UAE: The most recent edition of the DXBeach festival in Dubai saw DJ Tiesto deliver a headline performance at Zero Gravity, complete with a fully array processed d&b audiotechnik J Series rig supplied by eclipse Staging Services. Working in conjunction with StageFX to support the festival, the supplier also delivered a large lighting system.
Included were 24 Mac Vipers, 15 Atomic 3000 Strobes, 14 Ayrton Magic Panels, 24 Clay Paky Sharpys, two Smoke Factory Tour Hazer M2 units along with two Grand MA NPUs, one full-size Grand MA, and one Grand MA Lite for control. ‘It was great to get the chance to use the Ayrton Magic Panels,’ enthused eclipse senior lighting technician Craig Ralph, ‘this new technology meant that we could run in 160-channel mode for a full LED mapping effect.’
However the team was presented with the challenge of taking Tiesto’s usual technical rider, created from an arena setting, and converting it for use on a beach. The company reportedly utilised its recent acquired WYSIWYG suite to test and plan the show with the required adjustments. ‘Having successfully delivered the last DXBeach, the crew knew the layout of the venue meaning setup was a smooth process,’ added Mr Ralph. ‘Sticking as close to the rider as possible, the only change we needed to make was redistributing the weight on the truss to accommodate the original design to the beach setup.’
For audio, a system comprising J Series enclosures was deployed; following conversations with the DJ’s technical team, the size of the system was increased compared to the last DXBeach festival, which took place in October 2015. ‘Working on a beach presents inherent logistical challenges,’ reasoned head of audio John Parkhouse. ‘The inclusion of sizable PA towers to hold the main hangs as well as a severe amount of 'digging in' steel decks to house the comprehensive amount of subs gave us not only an aesthetically pleasing look but also bore sonic rewards which made it worth going the extra mile.’
In addition, d&b’s Array Processing technology was used to minimise the risk of offsite noise complaints. ‘The rear rejection on the sub-array kept levels impressively low in the back of the venue,’ reflect senior audio engineer Wissam Shaheen. ‘For example, when we were hitting 106dBA at FOH, it was reading 90dBA at back of stage, and that was during windy weather conditions. We spent a lot of time measuring the SPL all over the venue throughout the event – achieving such results is something we could only dream of not too long ago.’
Article credit - ProAudio-Central