"The main system covers from 6 meters from the stage to the last seats at 11.5 meters high at 72 meters from the main stage,” says Ricardo Carus, Sonort Technical Manager. “The outfills (HDL 30-A) cover the sides up to approximately 25 meters away from where the main GTX system takes the scene. Even the subwoofer design is a great challenge, as the venue is very large and the stage has to be as clean as possible as the type of show needs several condenser microphones for strings and brass as well as different voices. The technical team decided to work with 24 SUB 9006-AS (2x18 inch) arranged in 12 clusters made by two subs each, 1.8 meters spaced each other to fit the distance between the mains (20 meters), electronically curved thanks to the excellent dedicated function of RDNet to widen the coverage towards the side areas of the venue. The crossover point is at 60 Hz, and the subs alignment point is taken 40 meters away from the stage, about 12 meters before the FOH. This caused a slight alignment inconsistency at FOH position but ensured better distribution of low frequencies in the crossover zone for the rest of the arena” says Carus.
The subwoofer setup uses a gradient configuration with the top sub of each cluster facing the stage. "To get extra clean low frequencies on the stage, we optimized the gradient from the stage point of view, in the positions where it needed to be cleaner. Particularly in the position of the strings and vocal microphones," Lucio Boiardi Serri explains. "We achieved this result by measuring the two rows of subs individually in these positions, to obtain the same magnitude and phase response of both. Then we rotated the polarity of the row facing backwards. The result was quite a clean stage, suitable for this type of show. The average SPL (A-weighted) was approximately between 90 and 108 dBA."
"Also, the system’s raw power is remarkable,” Unai comments after the concert. “I am a sound guy who considers that many acts are too loud—I'm not a fan of volume for the sake of volume. I think that mixing a live gig is finding the right volume for the act, the place, and the audience you are working with. In this case, the arena was packed with hardcore fans who had not seen the band in 30 years, or kids who knew it was the last time they were to see the band. I had to go loud, louder than I usually like, and there was more than enough juice for it! The concert was a huge success for us–and the sound was a big part of it."