audio provided
“Ensuring the stages were as efficient as possible was a priority.”
in Cape Town during the height of by the country’s Bad Weather Productions also highlighted the consultation
the festival season were overcome Bad Weather provided by South African professional audio supplier, Stage
Productions.
by strategically selecting specialized Audio Works, which supplied many of the companies involved
in the production. “We switched the structure of the main stage
to a Stageco dome this year, and therefore needed to change
the position of the PA system,” explains Bandli. “Having the
Stage Audio Works team there to consult around the system
design and give us feedback was critical to the show’s success. I
feel empowered by the support received from the Stage Audio
Works team.”
With another ‘Daisies’ in the bag, Bad Weather Productions
reflects on this year’s event. “As local audiences expect more
and more from live performances, we are certain that company
collaborations, such as those we saw at this year’s festival, are
an effective way to deliver the expertise and technology required
for large-scale events,” says Bandli. “It is certainly one of the
most challenging events of the year, but when everything comes
together there’s no better feeling.”

13
 FESTIVAL SOUND

PHOTO: Nick Langlois.

FESTIVAL MINES
THE DAZE BETWEEN
N
ew Orleans, LA—The New Orleans Mixing Lettuce with and Gov’t Mule hit the stage.
Jazz & Heritage Festival is always a special guest John Daze Between production manager Sami Slovy
highlight of the city’s musical year, Scofield at on a noted, “Our genre is mostly jam bands, with some
DiGiCo SD12 desk.
drawing thousands of people to the rock, and there are a lot of audiophiles in the fan
region to experience two extended base,” adding, “They’re looking for it to sound good
weekends of incredible music—but what to do during the and clear.” With that in mind, audio was provided by Upscale
intervening two days of downtime? For the last three years, Productions of Lake Charles, Louisiana, which brought a variety
those idle music lovers have headed to the aptly named Daze of systems from Meyer Sound, the event’s official sound partner.
Between New Orleans festival, and this year’s edition, held on Panther large-format linear line array loudspeakers returned
the grounds of Faubourg Brewery, saw acts like Galactic, the to the main Daze Between stage, paired with a 2100-LFC
Dirty Dozen Brass Band, Cool Cool Cool and headliners Lettuce low-frequency control element, while The Jerry Garcia

14
 FESTIVAL SOUND
FEATURING

June 2024

mixonline.com
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CONTENT
Content Directors Tom Kenny, thomas.kenny@futurenet.com
Clive Young, clive.young@futurenet.com
Senior Content Producer Steve Harvey, sharvey.prosound@gmail.com
Production Manager Nicole Schilling
Design Directors Lisa McIntosh and Will Shum

ADVERTISING SALES
Managing Vice President of Sales, B2B Tech
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Zahra Majma, zahra.majma@futurenet.com

LICENSING/REPRINTS/PERMISSIONS
Mix is available for licensing.
Contact the Licensing team to discuss partnership opportunities.
Head of Print Licensing: Rachel Shaw, licensing@futurenet.com

MANAGEMENT
SVP, MD, B2B Amanda Darman-Allen
VP, Global Head of Content, B2B Carmel King
MD, Content, AV Anthony Savona
VP, Head of US Sales, B2B Tom Sikes
Managing VP of Sales, B2B Tech Adam Goldstein
VP, Global Head of Strategy & Ops, B2B Allison Markert,
PHOTO: Nick Langlois. VP, Product & Marketing, B2B Scott Lowe
Head of Production US & UK Mark Constance
Head of Design, B2B Nicole Cobban
Wellness Stage centered around Leopard compact linear Galactic took the
FUTURE US, INC.
array loudspeakers, supplemented by 700-HP and 900-LFC Daze Between
crowd to another Future US LLC, 130 West 42nd Street, 7th Floor, New York, NY 10036
low-frequency control elements. Both stages sported MJF-210
world via a Meyer
high-power stage monitors; systems were managed by Galileo Sound Panther rig.
Galaxy 816 and 408 processors.
“I really think Panther is an exceptionally beautiful festival box,”
remarked Chris Hebert, who mixed FOH for Galactic and The All contents ©2024 Future US, Inc. or published under licence. All rights reserved. No part of this
magazine may be used, stored, transmitted or reproduced in any way without the prior written

Krasno/Moore Project. “It eliminates amp racks on stage, and permission of the publisher. Future Publishing Limited (company number 2008885) is registered in
England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information
now you can have that in a smaller, lighter frame box that can contained in this publication is for information only and is, as far as we are aware, correct at the time

perform the way it does. That’s really a game changer.” of going to press. Future cannot accept any responsibility for errors or inaccuracies in such
information. You are advised to contact manufacturers and retailers directly with regard to the price
Chris Bargy, FOH engineer for Gov’t Mule, had his hands full of products/services referred to in this publication. Apps and websites mentioned in this publication

mixing not only the band but also an epic lineup of guests,
are not under our control. We are not responsible for their contents or any other changes or updates
to them. This magazine is fully independent and not affiliated in any way with the companies

including John Scofield, Chuck Leavell, Ivan Neville, Karl mentioned herein.

Denson, and The Dirty Dozen Brass Band. “I didn’t get to tune
If you submit material to us, you warrant that you own the material and/or have the necessary rights/
permissions to supply the material and you automatically grant Future and its licensees a licence to

the PA like I usually do,” he recalled afterwards, “but I said, publish your submission in whole or in part in any/all issues and/or editions of publications, in any
format published worldwide and on associated websites, social media channels and associated
‘It’s a Panther. I know what it sounds like. Let me listen to the products. Any material you submit is sent at your own risk and, although every care is taken, neither

instruments really quick and we’ll be good to go.’ I was able Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We
assume all unsolicited material is for publication unless otherwise stated, and reserve the right to

to focus on mixing rather than diagnosing the PA. As front-of- edit, amend, adapt all submissions.

house engineers, it takes a lot off our plate when we don’t have
to worry about the system.”
9000

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