Rimini’s Altro Mondo Studios, Italy’s first mega-disco, has been a trendsetting venue since it opened in 1967. Owners Enrico Galli and Piero Bevitori recently organised the first edition of the Too Loud Festival, taking the name from Rome’s Loud Professional, the event’s audio contractors and manufacturers of the club’s sound systems.
Headliner DJ Hardwell, from the Netherlands, crowned the world’s №1 DJ in the 2013 DJ Mag Top 100 DJs poll (and recently in Forbes’ list of top-earning DJs), has such a large following that an alternative venue had to be found. The impressive sound system – over 140,000W RMS from the main system alone – was installed in one of Rimini Expo Centre’s huge halls.
The rig included two additions to Loud Professional’s range on their first outing: the VH Layer212H and Smart FocusEight, the first of a new series of compact line arrays.
The former is a horn-loaded 3-way line-array element designed for large-scale events (the hall was almost 200 metres long and about 60 wide).
The main system comprised a left and right hang, each with eight VH Layer212H elements (the bottom two in each processed as downfills), plus 32 VH Sub121H, which allowed the bottom end to be extended down to 30Hz. The subs were floor-installed in groups of four along the front of the stage and, with the exclusion of the two external groups, a pair of VH SM12 enclosures was installed as nearfill on top of each group of subs.
Two delay towers each had an array with six VH Layer 112H+EMD elements and three VH Sub218R.
The Smart FocusEight, a 2-way llne array element featuring compact dimensions, low weight and high power handling capacity, was used on monitor duty with two VH Sub218R subwoofers.
Simone “Zeta” Saccomandi (systems engineer, FOH sound engineer for the support DJs and assistant for Hardwell’s sound engineer, Bas Rijsdijk), also had to consider a reverb in the 50-200Hz range of approximately 12 seconds with an empty room.
He adds: “We also had to ensure an plenty of low frequencies for the EDM sounds spun by Hardwell, and the VH Sub121H subs, which have a horn-loaded part that makes them really ‘fast’ and efficient, were spaced sufficiently far apart to avoid the frequencies around 40Hz being summed together and were processed in a 90-degree electronic arc delay configuration.”
The signals from the stage were fed to an Avid SC48 console, then on to a Meyer Sound Galileo 616 processor. Power was generated by Lab.gruppen FP 14000 and Powersoft DIGAM 7000 amplifiers. XTA DP 448 audio management units were also fielded.
After the show, Saccomandi enthused: “I was amazed by the system’s power and efficiency. I normally work at in jazz and classical music situations and was astonished to be able to work on a show with peaks of 108dB SPL with really high sound quality – and no need for earplugs!”