d&b audiotechnik helps Massive Attack set new green benchmark for event production.
- Massive Attack use d&b sound system for landmark low-carbon gig
- d&b NoizCalc software ensures reduction of off-site noise pollution
- Bristol show sets new benchmark for event sustainability
When Massive Attack played a one-off gig in their hometown of Bristol on 25 August, their focus was firmly on event sustainability. For this show, which marked a quarter-century of climate activism for the band and set a new standard for touring and live event sustainability, they chose a sound system from long-term partner – and staunch sustainability advocate – d&b audiotechnik.
Massive Attack’s Climate Action Accelerator gig is a showpiece event for live music sustainability
Staged at Clifton Down on 25 August, Act 1.5 Climate Action Accelerator set a new benchmark for the event industry by being the lowest carbon gig of its size ever staged. Everything was considered: plant-based food, compostable loos, promotion of public transport, recyclable serving items, and a site powered entirely by renewable electricity. As Massive Attack themselves put it, the event was to “trial new standards for the decarbonisation of live music”. It’s a cause close to the band’s heart, and to the heart of d&b: the company is committed to the improvement of sustainability practices throughout live event production.
SL-Series and NoizCalc provide a powerful yet sustainable approach
To fulfil their requirements, event producers Team Love approached d&b audiotechnik supplier Southby Productions. The solution would embrace the event’s sustainability ethos, while providing the long throw necessary to cover the large audience area with high quality sound. In response, Southby’s Henry Cook specified a system of elements from d&b’s SL-Series (including GSL, KSL and XSL). These were chosen for their groundbreaking full-bandwidth directivity control and cardioid performance, which helps keep sound energy where it is wanted.
In addition, the GSL and KSL delivered the required level over distance, while the use of d&b ArrayProcessing ensured optimum clarity and control. The production also demonstrated commitment to environmental protection by using the proven d&b NoizCalc software. This tool not only accurately predicts but also minimises the impact of noise emissions, ensuring the protection of both local residents and the environment. This reinforces a responsible and sustainable approach to event management.
Importantly, these tools included the proven power of d&b’s NoizCalc software to both predict and mitigate the effects of off-site noise.
Southby’s system tech Dan Leaver says, “d&b’s assistance with NoizCalc enabled us to provide Aria Acoustics (responsible for off-site noise monitoring) with accurate predictions of levels both on-site and off, which meant there were no surprises for us once on site. The system and the show were a great success, exceeding the expectations of all the stakeholders.”
Energy-efficient amplifiers power full-scale SL setup
The chosen system used two main hangs of GSL (each 12x GSL8 and 4x GSL12), with 20 SL-SUBs (10x double-stacks) and V10P loudspeakers as front-fills. The KSL (the mid-sized member of the SL-Series) was used for the first ring of delays, while XSL boxes (the smallest of the SL-Series) formed outer hangs, as well as the second and third delay systems. The entire system was powered by d&b’s energy-efficient D80 and D40 amplifiers, with DS10 audio network bridges seamlessly interfacing the d&b amplifiers with the Dante network. This setup enabled high sound pressure levels while maintaining low power consumption, delivering both powerful performance and energy efficiency.
The power setup also broke new ground.
Mixing at FOH was once again Robb Allan, Massive Attack's long-serving sound engineer and Principal Product Manager, Soundscape at d&b audiotechnik.
GSL brings every note and voice to life
Allan says, “There’s only one system that delivers the power, dynamic range and detail I need for Massive Attack and that’s GSL. I need to feel the kick drum in my chest, but have enough musicality and separation in the low end to hear every note of the bass naturally, without gaps or modulation. There are nine different vocalists in the show, from whispery rapping to full-voiced soul. I love that I can hear every syllable of each. I don’t know how the SL range does it, but nothing else lets you feel that the vocalist is performing right next to you, even when there are 40,000 people in a field. I’m proud to be part of an event that demonstrates the way our industry can be more sustainable and kinder to the environment.”
