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Festivals
Overview
Adlib supplied an expansive audio system, power distribution networks, and rigging solutions for Cream Global Limited’s "Cream Classical" event at the Pier Head, Liverpool. Running in June 2026, the open-air festival required a comprehensive multi-department deployment and a complex networked signal framework to reinforce a 50-piece symphony orchestra performing alongside live electronic instruments and vocalists.
Partners & Collaborators
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The temporary festival site at the Pier Head demanded extreme technical control due to strict acoustic boundaries and an asymmetrical audience footprint. The brief required providing high-impact low frequency for electronic dance music whilst retaining the delicate transient detail of classical instrumentation. Additionally, the production called for a redundant signal management platform, separate front-of-house and monitor control surfaces, extensive hard-wired headphone monitoring for the musicians, and dedicated systems to support British Sign Language (BSL) interpretation and induction loop requirements.
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The primary sound reinforcement system utilised high-performance CODA Audio arrays driven by four CODA Audio Linus amplifier wardrobes, each housing 12 x Linus10 DSP amplifiers. The primary coverage was delivered by 24 x CODA Audio AiRAY line array loudspeakers flying as the main hangs, while side fill duties were handled by 16 x CODA Audio AiRAY boxes split asymmetrically as ten on stage left and six on stage right to align with the audience layout. Near-field coverage was managed via six under-flown CODA Audio CiRAY medium-sized cabinets fitted with CODA CiCOUPLER 120-degree wave guides. For the audience delays, Adlib deployed a secondary flown array consisting of eight 90-degree and eight 120-degree CODA Audio AiRAY loudspeakers powered by two Coda T3 amplifier racks containing LINUS14D units. The front rows were filled using a combination of two CODA Audio G712-Pro, four CODA Audio HOPS10T-Pro, and four CODA Audio HOPS8T point source enclosures.
Low-frequency directionality was tightly managed to satisfy local environmental parameters and preserve audio rejection on stage. Flown low-frequency support consisted of 14 x CODA Audio SC2-F sensor-controlled bass extensions configured as seven cabinets per side. This was underpinned on the floor by a powerful array of 24 x ground-stacked CODA Audio SCP-F dual 18-inch sensor-controlled subwoofers to offer complete control over the low-end dispersion pattern.
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Front of House and monitor positions were managed via two flagship DiGiCo Quantum 338 Pulse mixing consoles. Signal distribution on stage and at FOH was serviced by an array of racks including a DiGiCo SD Local Rack, two optic-equipped DiGiCo SD-Racks fitted with 32-bit analogue microphone input cards and analogue line output cards, and a DiGiCo SD-MINI Rack running a DMI Waves I/O card. FOH routing and system optimization were overseen by a Lake Control rack, a Lake LM26 management unit, and a fibre node receive rack connected over a 120-metre OpticalCon fibre multicore. Analogue outboard processing for the mix included an Eventide H3000 D/SX harmoniser and a Yamaha SPX2000 multi-effects processor. A secondary Allen & Heath SQ5 mixing console with DX168 stage boxes was provided for auxiliary control, alongside a dedicated Adlib Video 4K QLab Playback Rack.
On-stage monitoring and side fills utilised a premium L-Acoustics architecture driven by three L-Acoustics AVB LARAK II amplifier racks housing LA12X controllers. This included four L-Acoustics A15 WIDE passive speakers, eight L-Acoustics X15HiQ wedges, and four L-Acoustics KS28 subwoofers. For specialized DJ monitoring, Adlib supplied two L-Acoustics SB18 high-power subwoofers mounted with KARA M-BUMP frames.
Due to the large classical contingent, a massive hard-wired headphone distribution network was engineered. Powered by a Lab Gruppen PLM 20000Q rack, the system distributed signal through four Adlib HPDB12 twelve-way boxes, four Adlib HPDB4 four-way boxes, and 56 Adlib MBHP2 twin-user headphone units. Musicians were equipped with Sennheiser HD25 SP-II, HD205, and HD201 headphones. To ensure complete accessibility, a dedicated BSL interpreter station was installed, featuring a Shure P6HW hard-wired IEM, a PDA7/DD induction loop amplifier, and a PDA Rxti 2 loop receiver with 100 metres of induction loop cable.
The wireless infrastructure relied on Sennheiser wireless monitoring and Shure technologies managed under Ofcom UK radio licensing. The RF microphone rack comprised multi-band Sennheiser EM2050 dual receivers working alongside SK2000 bodypacks and SKM2000 BK handheld transmitters fitted with MMD935-1 capsules, utilizing Sennheiser A2003 directional antennas. For wireless artist monitoring, Adlib provided four Sennheiser SR2050 dual transmitters and ten EK2000 bodypack receivers paired with Sennheiser IE4 and Shure SE215-CL earphones, compiled through Sennheiser AC3200-II active combiners and an ASA3000 active antenna splitter. A secondary shout RF system deployed Sennheiser G3 components for inter-crew communication.
The orchestra and acoustic instruments were captured via a custom microphone package featuring 24 channels of DPA 4099 CORE instrument microphones alongside AKG C414, AKG C451B, Audio Technica ATM 4040, Sennheiser e904, and Shure Beta series microphones. Signal splitting was performed by two 60-channel Adlib Splitter V4 units.
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Flown infrastructure was managed using six Coda FR-AR frames, six EXBAR-AR extension bars, and six Coda ADS single pickpoint adapters. Structural loads and exact trim angles were verified using four KSG RECLINE compact inclinometer sensor units coupled to two dual input displays. The delay points were flown using three EXE 1T D8+ motors fitted with weather protection bags. Heavy electrical distribution across the performance site was serviced by an INDU 63A three-phase stage distro and two INDU Type 11 Powerlock distribution units running to dual 63A and 32A three-phase lines, with FOH mains managed through an INDU 32A single-phase distro.
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