Reventon, the largest Latin rock and pop music festival in the United States, packed nearly 50,000 enthusiastic fans into the Los Angeles Memorial Coliseum in September to watch RBD, Ricky Martin, Alejandra Guzman, Sin Bandera and seven additional Spanish-language acts perform.
Spanish Contemporary Hits radio station KSSE 107.1 FM, based in Arcadia, Calif., has hosted the annual event since its inception in 1998. After selling out last year’s show at the Honda Center (formerly known as the Arrowhead Pond of Anaheim) in less than 15 minutes, the station decided to move it to the Coliseum.
Reventon 2006 also marked the seventh year that the production team at 3G Live has provided staging, lighting and sound for the event. Because the attendance tripled this year, the company chose to deploy a massive concert sound system featuring more than 200 L-Acoustics enclosures, some of which were cross-rented from three fellow V-DOSC network owners: Rat Sound, U.S. Audio and L.A. Cobra Sound.
Ricky Martin performs at Reventon 2006
The main left and right front-of-house arrays were comprised of 16 V-DOSC apiece, while each of the sidefills, angled at approximately 45 degrees, used nine V-DOSC arrays sandwiched between six dV-DOSC arrays: three on top and three below. A total of 68 SB218 subwoofer enclosures were spread out along the front of the stage to deliver low-frequency reinforcement, as were four dV-DOSC to provide frontfill.
Twin delay arrays of 16 KUDO each were flown a short distance behind the FOH mixing area and, like the side FOH speaker arrays, were hung at 45 degree angles to address the rear left and right crowd sections. A six dV-DOSC cluster stacked on a six-foot scaffold provided additional coverage for the rear center section, while 16 more subwoofers set up at the delay tower kept the low end tight at the back of the venue.
On the turntable stage, which revolved so that one act could set up while another act performed, the company positioned two dozen 115XT HiQ monitor wedges, 12 per side, with two dV-SUB on each side for drumfill. Three ARCS enclosures per side, flown horizontally, plus two subs, were further used as sidefills.
All of the L-Acoustics loudspeakers–house and monitor systems alike–were powered by the manufacturer’s LA Series amplifiers.
“This was actually the third year that we’ve used L-Acoustics loudspeakers for Reventon,” says 3G Live crew chief and systems engineer Curtis Zavodny. “The client has been so pleased with the sound each year we’ve used them that I don’t think they’d let us use anything else even if we wanted to!”
Zavodny attributes part of the loudspeaker system’s success to L-Acoustics’ real-time, 3-D acoustical modeling software, SOUNDVISION. “Julio Valdez, another one of our systems engineers, spent about four hours walking around taking measurements of the Coliseum, which we mapped out in SOUNDVISION,” he says. “The software proved to be extremely precise and accurate. After setting up the system on-site, we walked up to the top ‘nosebleed’ seats, then from side to side, and finally all the way down to the front, and the coverage was consistently even, just as the design program had predicted.”
For more information, visit www.l-acoustics.com.