Tracker

2005

ASPECT - A Good Point, Well Made

The 2005 Glastonbury Festival saw the ASPECT rig deployed for the John Peel Stage by South WestAudio, which showcased emerging artists.

turbosound-img01-2005.jpg
TB-2005-1.jpg
TB-2005-2.jpg

Having used FLASHLIGHT for Pink Floyd’s Division Bell tour and heard ASPECT on the last Shadows tour, when David Glimour’s live sound engineer Colin Norfield paid a visit to the TURBOSOUND factory and compared ASPECT with FLASHLIGHT and FLOODLIGHT, he decided there and then that its detail and clarity was perfect for Gilmour’s 2006 On An Island tour. So it was that Gilmour closed out the last few dates of the tour at the Royal Albert Hall with a central cluster of Britannia Row supplied ASPECT TA-890 that according to Norfield was very smooth all the way through and nicely balanced.

Denmark’s Roskilde Festival, having run continuously without a break since 1971, is one of the largest music festivals in Europe, and DPA SoundCo had provided the sound system – always TURBOSOUND – almost since its inception. The 2006 festival, with more than 79,000 paying visitors, was one of the largest on record and enjoyed some of the best weather conditions ever. The artist roster included such greats as Bob Dylan, Roger Waters, Guns and Roses, Morrissey, Franz Ferdinand, Kanye West, Arctic Monkeys, Sigur Ros and The Streets; and the ASPECT PA of 48 mid/highs and 64 bass cabinets with 16 TSW- 218 subs was one of the loudest – notching up to 103 dB – and cleanest ever.

Although Denmark has no sound level restrictions for outdoor 24 concerts, the festival had always worked to create acceptable noise levels, in particular by hanging the PA high and aiming it more radically downwards. The very directive properties of the ASPECT point source system made it very easy to do this, as well as keeping noise levels much lower off - site. Leading on from ASPECT and the POLYHORN, development of a new waveguide was reaching fruition. The Dendritic device adhered to a deceptively simple principle – that of dividing the output from compression driver diaphragm into two equal parts, and then repeatedly into two, bending the paths nearer the centre more radically and allowing the physical driver placement to match the acoustic centre.