XTA and MC² amplification, enjoyed a strong presence at Glastonbury Festival, in the UK, this year, with a number of audio suppliers choosing the brands’ units to power up the music in an often challenging environment.
At the Glade Stage, which boasted a line-up of high-profile artists, equipment supplier Audio Plus deployed XTA’s DPA100 to power a Funktion One front-of-house system and monitors. A total of 17 DPA100 powered the Funktion One Vero, Vero VX, F124 subs, frontfills and sidefills, with a further 12 units powering the monitors, all controlled via Globcon XTA MC² Edition control software.
Known as the ‘outernational’ rhythm hub of Glastonbury, the West Holt Stage was also a magnet for festival-goers seeking an eclectic array of sets from global artists. Production company RG Jones, in collaboration with pro audio service provider 22live, delivered all the audio for the stage, with AV supplier CS audio providing 48 channels of splits via XTA DS8000 (2U, 8 input to 32 output mic/line distribution system) between monitors, front of house and broadcast.
Richard Fleming, sales and applications manager, XTA and MC², said: “The reaction of artists and their teams to the audio quality they experienced on the Glade Stage was so positive – it’s great to be a small cog in that machine and play a part in delivering such fantastic music. Equally gratifying is to know that everybody watching the West Holts on the TV was hearing audio that had reached them via XTA DS8000.”
He continued: “A mention in dispatches must also go out for our MX36 console switching system which was also hard at work around the site, including units spotted at both the Glade and Acoustic Stages. Enabling multiple consoles to be patched directly to front of house, a feature of the MX36 is that it allows all inputs to be monitored/line checked from its front panel meter and headphone socket prior to routing to the system – very useful for keeping things running smoothly in a festival setting. Our good friends at EM Acoustics supplied all the kit for the Acoustic Stage which was run by Tom de Brabant.”
