AudioMedia - November 2008 - (Page 71)

AM > Lo u d S o u n d s s a i d they would take all complaints on board for planning any future event. All this aside, those that stayed the course and were able to see and hear, enjoyed a stunning show that Norman Cook himself described as ‘magical’. Event and Fatboy Production Manager Lee Charteris observed, “It was a great day to be in Brighton.” Support acts The Whip, Danny Tenaglia, Laya and Bushwacka, plus Beardyman, and J F B, s te a d i l y b u i l t up the momentum until Brighton’s favourite adopted son took control. At a frantic pace, he worked through tracks from his back catalogue, material from the new Brighton Port Authority material plus covers including the finale – Paul Young’s Love Is In The Air. The loudest cheers were for videos of Brighton & H o v e A l b i o n ’s recent Carling Cup triumph over M a n c h e s te r C i t y, shown to an arrangement of Sussex B y Th e S e a . G o o d hometown stuff, Norm. The sound system was based around a d&b J Series provided by Encore PA and coordinated by Brightonbased H2 Organisation. Lee Char teris said, “Because of the fairly strict guidelines imposed by the local authorities, Gareth Hance of H2 was brought on board to co-ordinate all sound issues. It was a great oppor tunity to use the d&b system that we have used in Europe for a couple of Fatboy shows in the past. It really handles the low end of Norman’s bass heavy mixes, and has an incredible amount of power.” 11|08 BIG BEACH BOUTIQUE 4 SOUND SYSTEMS PA: d&b J / Q Series FOH PA L/R:  x J large format line array (seven per side) (Flown @ m)  x J wide angle large format line array (near fill) (two per side)  x J directional subs (horizontal array)  x Q (L/C/R front fill) Delays x :  x Q compact line array (three per delay) (Flown @ m)  x Q sub (three per delay with CSA) Amplifiers:  x d&b D FOH:  x Yamaha PMD (Side of stage)  x Tascam CD playback,  x Tascam DAT recorder  x Norsonic  Noise Meter,  x Wireless laptop control (Smmart, Yamaha, d&b) Monitors:  x MAX (-way)  x MAX + E Sub (Drum Fill)  x B/C (DJ Booth)  x Press feed  x Spare Aux for IEM / VT / VJ sends Mic / DI stock:  x Shure β  UHF (U/ U),  x Shure β,  x Shure SM,  x Shure β,  x Shure β,  x AKG,  x BSS Mono DI DJ Backline:  x Pioneer DJM ,  x Pioneer EFX ,  x Pioneer CDJ- Mk,  x Technics  MKII,  x ” fan “In short, the d&b J-series rocks,” says Hance. We selected d&b because it is one of the best sounding products available today, and is uber rider friendly. Significantly, it also has impeccable pattern control, which is exactly what we needed for this gig. “The Brighton & Hove Environmental Health people placed some seriously strict conditions on the licence regarding noise schedule and levels. In the past, these off-site levels have been near impossible to achieve without running a very quiet system on Madeira Drive, or causing a lot of complaints and potential licence condition breaches. The council were amazed at the directionality of the system. We achieved over 110dB on the pit rail and 99dB at 200m, which only raised the noise levels by a mere 3dB above normal at local residences just 40 metres away from the stage. “The design proved itself, and if asked to come back next year we’d look at repeating the design, but increasing the number of delays to cover 300m+. The artists really had a lot of fun on stage. The public within 200m of the stage said it sounded fantastic. Everyone involved with the production, and Norman himself, was impressed with the big sounds from such a small array.” XL Video provided the 10x8 screen of Lighthouse R7 LED, with standard Lighthouse LIP xga processors. The core show was run by Visuals Director Tim Fleming from Plastic Reality using his own Sony Anycast Switcher. “We had a pretty good time on this gig, the weather was great, both for setup and show days, and a great setting, quite a contrast to the last FBS gig we did at Creamfields in the mud and blowing rain, with the screen blowing all over the place,” said XL’s Alastair MacDiarmid. LM Productions supplied multiple laser systems for the performance. These included their powerful 40W emerald green lasers, two high powered full colour whitelight lasers, stage left and right, and a green diode laser positioned behind Fatboy Slim’s booth. HSL supplied all lighting equipment and crew. Lighting Designer Steven Abbiss worked closely with Visuals Director Tim Fleming to create some seriously spectacular digital images on the big screen. “This is our 38th show [with Fatboy Slim] this year,” says Fleming. “It presented a lot of challenges, which we were able to overcome. We’re particularly pleased with the Serato Video SL software plug-in that manages a variety of video clips from within the Scratch LIVE library, and loads them onto a virtual deck for control with either vinyl or CD.” ∫ AUDIO MEDIA NOVEMBER 2008 71

Table of Contents Feed for the Digital Edition of AudioMedia - November 2008

AudioMedia - November 2008 Contents Recording News Post News Broadcast News Geofocus: Italy What's Up UK AES Review For the Record Studio Snapshot: Aquarium Abbey Road Plug-ins Brilliance Pack Neumann TLM67 Mercenary Audio KM-69 IZ Technology ADA Final Cut Special: Bond TC Powercore 6000 EP Productions Nagra VI Product Sampler: Location Tools Video Guide AMSR News Shure KSM9 Big Beach Boutique 4

AudioMedia - November 2008

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