DELICATE GOES LONG AT KROQ 'WEENIE ROAST'
Irvine, CA––With a crowd of close to 18,000 and hard-charging headliners like Korn, Linkin Park, Social Distortion and Interpol, Delicate Productions of Camarillo, California needed a line array system that could go as long and as loud as possible without straining.
As system engineer/designer Bryan Bazilsky puts it in typically understated fashion, 'we were just trying to cover the amphitheater and lawn without using most of the house stuff. It was a loud event.'
So what speakers did they choose to get the job done? 'The new Martin Audio Longbows,' Bazilsky replies. 'It's the new upgraded version of the W8L. They've upgraded the high end from three drivers to four 1' drivers and increased the high frequency output by 10dB from the original box at the same power.
'It also throws longer than the W8L, or anything else for that matter,' he continues. 'Martin actually de-signed the Longbow with stadiums and arenas in mind. I was extremely happy with them. That was the first time I was able to put them up. We got them in from England three days before with the factory crossover settings and they worked well and sounded really good.'
Held at the 20-year old Verizon Amphitheater in Ir-vine Meadows, KROQ's annual 'Roast' is a major event on the So Cal concert scene and providing top quality audio is something they've come to expect from Deli-cate and the crew which, this year, included Meegan Holmes (Crew Chief/Stage), Scott Scherban and Alan Behr (FOH Staff Engineers & Technicians); Shaun Sebastian and Drew Consalvo (Monitor Engineers); Matt Fox and Tony Carrafa (Stage Technicians); Holly John-son (RF Engineer) and Bazilsky.
The actual speaker system consisted of a dozen Long-bows a side with 4 W8LCs as underhang, side hangs of 12 W8LC per side, for outer fill, 6 W8LS flying subs per side and 12 WS218 sub bass cabinets ground-stacked per side and 4 pairs of W8LM for front fill.
Complementing the Martin Audio speaker arsenal were Martin's MA 4.2 power amps and three Dolby Lake Proc-essors. Each side of the 'turntable' stage (while one band was performing, the next would be doing a line check so that there was a seamless transition from band to band) had 12 Martin LE700 wedges powered by Crest 7001 with BSS FDS334 crossovers, and a stereo drum fill consisting of two Martin Audio FSX 2x18" Sub Bass and F1T Cabinets. The stage had a shared Side Fill which consisted of two Martin F2B Bass Cabinets and two Martin F2 Combi Mid High Cabinets per side powered by the same Crest/BSS combination.
Consoles included two Yamaha PM5D-RH consoles at FOH with two more on Stage for monitor duty with some of the larger acts supplying their own consoles which included Digico D5's and DigiDesign Venues & Pro-files. Microphones were mostly Shure.
As Bryan, sums it up, 'We played with no breaks. The first band was on at 4:30 PM and 10 bands later, we were done at 11:00 PM. The crowd seemed to like it and the band engineers also really liked the system.'