Denver, CO (January 7, 2022)—Brown Note Productions got back to large-scale events as soon as possible last year, providing audio for 40,000 music fans when Illenium played the first concert held inside Las Vegas’ Allegiant Stadium. Since then, the audio provider has kept things moving forward, thanks to a fall season that was packed with four major multi-day festivals promoted by Danny Wimmer Presents.
From September through November, Brown Note provided audio services for Mansfield, Ohio’s Inkcarceration—held outside The Shawshank Redemption’s Ohio State Reformatory; Louder Than Life at Louisville’s Highland Festival Grounds; Aftershock in Sacramento’s Discovery Park; and Daytona International Speedway’s Welcome To Rockville. Each event sported a massive L-Acoustics K Series loudspeaker system.
According to BNP president Ryan Knutson, three of the four festivals featured a dual-mainstage setup, with similar systems deployed across each stage. Main arrays were comprised of six K1-SB atop a dozen K1 over six K2 downs per side, with eight KS28 subs flown in a cardioid configuration behind each main. A total of 33 additional KS28 were spread out in groups of three across the face of each stage for additional low-frequency punch, with 12 Kara positioned on top for front-fill.
Out-fill was achieved via eight K2 flown over three Kara per side, while four delay towers—two per stage out in the audience—each featured 15 K2 combined with three KS28. Power and processing for the twin-stage systems were delivered by 126 LA12X and 12 LA8 amplified controllers.
“Although we’ve had Brown Note bring in L-Acoustics for festivals like Louder Than Life in the past, we really upped the ante for 2021,” shares DWP director of event production Les Targonski. “Both main stages this year had full K1 rigs that ran simultaneously. We created a very wide wall of sound, with each stage having its own stereo pair of delays. Since we were hosting two nights of Metallica for three of our festivals, I felt the need to give more thought to the delay plan. My original idea was to build two layers of delay towers, with two towers per layer—one pair at 250 feet from the main source and the second at 400—but after working closely with Ryan and the rest of the Brown Note team, L-Acoustics Soundvision software showed us that we would be more effective having a single layer of towers with a longer box count that provided full and even coverage all the way to the back, which was beyond 600 feet. Since Aftershock and Welcome to Rockville also boasted two separate main stages, this became the audio model that we used for the rest of the year.”