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Peavey kits out Ozzfest stage

Peavey provided line arrays, subwoofers and all consoles for the Jagermeister mobile stage at this year's Ozzfest UK.

Peavey kitted out the Jagermeister mobile stage at this year’s Ozzfest UK – which took place at London’s O2 Arena on 18 September – with Crest Audio consoles and its Versarray line arrays and subwoofers.

In 2009, after already establishing a successful working relationship in the US, Peavey approached Jagermeister in the UK and provided a sound system for its mobile stage at Sonisphere in Knebworth. Since then, the two companies have worked on a number of other shows including Slam Dunk and Creamfields; Ozzfest UK is the sixth – and perhaps most significant – collaboration.

“This year, Jagermeister wanted to enlarge things; the truck was bigger, so we needed to put a bigger system in,” says Peavey’s technical manager Jock Shannon. “We felt we could bring an affordable line array system that could do the job more than adequately; and that’s what Peavey is all about.”

The main PA system consisted of Peavey’s Versarray 112s and 218s: one hang per side of eight 112s; four 218 subs per side; and a further four 218s positioned under the centre of the stage. Peavey QWs were deployed for monitoring and also used for the drum fill and sidefills. The entire system was powered by Crest Audio Pro Series amplifiers.

FOH engineer Ed Shackleton mixed all four bands (Jettblack, Revoker, Black Spiders and Paradise Lost) from a 32-channel Crest Audio CV20 console; and a Crest Audio HP-8 was used on monitors.

Shackleton’s outboard included three Drawmer DS201 dual gates; a Drawmer DL441 Quad compressor/limiter; a Focusrite ISA220; an EL8 distressor; a Yamaha SPX990 and PRO R3; a TC Electronic D-TWO; and his favourite vocal unit: a bright pink DBX 162SL compressor/limiter. Shackleton says that the set-up was perfect for this type of show.

“Versarray is an affordable entry level system into pro audio, but it sounds great because of its ribbon drivers, which means it’s very smooth in the high frequencies,” explains Shackleton. “For what we’re doing – big rock stuff – it does the job really well.”

Chris Mansley, event manager and director of CoolShock Events, says that the growth has been down partly to the increase in popularity of Jagermeister as a brand.

“The percentage increase of Jagermeister year-on-year has certainly helped,” explains Mansley. “More and more money has been put into Jagermeister to boost its profile; and consequently in order to do that they have put more and more into the assets.”

Jagermeister has expanded its inventory of driveable trucks to three: the Jager truck, the rock truck and the ice truck – the latter of which contains an ice bar. The Jager truck began life as a Russian Ural that used to be a radar truck; all of the gear was ripped out and it was turned into a bar; it has also been used for guitar clinics and acoustic shows at previous events.

The rock truck doubles up as the main stage that almost folds into itself onto the truck chassis, then there’s an independent frame which the canopy links into. Everything in the rock truck is low-loaded, supported by an artic trailer to carry all the gear in. The ice truck is a modified ex-MOD Foden (an old British military vehicle) which was previously used for dragging tanks and an array of heavy duty equipment; and now features a bar around the bottom and a platform on top. Because its maximum speed is just 45mph, it needs its own escort when travelling to shows.

“From a marketing perspective, we wanted to keep them as army trucks; and everything is branded bright orange,” adds Mansley. “Since Sonisphere, we’ve been an actual stage rather than just a bolt-on to a bar; and with the addition of Peavey’s more specialised rig, it’s grown in parallel really; we’ve attracted bigger acts and a bigger crowd-pull as a result.”

Tom Carlson, music manager for Jagermeister, says that the support from Peavey’s technical team has been invaluable in growing the mobile stage.

“At Sonisphere we had no monitor system, but now we have; and Peavey supplied and advised us on it,” states Carlson. “Feedback from the bands was to make it bigger and better – and Peavey took care of that. Now we’re in a great position because everything production related, Peavey are there to help; they all know what they’re doing and the feedback is now fantastic, so it’s proof that it’s all working.”