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Void hits bullseye at Culture Clash

Wembley Arena Red Bull sound-off sees Boy Better Know take the crown, thanks to Void Acoustics new Arcline system, while last year’s winner Noise Control Audio is humble in defeat.

Red Bull’s Culture Clash returned at the end of 2012 with an ambitious DJ battle at London’s Wembley Arena. Noise Control Audio, supplying the sound system for Channel One (pictured), was called upon to defend its 2010 victory against three other systems from Funktion One, Turbosound and Void Acoustics. The Culture Clash sees four DJ crews with four PAs represent four types of music – on this occasion, grime from Boy Better Know, dubstep from Magnetic Man, dancehall/electronic from Major Lazer and foundation reggae from Channel One. After a number of rounds, each with different rules, the winner is decided by the loudest audience reaction after a dB SPL reading is taken. UK touring and events company GHB Hire supplied and deployed the Void system for Boy Better Know (pictured, below), using recently developed medium-format Arcline 12 line array enclosures. After a slightly shaky first round, the Void team tweaked the system so it ultimately delivered victory to the grime collective. Company director Alex Skan said, “This was the first outing for our new Arcline 12 system and the perfect place to test its capabilities. We were confident in its abilities to cover the venue adequately but had no idea it could deliver the mind blowing SPLs and quality it did that night.” Each side of the Void PA consisted of a single hang of ten Arcline 12 enclosures with eight Arcline 6 enclosures used as balcony fills. Void Infinite V2 amplifiers powered all the Arcline hangs. Sub-bass was courtesy of Void’s touring Stasys X boxes. Noise Control Audio’s Steve Stavrinides was gallant in defeat, saying, “[We] thought Major Lazer, with Turbosound, should have won but [the response] was measured with a dB meter so fairplay to Void. A fun night was had for sure!” NCA used 32 VSB218 subwoofers, 16 RGW112 bass cabs, 16 TMT600 mid tops, four ASYM2D2 centre fills and two ASYM3P as DJ monitors for Channel One’s Mikey Dread and Jah T. All boxes ran on Linea Research processing and Full Fat Audio amplifiers. “In total we had 108 drivers FOH,” remarks Stavrinides, who worked with technical director Bertie Hunter on the set-up. The NCA rig was mixed through a new Midas PRO2 digital console, purchased through LMC Audio.