L-Acoustics Gets Festive In Hell & Heaven

The Corona Hell & Heaven Metal Fest, held in late October at the Autódromo Hermanos Rodriguez racetrack grounds, fielded name metal acts like KISS, Korn, Limp Bizkit, Rob Zombie, Annihilator, Overkill and others on two stages—“Hell” and “Heaven”—all outfitted with L-Acoustics K1 and K2 loudspeakers.
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Mexico City, Mexico (December 29, 2014)—The Corona Hell & Heaven Metal Fest, held in late October at the Autódromo Hermanos Rodriguez racetrack grounds, fielded name metal acts like KISS, Korn, Limp Bizkit, Rob Zombie, Annihilator, Overkill and others on two stages—“Hell” and “Heaven”—all outfitted with L-Acoustics K1 and K2 loudspeakers.

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The festival marked the country’s first combined deployment of L-Acoustics’ K1 and K2 systems, requiring the joint effort of two sound-reinforcement providers, Procolor and Serpro.

Procolor Producciones, of Guadalajara, was the first K1 rental network provider in Mexico and has taken its system on tour with numerous artists, including Maná, Ricardo Arjona, Selena Gomez and Marc Antony, while Serpro Producciones, based in Monterrey, was one of the first to deploy K2 south of the border. Together, they designed and assembled the main-stage systems.

“This has been a historical encounter,” exclaimed Alex Soto, owner of Guadalajara-based Soundsoul Productions, who was hired as sound director, sound designer and system engineer for the Corona Hell & Heaven Metal Fest. Soto explains that 2 Hands Production Services, based in Mexico City, brought Procolor and Serpro together in order to have as consistent a sound as possible between the two stages. Since part of Procolor’s K1 rig was on tour, Serpro was called in. “Fortunately for us, Serpro’s K2 system – which is the first one in Mexico – recently arrived from France,” he says. “Since K1 and K2 are perfectly compatible, we decided to combine them, which worked fantastically.”

Soto says that was reflected in the sentiments of the mixers who worked the show. “Marko Vujovic who mixed Korn, is a nice guy and also a great engineer, and he was very pleased with the K1,” he says. “He played a virtual sound check from ProTools into his D-Show and I could see him nodding and smiling. He came over after the concert to let us know that he really liked what he got from the system, telling me, ‘I barely had to move EQ on my console!’

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