Electric Daisy Carnival (EDC) Mexico 2019, located at Mexico City’s Autódromo Hermanos Rodriguez racetrack from February 23-24, selected PK Sound to provide its sound system.
The festival has been collaborating with PK Sound for four years now, providing a large deployment for this year’s kineticFIELD main stage.
The festival, run by Insominac events, presents two days of electronic dance music and multi-media art with a carnival theme. It also takes place annually in Las Vegas as well as various other locations globally, this year in Mexico bringing in over 120,000 festival-goers and sets from EDM musicians including Alesso, Dimitri Vegas & Like Mike, Kaskade, and Paul Van Dyk.
“We first became involved with Insomniac events at EDC Las Vegas 2015 when we provided sound for the BassPod Stage,” PK Sound production operations manager and engineer, Rory Stewart, explained. “For EDC Mexico, the goal was to ensure that anyone in front of the kineticFIELD main stage was getting the same high-quality experience no matter where they were standing.”
Along with assembling the sound system for the main stage, Stewart was brought on to supervise pre- and post- production, as well as to run the system during the performances. Stewart had to assemble a formidable arsenal of speakers for EDC Mexico’s main stage rig. “We had to bring in speakers from our main offices in Calgary, as well as from locations in San Francisco, Los Angeles, and Miami,” he said.
The system consisted of ninety Trinity Large Format Robotic Line-Array Speakers, divided into four main hangs of fourteen apiece and four delay hangs of eight. Far delay hangs were handled with PK VX-10 Compact Line Array speakers, divided into four hangs of twelve and one hang of eight in the VIP area. The low end was provided by one hundred and eight of PK’s CX-800 Dual 18” subwoofers, ten Gravity 218 Dual subwoofers, and eight Gravity single 30” subs.
During the event, Stewart ran the board himself from a Digico SD9 sound desk using PK’s Kontrol Software. “The results were flawless,” he remarked. “We got the right sound just where we wanted and the right coverage so that every person from the front of the stage to way in the back could hear the performances with the same sound quality and precision.”