ADLIB Audio supplied sound equipment and crew to the fabulous Latitude Festival for the fourth year running, this year taking over 2 new stages - the event's Uncut second stage, and the Sunrise Arena.
The other stages receiving the customary high quality sonic attention were the Lake Stage, the Film & Music Arena and the Cabaret Tent which also had an associated 'roving' sound system. The ADLIB team of 14 was crew chiefed by Richy Nicholson.
ADLIB specified and installed an L-Acoustics V-DOSC rig for this tented space, configured as two flown arrays of 6 elements, 12 SB28 subs on the deck and a combination of dv-DOSC and ARCs cabinets for infills and outfills. It was all processed via ADLIB's standard set up using Dolby Lakes.
Uncut saw some heavy hitting headliners in the line up including Gossip, Magazine, Bat For Lashes, Squeeze, Newton Faulkner, Spiritualised and many more in a demanding environment for sound requirements.
FOH was looked after by Walter Jaquiss using a Soundcraft Vi6 console and Ben Booker ran monitors, using a Yamaha PM5D - the monitor console of choice for many engineers.
Richy Nicholson and Laura Davis had a hectic time running the stage patch, and the main challenge was - as ever festival style - the short changeovers. Using the digital desks helped massively in ensuring this ran as smoothly as possible. Jaquiss had the Vi6s off-line editing software running on his laptop, which enabled him to set up the patch for the next band during the previous set. This made it dramatically easier for incoming engineers, particularly those not overly familiar with the console - all their channels would be in place, so they had one less parameter to think about.
The vast majority of band's engineers were happy to work with the Vi6, but ADLIB brought in a Midas heritage H3000 for Tricky, and Fever Ray used their touring DigiDesign Profile - which was also being supplied by ADLIB.
Onstage, Nicholson and Booker ran a similar system for pre-patching bands into the PM5D for any engineers with PM5D show files on USB sticks. "It's extremely helpful and really speeds up changeovers having these facilities on site," says Nicholson.
The monitors were 16 ADLIB low profile MP3s and two dv-SUBs, with 4 L-Acoustics ARCS and 4 SB28s a side for side fills.
ADLIB supplied a comprehensive mics-and-stands package including a Shure radio system for all stages.
This open sided tent featured a hyperactive line up of up-and-comings, ones-to-watch and unsigned acts, who performed using a Nexo Alpha PA, comprising 6 M3 hi-packs and 6 B1 bass cabinets a side, 4 Nexo S2 subs and 2 ADLIB FD2s for infill.
Onstage were 12 MP3 wedges and an ADLIB 2 x 15" + 2" drum sub, complete with 4 ADLIB FD2 high packs and 4 DF415 subs for side fills, all under the careful supervision of Danny Castree and Jay Smith and another PM5D.
Another Soundcraft Vi6 graced FOH, overseen by Otto Kroymann.
As with the Uncut stage, ADLIB also supplied a full DJ set up including an Allen & Heath Xone mixer, Technics dex and Pioneer CDJ1000s plus all required mics and stands.
Lake, Film & Music & Cabaret
The Lake Stage had another slightly smaller Nexo Alpha sound system, with 4 mid-his and 4 bass speakers a side, Nexo S2 subs and ADLIB AA122 fills. The side-stage FOH mix was engineered by Chris Smethurst using a Soundcraft MH4, while Kenny Kristiansen looked after monitors.
The Music & Film Arena offered an eclectic programme of art house and indie screenings intercut with live performances and music-based films, some special previews and off-beat edited TV show footage. Sound was delivered via an ADLIB FD PA system and a Yamaha M7CL mixing console. Looking after this area were Marin O'Grady at FOH, Simon Fuller on monitors and Simon Lawson on stage.
The Cabaret tent also had an ADLIB FD system. Michael Flaherty mixed with a Yamaha LS9 desk and Tom Cunningham was kept on the move with the 'floating' system.
Latitude is one of a host of ADLIB festivals this summer, but also one of the most enjoyable – renowned for its spectacularly beautiful site, laid back vibes and quest to return to the roots of festival culture.