L-Acoustics K1 take to the main stage at the Ultra Music Festival in Miami

L-Acoustics K1 take to the main stage at the Ultra Music Festival in Miami

L-Acoustics K1 take to the main stage at the Ultra Music Festival in Miami

UNITED STATES – For more than two decades, huge crowds have gathered at Bayfront Park in downtown Miami at the end of March for Ultra Music Festival, a huge three-day party featuring the hottest EDM artists and largest in the world providing the live playlist. As the culmination of the annual Winter Music Conference and Miami Music Week, the festival has long flown L-Acoustics speakers across a number of its stages. But this year marked the first time Unreal-Systems/AgorÀ USA was tasked with providing the audio for the main stage, and the company rolled out a massive K1-based rig to get the nighttime crowd of 55 dancing. 000 people.

“It’s my 20th year doing this festival as an audio supplier, so it’s kind of a milestone,” shares Unreal-Systems/AgorÀ USA “captain” Andre Serafini, winking. look at his history as the former owner and president of Beachsound, Inc. “We’ve always had L-Acoustics on many of the stages, including the live stage and the world stage, but this was the first year to having an L-Acoustics system on the main stage, and K1 delivered great results.”

Hosting performances from well-known names such as Afrojack, Armin Van Buuren, David Guetta, DJ Snake, Illenium, Kygo, Marin Garrix and Tiësto, this year’s main stage featured left and right main arrays of 16 out of four K1 speakers. K2 downs, each supported by eight flying K1-SB submarines, and adjacent filler arrays included a dozen K2s on each side. Anchoring the substantial low end that is a hallmark of the EDM genre was a line of 48 KS28 subs spanning the face of the stage, while four additional K2s spaced above the subs provided solid forward fill. Power was exclusively provided by LA12X amplified controllers housed in LA-RAK II touring racks, and all signals were routed using the Milan-AVB protocol through P1 processors and LS10 switches. FOH and cue mixes were provided on DiGiCo Quantum338 and SD10 consoles respectively.

On stage, ten X15 HiQ stage monitors lined the stage lip, accompanied by left and right side fills of four Kara on two SB28 subs each. In DJ performance spaces, two left/right pairs of “Texas headphones”, each comprising four Karas on two SB18 subs, provided the monitoring solution that is now generally considered “standard” by top EDM artists. of the world.

This year, Joe Williams served as FOH Systems Technician on the main stage and was duly impressed with the K1 setup. “The system launched 180 yards with no delay, no issues,” he says. “It worked extremely well and all the artists were super happy.”

Serafini agrees: “This year the cover from start to finish was the best it’s ever been, plus it sounded the most ‘musical’. And the amount of LF coming out of the K1 is impressive! That’s something I’m not used to hearing on this site. But it was also well contained. With Ultra back in downtown Miami, after two years off for Covid and two years in Virginia Key, the city has cracked down on the bleeding this year. The festival promoters hired a sound-attenuation company – there were sensors all over the main stage site – but the L-Acoustics system just worked wonders, even under the much stricter new guidelines. It’s been a long time since K1 was on this festival, and it was quite spectacular to finally hear it there.

The live stage, the festival’s second-largest stage located in an amphitheater in Bayfront Park, has used L-Acoustics systems for many years, but 2022 also marked the first time K1 flew there. Home to artists like Alison Wonderland, KSHMR, Madeon, Oliver Tree, Pendulum, Slander and Sofi Tucker, this stage featured eight K1 by four K2 main boards, eight K2s per side as fillers, 32 KS28 subs and more. managed by system technician James Tejada.

“I have deployed many L-Acoustics systems in the FPL Solar Amphitheater over the years, but this was my largest deployment at the site to date,” notes Tejada. “Sub-deployment is always a bit tricky considering you have to place the subs in an arched concrete pit which creates a natural arc of delay, which needs to be corrected a bit via time alignment to help get a more consistent coverage across the audience area. But I was very pleased with the results and overall performance of the entire platform, as were all the guest engineers.”

photos: Drew Ressler, RUKES.com

L-Acoustics K1 take to the main stage at the Ultra Music Festival in MiamiL-Acoustics K1 take to the main stage at the Ultra Music Festival in Miami

May 3, 2022

Gerald R. Schneider