HIGH WYCOMBE, U.K. — The Prodigy has been called the world’s “bassiest” band, but when they headlined the second stage at last summer’s V Festivals in Chelmsford and Stafford, there was a challenge. “We knew a year ahead of the event that Prodigy were likely to be headlining the second stage — but sound wise there is always an issue because of the strict noise levels at both the festival sites," said Jon Burton, the band’s FOH engineer, pictured here, left, with Martin Audio research & development director, Jason Baird, right.
“We wanted to maximize the impact of the low end, but in a directional way to avoid noise propagation across the entire site,” Burton said. “We always require more than the normal number of subs provided by the festival, in this case SSE, so we always intended bringing in extra.”
The search for “a comedy sub” began 15 months ago, when Burton approached potential manufacturers. Chris Hill, director of The Prodigy’s rental supplier, Wigwam Hire, knew Martin Audio was already in the process of developing their own ASX 21-inch active sub, and Burton and Baird collaborated on a new passive 21-inch sub prototype that promised to help the band push its sub-frequencies even further.
“We threw down the challenge to Jason Baird,” Burton said. “We were trying to reinforce where the main PA would begin to roll off, below 50Hz — to give the audience a greater physical perception normally only associated with much higher levels.”
Once Chris Hill and Geoff Muir had given them the nod following listening tests, Baird adapted the ASX design to come up with a single 21-inch touring box and Martin Audio went into production for the 12 enclosures.
The 21-inch sub was earmarked for spot effects rather than continuous use — thereby helping to maintain the level constraints, to the relief of promoters SJM and Metropolis, and noise consultants Vanguardia, who were policing the sound.
Because of space constraints, the 12 boxes were set in a straight line in front of the stage apron, but arranged into a curved arc digitally, via the processing software. “We had used our lab-based software to predict the soundfield so I knew exactly what to expect,” said Jason Baird. “We couldn’t have curved it physically because of lack of space.”
“Although we used a similar array configuration along the stage front at Glastonbury, this was the first time the 21-inch subs had been used in these quantities — and Jon and I had confidence they would perform,” Baird added.
Six Martin Audio MA18K amplifiers powered the subs, with two dedicated DX2 processors used for filtering and delay.
“The array could draw up to 60kW of power,” said Burton, ”so we brought in an extra generator to avoid any voltage fluctuations and other power problems. As we were using a single point source, the output was reasonably even, with very little comb filtering. The crossover filters were set to maximize the output between 17 and 50Hz.
“Because of the way we used the subs it felt completely different from the L/R design of the main system — and as an effect sub it certainly added the right dynamics,” Burton added. “With a band where, without the main PA, we measure on average 97dBA at FOH, how you add the extra 2 or 3dB is very important.”
Burton has since asked Martin Audio for assistance with a brief tour of U.K. Academy Group venues prior to Christmas, where they previewed songs from the upcoming new album.
Six ASX 21-inch subs were used to devastating effect. Driven once more by Martin Audio amplifiers and processors, they were used to augment the house systems and provide spot effects at others, supplementing a large system supplied by Wigwam.
“I was very pleased with the way the subs worked indoors,” Burton said. “I was once again looking for something to come in under the system, to add a dramatic amount of lows. They certainly did that, and even the band commented on the sub in the room —a compliment indeed!”
For more information, please visit www.martin-audio.com.
