Las Vegas, NV (October 10, 2012)—To power the sound for this year’s Electric Daisy Carnival, Julio Valdez, a system technician for regional audio provider 3G Live, chose to use over 700 d&b audiotechnik loudspeakers for the dance event.

“Drawn almost completely from the J-Series, this year I have been able to reduce that ratio by a factor of 25 percent with no loss of bass definition or power,” Valdez said. “Each year we’ve been growing the systems we design for the Electric Daisy Carnival (EDC). When we started, the ratio between sub and top cabinets was two to one.”

Valdez’s final design for EDC 2012 was more than three times the size of that used for the Olympic opening ceremony spectacular in London. “That’s an enormous amount of equipment,” confirmed Valdez. “We were able to provide the lion’s share in house; where we were a little short, we were able to call upon the resources of the d&b user network, Spectrum Sound in Nashville coordinating.”

He explained, “When I first worked on an EDC show in Los Angeles in 2009, 3G had just invested in the d&b J Subs. We were all thrilled with the idea of being able to fly an inherently cardioid sub cabinet. Using ArrayCalc, I would plot to achieve 114 dB across the audience, area plus or minus one dB. What we achieved was frightening; I remember hearing crazy amounts of sub energy at front of house, and at the back behind the delays was the same. But I found I just couldn’t get that groundshaking energy into the furthest bleachers at the sides. What’s changed is a combination of things, led by the arrival of the d&b J-Infra.” The J-Infra extends the range of the J-Series down from 32 Hz where the standard J-Sub rolls off, to 27 Hz.

This year’s EDC saw audiences grow to 110,000 each of the three nights in 2012. “The move to the Motor Speedway has been advantageous in so many ways,” concluded Ian Gotts, Head of Stage Production at Insomniac Events, the company that presents EDC. “Not least in terms of space and location. Although we have now pretty much filled the in-field within the raceway, its good quality space. For our audiences, we are recognized as having the best production around and great sound is one of the things we are renowned for and take pride in. In that respect, Julio deserves all the praise he gets: He’s a great sound designer.”

d&b audiotechnik
www.dbaudio.com

Las Vegas, NV (October 10, 2012)—To power the sound for this year’s Electric Daisy Carnival, Julio Valdez, a system technician for regional audio provider 3G Live, chose to use over 700 d&b audiotechnik loudspeakers for the dance event.

“Drawn almost completely from the J-Series, this year I have been able to reduce that ratio by a factor of 25 percent with no loss of bass definition or power,” Valdez said. “Each year we’ve been growing the systems we design for the Electric Daisy Carnival (EDC). When we started, the ratio between sub and top cabinets was two to one.”

Valdez’s final design for EDC 2012 was more than three times the size of that used for the Olympic opening ceremony spectacular in London. “That’s an enormous amount of equipment,” confirmed Valdez. “We were able to provide the lion’s share in house; where we were a little short, we were able to call upon the resources of the d&b user network, Spectrum Sound in Nashville coordinating.”

He explained, “When I first worked on an EDC show in Los Angeles in 2009, 3G had just invested in the d&b J Subs. We were all thrilled with the idea of being able to fly an inherently cardioid sub cabinet. Using ArrayCalc, I would plot to achieve 114 dB across the audience, area plus or minus one dB. What we achieved was frightening; I remember hearing crazy amounts of sub energy at front of house, and at the back behind the delays was the same. But I found I just couldn’t get that groundshaking energy into the furthest bleachers at the sides. What’s changed is a combination of things, led by the arrival of the d&b J-Infra.” The J-Infra extends the range of the J-Series down from 32 Hz where the standard J-Sub rolls off, to 27 Hz.

This year’s EDC saw audiences grow to 110,000 each of the three nights in 2012. “The move to the Motor Speedway has been advantageous in so many ways,” concluded Ian Gotts, Head of Stage Production at Insomniac Events, the company that presents EDC. “Not least in terms of space and location. Although we have now pretty much filled the in-field within the raceway, its good quality space. For our audiences, we are recognized as having the best production around and great sound is one of the things we are renowned for and take pride in. In that respect, Julio deserves all the praise he gets: He’s a great sound designer.”

d&b audiotechnik
www.dbaudio.com