Carnival 56

The Requirement

Live entertainment producers LarMac Live were looking for a supplier of audio and lighting systems for the two largest stages at Carnival 56 in Dundee. Having previously worked with Adlib on Creamfields and The Osmonds, they were confident that Adlib could deliver the project to the highest standard. This was the first ever Carnival 56 and the first time for 11 years that a large-scale music event had taken place in Dundee.

Adlib Account Manager, Chris Neary, has a long-standing relationship with LarMac and the proximity of Adlib’s Scottish office to the event made Adlib the ideal supplier for the festival.

The Solution

The preparation work that goes in before setting a foot on site makes a huge difference to the success of any festival and this is something that Adlib dedicates a lot of time and attention to. Adlib Account Manager, Chris Neary, explains:

“We submitted lighting designs and rigging plots for approval well in advance of the event. In the run-up, we provided specific contacts within Adlib for lighting and audio who liaised with the festival’s visiting artists to ensure all of their requirements were met.”

“There were tight weight restrictions on the main stage and the support of our in-house rigging team was critical in the planning and execution stages of the project to ensure all weight limits were observed.”

Once on site, Chris oversaw the build and managed communication the audio and lighting teams, other contractors, and LarMac Live.

“Having such a large and varied stock of equipment is critical to the success of these types of events.” Explains Chris. “By supplying equipment from our own stock, we were able to respond to all of the artist requests and specification changes that came in during the build-up to the event quickly and with a minimum of fuss.”

“By involving our Scottish team, we were able to provide trucking from our Glasgow warehouse which greatly reduced the distances that equipment needed to travel.”

Adlib’s audio team supplied an L-Acoustics K2 system with KS38 subs as the PA on the main stage along with L-Acoustics X15 HiQ monitors and Midas Pro 6 consoles at FOH and monitors.

Main stage lighting was controlled by a Grand MA2 light and included 3 flown trusses with Martin MAC Viper Profiles, Martin MAC Quantum Washes, Clay Paky Stormy CCs and Chauvet Strike 4 LED Blinders. The floor package comprised 6 towers with Martin MAC Quantum Washes and Chauvet Strike 4 LED Blinders.

There was no ability to fly on the second stage. The audio system comprised 6 L-Acoustics KARA each side (ground stacked) with 8 L-Acoustics KS28 Subs. The second stage was a DJ stage and Adlib MP4 Subs with MP5 Wedges were supplied as side fills along with a package of Pioneer CDJ2000s and a DJM 900.

Lighting on the second stage comprised 4 truss towers along the back of the stage with Martin RUSH MH7 Hybrids, Martin MAC Aura Washes, and Chauvet Strike 4 LED Blinders. ProLights Studio COB Led parcans were positioned at the front of the stage for front lighting.

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