New York (November 16, 2005)–August found SoulFest 2005 held once again on the grassy slopes of Gunstock Mountain Ski Resor, hosting over 15,000 attendees to the Northeast’s largest faith-based festival. Over 125 national and regional artists and speakers, including some of the biggest acts in Christian music, performed on three stages. Hampstead, N.H.-based Rainbow Production Services provided audio, lighting and production services for the event, including two large line arrays built from Meyer Sound’s Milo and Mica curvilinear array loudspeakers.
Over on the “Inside Out” stage, C.J. Danek took time off from his regular gig mixing the Boston Symphony Orchestra to work a system comprised of 18 Mica compact high-power curvilinear array loudspeakers and eight 700-HP subs. The stage hosted performances by a mix of heavier acts, including Dead Poetic, Haste the Day, Pillar, Stretch Armstrong and Adelaide. Danek mixed on a Yamaha PM4000 FOH console, which fed another LD-3.
“The MICA rig was truly phenomenal,” marveled Rainbow’s Scott Tkachuk. “We were completely blown away by the fact that so much sound could come out of something so small. C.J. was running at around 104 dB SPL, A-weighted, for most of the weekend, without overdriving the console or the stack, and it was totally smooth and transparent, with great tone.”
Tkachuk helmed the main “Revival” stage, mixing performances by Michael W. Smith, Rebecca St. James, Jars of Clay, Steven Curtis Chapman, Jeremy Camp, Audio Adrenaline and a host of others. He commanded a rig consisting of 20 Milo high-power curvilinear array loudspeakers and four Milo 120 high-power expanded coverage curvilinear array loudspeakers. The low end was covered by 14 700-HP ultrahigh-power subwoofers, with frontfill provided by four UPA-1P compact wide coverage loudspeakers. The system was driven by an LD-3 compensating line driver, whose atmospheric compensation features are essential for handling weather changes at outdoor events. Tkachuk moved between Yamaha PM5D and Midas Heritage 3000 consoles to mix the shows.
Tkachuk was particularly pleased that the system used virtually no equalization to achieve its stellar performance. “We actually physically removed the EQ from the system,” he reported, “and no one complained. In fact, Ryan Rettler (Audio Adrenaline’s FOH engineer) and John Van Hook (Jeremy Camp’s FOH engineer) both said it was the best sounding festival rig they’d heard all year.”
Meyer Sound Laboratories