Local artists kick out the jams, aided by an EAW KF730 line array rig, at the 2007 Festival Internacional Ollin Kan in Mexico. Mexico (August 31, 2007)–The recent 2007 Festival Internacional Ollin Kan, a month-long celebration of music and dance held throughout the Bosque de Tlalpan district of Mexico that culminates with massive outdoor shows held in Mexico City’s famed Zocalo Main Square, received sound reinforcement and support provided by hire company Consorcio Audiovisa S.A de C.V. of Mexico City.
This year’s version of the lively annual festival highlighted performance styles of the Iberian Peninsula and Latin America, Asia and Europe, Africa and America. Based upon its work in 2006, Consorcio Audiovisa, owned by José Luis and Alex Morales, was again selected this year to support the event with a large-scale concert sound system.
Both front-of-house and monitor systems were headed by Yamaha PM5D digital consoles, with their snapshot and instant recall functionality ideal for multi-act festival situations offering very little time for change-over between acts. Settings for all artists could be established ahead of time and then instantly recalled and tailored at soundcheck, or worst case, adjusted at the outset of each performance.
Meanwhile, the PA consisted of 48 EAW KF730 compact line arrays and 28 SB1000 subwoofers, as well as LA series loudspeakers for stage monitoring. In the massive open-air Zocalo Main Square, which holds more than 50,000 people, main arrays of KF730 modules flown to the left and right of the large stage were backed by more KF730 arrays posted to the very far sides of the stage to bolster coverage to the extremely wide audience area. Each full-range array was accompanied by a stack of SB1000 concert subs at ground level.
“There are numerous things to like about KF730’s, starting with their great response,” said Morales. “They provide huge SPL from such small boxes, so the size-to-power relationship is outstanding. Further, the mid/high signature is excellent. KF730s are also very easy to transport due to their compact size and low weight, and they’re really easy to fly.”
All mains and subs were driven with Crown I-Tech 6000 power amplifiers, and Consorcio Audiovisa used the digital signal processing (24-bit, 96 kHz) and networking functionality built in to the amplifiers as well, choosing a separate DSP solution. “The I-Tech package is very comprehensive, with the DSP doing everything we need in terms of serving both system and loudspeaker processing needs,” said Morales. “These amps are also a very good match with the KF730, which provide additional advantages in connection versatility and impedance relationship. As a result, we’re able to drive four boxes with just one power amplifier.”
On stage, the microphone package was exclusively Shure, with a mix of the company’s premium wireless systems and wired mics deployed for both vocal and instrument needs. The wide range of choices included several Beta and SM models, with several Whirlwind IMPII DI boxes also provided for direct feeds from electronic instruments.
Monitoring on stage came via a dozen EAW LA215 boxes used as wedges and powered with Crown XTi 4000 amplifiers also offering DSP presets for crossover, EQ, limiting, delay, as well as a subharmonic synthesizer. These also drove stage fill loudspeakers and subwoofers positioned on each side of the stage.
Consorcio Audiovisa first worked on the festival last year, and found that its equipment was part of the strategy for retaining the gig: “With Festival Ollin Kan,” said Morales, “where we have artists and engineers from so many different countries around the world, not only do the vast majority of their riders specify EAW systems, but they’re also very happy we’re able to provide them.”