Cambridgeshire, UK—Allen & Heath mixers tackled FOH and monitor duties for We Out Here Festival, which was curated by BBC Radio 6 DJ Gilles Peterson, his Brownswood Recordings label and Worldwide FM. Taking place across four days in August in rural Cambridgeshire, the festival showcased an eclectic lineup of underground artists and DJs.
Supplied by AV production company A-Live Sound of Glasgow, Scotland, five Allen & Heath dLive and four SQ systems ran FOH and monitors across seven stages.
Iain Mackie, director at A-Live Sound, said, “I chose to invest in dLive and SQ because they’re the best sounding consoles on the market right now. dLive has endless high-quality plug-ins, especially the Hypabass FX and Dyn8. It’s also incredibly easy for visiting engineers to just rock up and mix the band because the whole system and interface are very intuitive and well laid out.”
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The main stage featured two dLive S7000s and two DM64 MixRacks paired with three Dante cards for virtual soundchecks, multitrack recording and channel splits between consoles. “This was my first real gig on the S7000, and while I’m used to running festivals on competitor consoles, this event will be a particular favorite for a long time. dLive is so easy to use, self-explanatory, and it sounds really great!” comments Martijn Van Renterghem, chief system designer at A-Live Sound.
Also making full use of dLive’s onboard plug-ins, Van Renterghem said, “The plug-ins are so good that I don’t think I’ll ever bother plugging in my Waves system again! Being able to add the Dyn8 onto any channel is such a great tool.”
The Lush Life stage, which presented up-and-coming artists, operated two dLive C3500s connected to two DM48 MixRacks, while the rave-haven Rhythm Corner stage adopted a dLive Wings system for FOH and monitors, featuring a C1500 and DM32 MixRack (fitted with a Dante card).
Darren Hutton, sound engineer at A-Live Sound, added, “dLive’s interface and workflow is really easy to use, intuitive and sounds fantastic! I was really impressed with the reverbs, which sounded very natural and authentic, especially when mixing on in-ears. The dLive Director software and additional features such as importing scenes, being able to reset aux mixes and pre-patching show files for visiting engineers were particularly nice to have, as it meant I was spending less time on the desk and scene management and more time focused on dealing with the artists’ needs.”
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Hutton continued, “The S7000 is definitely my favorite desk at the moment and I look forward to using it more in the future. Whenever I’ve talked about dLive with other engineers, I’ve only heard positive comments.”
Allen & Heath’s SQ series led the charge on FOH and monitors over on the Big Top, Woodland, Forest and Love Dancing stages—the go-to areas for fans of house, electronic, funk and soul. Four DX168 expanders were split across the stages, providing further remote I/O for the artists, as well as DJ setups, changeovers and festival announcements.
Allen & Heath • www.allen-heath.com
A-Live Sound • @ALiveSoundLtd (Facebook link)