Beach Sound flies K2 system for Ultra’s Live Stage main PA, with Kara demanded by top EDM DJs for monitoring
MIAMI, Florida – April 2015 — “Hot, hot, hot!” That’s what you get when you put the Ultra Music Festival in Miami during Spring Break. But “cool” is the sound you get when an artist lineup that includes EDM legends like Krewella, Bassnectar, Porter Robinson, Die Antwoord, Big Gigantic, Chromeo and Gorgon City performs onstage through an L-Acoustics K2 line array sound system.
Ultra Music Festival 2015, which took place Friday to Sunday, March 27 to 29, drew thousands of music fans to Bayfront Park in downtown Miami, which has hosted the event since 2012. But not since the festival debuted in 1999 has the sound been this good. “We’ve been doing the Ultra festival for a long time and have become very familiar with what a system needs to be able to do this kind of show right,” observes Andre Serafini, founder and president of Beach Sound, the Miami Gardens-based sound reinforcement provider for Ultra over the past decade. “Bayfront Park can be a challenging venue for this kind of music, but the L-Acoustics systems handled it without a problem, and even overcame some of the venue’s special challenges.”
Those challenges included keeping the sound for each stage contained within its area and avoiding overspill into nearby stages. For the Live Stage, Beach Sound assembled a K2 sound system whose main array consisted of 24 K2 enclosures flown 12 per side.
“The K2 has very precise, incredibly accurate off-axis performance, which enabled us to keep the sound on the crowd and away from any of the other nearby stages,” Serafini explains, noting that they used L-Acoustics’ Soundvision 3D acoustical simulation software to precisely map out the sound field. “That kind of predictability is critical for a loud outdoor show like this.”
Atop each main array were four K1-SB high power subwoofers per side. “Flown subwoofers were the key to being able to overcome the unique bass null that was created by this sort of concrete moat area in front of the stage,” he says. “It was an architectural challenge that we were able to overcome with the right speakers.”
Along with a total of 32 SB28 stacked subs, the Live Stage had all the low end it needed and then some. In addition, two ARCS II constant curvature line source loudspeakers were used as side fills under two SB28 subs per side; six ARCS Wide enclosures were deployed as front fills; and, finally, 24 Kara enclosures were used for outfills.
Onstage, a dozen 115XT HiQ active stage monitors joined several Kara enclosures to provide DJ foldback. “L-Acoustics speakers–especially Kara–have become ‘the standard’ for EDM stage monitoring and were specifically requested by the artists for the DJ sets,” Serafini notes.
L-Acoustics speakers, such as the SB18 subs, were found as part of systems on all of the stages at Ultra, but it was the K2’s first star turn as the Live Stage PA, and Serafini says its performance was magnificent. “It had the power we needed, but it was also a beautiful-sounding PA system,” he says. “That’s the word that comes to mind first: beautiful. It’s a sound you never get tired of hearing.”
For more information on Ultra Music Festival, visit www.ultramusicfestival.com. Beach Sound can also be found online at www.beachsound.com.
Beachsound installs KARAi lawn system for West Palm Beach Live Nation venue
WEST PALM BEACH, Florida – Located on the South Florida Fairgrounds, the 19,000-capacity Cruzan Amphitheatre is Palm Beach County’s primary open-air concert venue. Managed by Live Nation, which presents approximately 30 productions annually at the venue, Cruzan recently installed 24 L-ACOUSTICS KARAi loudspeaker enclosures to deliver improved audio coverage to its lawn, which seats nearly 12,000 concertgoers.
“With modern long-throw line arrays, the nature of the delay system has changed,” says Andre Serafini, owner of Miami Gardens-based Beachsound & Lighting, Inc., which designed and installed the new system. “Most touring engineers will use their own main production PA to cover at least a portion of the lawn area at an amphitheater like this, so the ‘delay’ system has become more of a ‘relay’ system, complementing and extending the performance of the main PA. This is why it was important that we recommended a system to Live Nation that had unparalleled sonic quality in order to provide the optimal user experience while also being a system that the engineers and system techs would be happy to deal with.”
That solution, according to Serafini, ultimately ended up consisting of four arrays of sixKARAi enclosures – left and right, plus two outfill hangs – flown from the outer lip of the venue’s roof. These are powered and processed by a total of four LA8 amplified controllers housed in the venue’s spotlight towers, minimizing cable runs and maximizing existing power and signal infrastructure.
“We knew that it was time to upgrade our lawn system and were confident that Beachsound would provide us with the right solution,” says Live Nation Production Manager Sarah Barnes.“They immediately introduced us to this new, state-of-the-art L-ACOUSTICS system. The purchase and install were seamless, and we couldn’t be happier with the system, its performance and capabilities.”
According to Beachsound Head of Systems Integration Jerrod Cring, who designed the system with Beachsound Head of Audio Neil Rosenstock, “The touring engineers that come through the area played a large part in the upgrade of the venue.”
“The KARAi system is an incredible improvement to the venue and has completely changed the way we approached Cruzan Amphitheatre this year,” notes Zac Brown Band System Tech Preston Soper. “In the past, I had to attempt to cover the entire lawn area as well as the reserved seating. This year, I was able to focus on the reserved seating and let the KARAi take care of the lawn seats and it did a great job.”
“The sonic signature of the high frequency is something we have always appreciated about KARAi,” sums Beachsound’s Rosenstock. “It has an incredible ‘hi-fi’ sound with a very punchy tone free of the harshness you can find in other mid-size variable curvature line source cabinets. The high-end definition and clarity was a key component to our decision to spec the KARAi arrays, which have blended and done an amazing job working in conjunction with the different systems that have come through the venue.”
Beachsound & Lighting, Inc. can be found online at www.beachsound.com.
Audio at an EDM festival can be a bigger challenge than it would first appear. It’s more than cranking up the volume and tripling the number of subs.EDM shows require a specific kind of flexibility and complete reliability as evidenced by
Miami’s Beachsound understands that EDM shows require a specific kind of flexibility and complete reliability. As a result, the sound company relies exclusively on DiGiCo consoles for one of the EDM world’s biggest annual events, Ultra Music Festival.
“We are managing a lot of audio,” says Beachsound crew chief Neil Rosenstock who has headed up the company’s audio team at Ultra for five years. “If you are on a show with 96 inputs and you lose a channel, there are still 95 channels of audio to listen to.
“If you lose a channel on an EDM show, you just lost half of the PA. The productions look cool, but without the music they’re just blinking lights.”
Rock-solid reliability is a must and it is telling that Beachsound has DiGiCo SD5, SD8, SD9 and SD11 desks in its inventory, and during Ultra every console in the shop goes out on the gig.
“For Ultra 2014 we had an SD5 at the Main Stage feeding an SD11 as the production console,” Rosenstock reports. “We have been all-digital from the time the signal hits the SD-Rack for about four years now. Everything from the console to the amps is run AES and the connection from the SD-Rack to the SD5 is all fiber. We are taking S/PDIF outputs from the DJs to feed the PA along with an analog feed as a backup.”
Lorin White was the house mix engineer on the festival’s primary stage this year and his role is a little different at Ultra than on the typical rock gig.
“About two-thirds of the acts travel with their own engineer, but that term in EDM can mean a lot of things,” he says. “Some of them are more like a producer. They’ll show up and check out the PA, and during the show may actually be onstage with their client while I mix.
“Some will stand with me and supervise, and some are hands-on with the faders. For that last group of guys it is crucial that the console offers the ability to have every control they need during the set immediately at hand and not buried in another layer. The DiGiCo desks give us that ability.”
Ultra is one of the biggest EDM events in the world, drawing some 200,000 attendees to Bayfront Park in downtown Miami every spring. In addition to the SD5 and SD11 at the Main Stage this year, Beachsound provided an SD9 on the Radio Stage and an SD8 for one act on the Live Stage.
In addition to ease-of-use and overall sound quality, Beachsound turns to DiGiCo for some very specific needs for Ultra. In particular, the onboard dynamic process as well as the ease of integration with the Waves plug-in architecture.
“DJs have EQ and that can be a challenge,” says Rosenstock. “The DiGiCo EQ and compression allow us to keep an overall consistency in the sound despite every DJ providing us with very different EQ. The onboard dynamics processing is crucial in managing overall volume no matter how hard the act is pushing the inputs.
“Ultra is shoehorned into a relatively small area for a music festival and we have to keep it down to 106 dB A-weighted, which can be a challenge.”
“What we are doing is really managing the outer edges of the sonic spectrum,” adds White. He points to DiGiCo’s easy integration of multi-band compression plug-ins as a must-have for these gigs.
“Some of the DJs have been known to overdrive the inputs and there is the ever-present low-end whose impact has to be maximized without taking us past our SPL limit. But there are also these high-frequency filter sweeps that many DJs incorporate as an effect.
“Those can get very harsh and brittle sounding through a big PA without some treatment. The ability to access excellent multi-band compression—be it via the onboard dynamics or plug-ins—means we can treat each part of the spectrum separately. We never have to sacrifice in one area to get another part of it right.”
And Beachsound is spreading the DiGiCo gospel to other parts of the EDM world.
“Last year, we had an act come in whose engineer was not familiar with DiGiCo and because of an issue with his console he had to use our SD5,” White recalls. “Initially, he was not happy about it, but he seemed to soften up during the actual show. This year, he was back and told me he has been touring with an SD11 ever since last year’s Ultra.”
Beachsound owner Andre Serafini sums it up by adding, “As a rental house we stock several console brands to meet rider requirements. But when the decision is ours, the choice is always DiGiCo. We wouldn’t do a gig like Ultra with anything else.”
Andre Serafini: I am a drummer and I started tinkering with live sound in high school for my friends that had bands. As a drummer, I found the production side natural, as I was working with microphones and other production gear. I actually got pretty good at handling different type rooms and such, so as time went by, my reputation grew. After building up a decent list of bands as clients, I decided to go ahead and take the plunge and make the company official. It really took off. Within the first two years, Beach had hired three employees and had branched off into other areas such as corporate shows and live events.
When did Beachsound start?
We began doing small events in the late 1980s. Probably 1989, to be exact. We made the company official in 1994. We thought Beachsound was an appropriate name, due to the frequency of shows we were doing in the Miami Beach vicinity. It was a really interesting time in Miami, with the influx of Spanish speaking immigrants as well as it being the pinnacle of the violent drug boom. In order to survive in those times, we had to learn Adaptation and Accommodation, which I believe was a fortunate lesson to learn at such an early stage in our business. Pleasing the customer was paramount in those early days, and that principle has stuck with us and is really part of our DNA.
In the early 1990s, we were operating out of a truck with a four-by-eight-foot trailer. We now have a fleet of trucks including a tractor-trailer rig. We are constantly running out of space. I bought my first building about seven years ago. We grew out of that in the second year, but we still have the meat of our gear and all of our offices at that location. Beachsound won a Parnelli Award in 2010 [Hometown Hero Sound Company of the Year], which is very important to us. I never thought a small bit of recognition would be that important, but we are all very proud. Being a part of two video shoots with [LD] Tom Kenny that won Grammys was another achievement for Beachsound. We have been fortunate to provide installation work at some of South Florida’s landmark venues, including major casinos and the Miami Heat’s home court, American Airlines Arena. All in all, we’ve done a ton of exciting gigs and remain in love with this business. I’m very proud to say that people call Beachsound when they want quality. That’s probably the best compliment we can be paid. Especially when it comes from the best artists, designers and companies in the industry.
What are some of the services that Beachsound offers?
Beachsound is a full service production company. We provide sound, lighting, video, truss, rigging, design, visual design suites, product training, support, repair, trucking and labor. While we started in audio, we’ve grown to have one of the most complete inventories in the region. Our gear is only the best. We provide d&b, L-Acoustics, Martin, Thomas, MA Lighting, DiGiCo, and Avid, to name a few. We’re very proud that 90 percent of our customers are repeat customers.
Explain how a sound company gets into lighting and video.
Beachsound developed a working lighting department very early on, due to the immediate demand of our clients needs. Most people did not realize the activity of this department in whole, due to the company’s name at the time, “Beachsound.” At this point our lighting department is as large as our audio departments, and still growing, and it has been recognized by some of the top players in the industry. We are now known as “Beachsound & Lighting.” We also have been deploying LED, projection and switching for years now. Another out-of-necessity growth area.
What are some of the big name productions/events that you have put on?
Aerosmith in Ecuador was fantastic. The opening of the Miami Marlins stadium was a huge event for the city and all of South Florida. We’ve run the gamut, from presidential campaigns to top artists such as Ricky Martin. We did a beautiful Juanes DVD shoot that won a Grammy. The Mercedes Benz Corporate Run is always exciting. And I guess I couldn’t get away without mentioning the Ultra Fests we have done for many years now. These shows are getting bigger every year. Spectacular line ups and crowds. We love the collaborations that go on for Ultra. It’s becoming quite an important show for the city of Miami and it’s economy, and Beachsound is at the forefront.
What are some of the trends that Beachsound is seeing in the industry?
I see the trend of boutique companies handling different aspects of the shows. After the last five or six years of a tough economic situation, it seems as though people are gravitating towards quality over quantity. While customers were forced to use less quality equipment when given smaller budgets for the same shows, I think a streamlining of sorts has begun. If company “A” does a great job on video and company “B” has immaculate sound and lighting, I see the client splitting the duties rather than taking company “C,” who does it all at an average level. A bit more time-consuming to put together, but certainly getting the most out of their budgets. We’re lucky to have excellent quality in many areas, so we do win quite a few full productions.
What makes Beachsound stand above the rest?
Quality, quality and more quality. We place a lot of value in relationships with our clients. We take a lot of pride in what we do, and are passionate about our craft. Attention to detail, project preparation, dedication and providing creative solutions. These values and work ethic give us that repeat business and ultimately provides new business. Anyone can have the best gear and tons of events booked, but if you don’t have the right people behind the scenes, it is all for naught. I know I am biased, but I am proud to work with what I feel is the best team in the business and they lay it on the line and prove it, day after day and night after night.
What is the future of the industry, and Beachsound?
Back to the two principles quoted above: “Adaptation and Accommodation.”
Beachsound & Lighting: Company Snapshot
1989: First gigs. 1991: Three employees. 1994: Official company launch. 2010:
Parnelli Hometown Hero Award (sound)
Full technical production: lighting, audio and video gear along with staging, certified technicians and design services.
1001 Park Centre Blvd., Miami Gardens, FL 33169
Four years into this regular date on the festival calendar and audio suppliers Beachsound are getting the measure of Sunfest in West Palm Beach Florida. “The promoters have built a great event over the years,” began Beachsound CEO Andre Serafini, “We’ve worked the last four but this is our second year doing the main stage. We started on one of the smaller stages then following our 2009 investment in the d&b J-Series we covered the main stage for the first time last year. For us the J-Series is a great system for Sunfest; true to the festival ideal, it doesn’t just cater to one style of music, there really is something for everyone.”
This year’s line up included Weezer, ZZ Top, Maze featuring Frankie Beverly and Charlie Daniels, “About as eclectic a mix as you could wish for” said Beachsound’s veteran system tech Neil Rosenstock, “yet for me there were no quibbles, no requests for re-EQ, I just set it to the calculated coverage pattern and turned it on.” Brad Madix who mixed Weezer had his own observations. “Our show went quite well, thanks. We didn’t actually soundcheck, but I did get the opportunity to go in early in the morning and get set up at FOH, load in some plug-ins, load in the band show file, things like that. Customarily I walk through the crowd during the day to check coverage. Obviously in a festival situation you are constrained as to what you can do to correct any problems you might find, but in this case the coverage was really good. When the show kicked off, it sounded just fine from the downbeat.” And what did he think of the system? “I really liked the tightness of the low end. There’s often a tricky balance between power and tightness, and it’s easy to lose one when going for the other. The Beachsound system had both, I thought. During the set, I made minimal changes in the EQ; really nothing to speak of, and probably more a matter of mastering my mix than tuning the PA.”
In complete contrast to Weezer, Maze with Frankie Beverley is in a groove of its own unique making. Underpinned by 70s style R&B but with a funk rock edge, they stretch an engineer in different ways. “This was our first time at Sunfest” began FOH engineer Tim Kidwell. “And we had a good experience. Beachsound were excellent; this was not just an equipment list, their guys really made it special. I have used d&b before, and J-Series quite a few times and I like it for its depth and detail. The fidelity is very musical for one thing. There are plenty of good systems out there, systems that are clean and loud, but they can lack subtlety. That’s the thing with J, and it’s extremely accurate too: I’m old school and I like analogue boards and Beachsound gave me a Midas H3000; I’d make a small change to a channel EQ and I’d hear that small change right away. That’s accuracy; you’re not using a broadsword to cut through to what you want. I just put things in the mix, depth, tone and it is right there.” Kidwell also took time to walk the site early in the day. “This was a big park down on the water; shoreline on one side, harbor to the other. The sound travelled well; I went out and listened to other bands and sure, as you went further back the level dropped eventually, but there weren’t any heavy frequency drop-outs. I wasn’t aware of any restriction from the noise police and there were no big buildings nearby so not even the chance of slap back; a nice environment to work.”
Beachsound were lauded by both men for pulling off a great job, “The crew was great,” said Madix. “It’s easy to overlook the local crew when things go perfectly well, because in that case there’s not much to remember! Everything was perfectly pleasant and we were ready in plenty of time. Beachsound performed very well in my estimation, both in terms of equipment and personnel.” Kidwell was equally happy, “That was the other thing, Beachsound’s gear is scrupulously maintained; that says to me, these are people who care. It was a great day.”
With 8 stages of electronic music scattered around downtown Miami Florida and an estimated record attendance of 165,000 over a weekend, the Ultra Music Festival (UMF) is North America’s second largest electronic music event. Since 2008, Miami’s Beachsound & Lighting have facilitated the performance and production duties for the main live stage. This year for the first time, Beachsound slotted a DiGiCo SD8 into FOH duties to handle a majority of the headliners over the 3-days—over 100 DJs from David Guetta to Tiesto—with FOH Engineer/Crew Chief Neil Rosenstock at the helm aided by Systems Engineer Harry Brill.
“All the DJ’s and vocals went through the SD8,” offered Beachsound president, Andre Serafini, “and the sound quality was superb. There were over 30 sets performed over the 3-day span from artists including Tiesto, Skrillex, Benny Benassi, Avicii, Fat Boy Slim, David Guetta, Steve Aoki, and Armin Van Buuren. One might think that when you do a show with a DJ, it’s just a simple Left & Right feed, toss up the faders, and go get something to eat. Shows like this have evolved into very large productions and each year we are working to raise the bar technically and to achieve the next milestone in audio quality that the promoters and the fans expect. Putting the DiGiCo on the front end of the system was the icing on the cake, and one that also gave us extreme control to manage the variable sources that were sent to us. We found that the best feature of the SD8 was the dynamic EQ on the DJ’s. When a DJ would sweep up and down, the HF compressor would keep it under control. Having the ability to move channels around quickly was effortless and proved to be a much-needed feature. Also, the SD8’s intuitive interface made it a great choice for this festival environment where we have a lot of guest engineers that may not be familiar with the desk. We chose the SD8 because it has been a reliable console and consistent in accommodating the variety of music genres we handle—be it live bands and/or DJ’s. All in all, it proved to be a fantastic choice for the weekend and will certainly be front and center at next year’s event.”
Throughout the weekend, comments from guest engineers and artists were prolific, especially regarding the sound quality of this year’s event.
“It was really great to work with you and your team,” offered Winfried Blank, tour manager for the German outfit, Kraftwerk. “We were more than happy with your fantastic-sounding console and PA. As Kraftwerk’s music is very straightforward and powerful, we like to have clear bass impact and full frequency response—even in the ultra lows below 30Hz. I just have to say we got what we expected and would like to do it again with Beachsound.”
DiGiCo is a UK-based manufacturer of some of the world’s most popular, successful and ground-breaking digital mixing consoles for the live, theatre, broadcast and post production industries and is exclusively distributed in the U.S. by Group One Ltd. of Farmingdale, New York. For more information, go to: www.digico.org
DiGiCo Press Contacts
David Webster at DiGiCo
Tel: +44 1372 845600
Diane Gershuny at DGPR
The idea of an electronic music festival might send a shudder down your spine—for many it does.
Characterized by the kind of sound frequencies that make one weak at the knees, Ultrafest in Miami Florida is billed as the World’s Premiere Electronic Music Festival and it lives up to every expectation, including the earth shattering.
Beachsound based in Miami have built a reputation at this festival after providing audio for multiple stage for several years. Neil Rosenstock who heads Beachsound’s audio production team for the event has deep roots in this style of music and knows exactly how to make it sound great.
“It’s no secret really; we have been putting in d&b audiotechnik systems at Ultrafest year after year,” Rosenstock explains. “For 2012 we used J-Series for both stages with some Q-Series and C7s for fill and delay.
“We find that if you select the appropriate system to the size of stage then d&b will always hit the spot.”
A thought qualified by many performers, Frank Voet, FoH engineer for Justice is typical “I really like the sub settings. Dance music needs to have a short kick! I’m happy!”
The subwoofer settings are not to be taken lightly (pardon the pun) as Harry Brill an independent consultant who supported Rosenstock for the event pointed out.
“Neil designed the entire PA for both d&b stages. We discussed some issues I anticipated with the sub array being very long horizontally, and addressed them together,” he adds. “Neil is a very competent engineer and system tech. I was brought in to collaborate with him and to optimize the system; I use Smaart to help with that.
“The sub array was really amazing. The d&b array modeling software makes it so easy to try things and check on the result. We wanted the coverage to be well defined without much of a power alley.”
The parkland setting of the 2012 festival made this a trickier equation than the more open site used in previous years.
“Sight lines required the J-INFRAs to be stacked only two high,” Brill continues. “At the recommended spacing for directional subs the horizontal line would have been so wide we would not have been able to open up the coverage even with the arc delay setting selected in the amplifier. I suggested we move everything in tight.
“I have used lots of directional subs and I wasn’t worried a bit. Worse case we lose some of the intentional cancelling behind the array but it honestly worked really well. Getting the boxes closer together really helped open up the pattern.
“Some say you need a certain kind of box and a certain kind of tuning for a particular type of music. I don’t really subscribe to that theory but rather believe if the system can handle the SPL requirements at all the needed frequencies then I can use it.”
Beachsound’s founder Andre Serafini plans long and hard to ensure the success of Ultrafest.
“We have increased the number of loudspeakers each year; this year on the main stage we put more J loudspeakers, as well as on the Live Stage,” explains Serafini. “Moving the festival to Bay Front Park made for a nicer crowd environment and the whole site was a lot more energetic, but it presented new challenges for audio, not least the physical obstructions like trees and fountains.
“We knew well in advance what we would be dealing with and we do other events here in the park, but it did mean segmenting the audience areas and often treating each one as a discrete audio zone; then time aligning the whole system to make it coherent.
“We also had a separate PA consisting of d&b T-Series for the VIP area, a large covered environment that although well in range of the main system, needed that extra attention, especially in the mids and highs, to give that front row listening experience. The audience areas were not consistent, we had long narrow strips to cover, and then wide areas that were not so deep. Harry Brill and Neil Rosenstock did an excellent job.”
Brill saw strategic thinking behind Serafini’s management of the event, “I’ve known Andre for over ten years and he and his Beach crew are stellar. We try to work with each other whenever possible. The d&b partnership is just one more fantastic business decision he has made over the years.
“I’ve been a big fan of d&b as well as a few other PA manufacturers for many years. I can think of only a handful of players at that level. One thing I really like about the d&b J-Series is the phase response; it’s very well behaved which equates to a good solid time response.
“What goes in comes out very much the same. I really enjoy mixing on and even tuning the PA. I generally tune the PA as neutrally as possible and let the mixing console do the work of tonally shaping the artist. This allows the mix or the music to translate better from one PA to another. Some PAs are a lot harder to get there; d&b is one of the easy ones thanks to the ArrayCalc and the R1 system management software.”
The plaudits have been raining in since the festival ended, “I love d&b! Beachsound and their staff have been awesome!” said Sean Rampton, FoH Engineer for Chase & Status.
Harry Nathan from Australian act Foniko was in the same space, “Debut gig at Ultra and this has to be the best audio visual setup I’ve ever seen; especially the sound quality which was absolutely incredible.”
The go-to performance of the festival came from Kraftwerk, a band whose name is synonymous with the birth of electronic music and whose presence on any lineup demands attention. Their production Manager Winfried Blank was unequivocal – “Thanks for your support. It was really great to work with you and your team. We were more than happy with your fantastic tuned d&b J system. As Kraftwerk’s music is very straight and powerful we like to have clear bass impact and full frequency response, even in the ultra lows below 30 Hz. I have just to say: we got what we expected and would like to do it again with Beachsound.”
Miami Gardens, FL
“We’re here for the second time, and we are beyond thrilled,” states Andre Serafini, founder and president of Beachsound. And it’s been a good year for them. They just finished up supporting the 50th anniversary of the independence of Jamaica that involved emptying their warehouse of a “bunch of gear” and being part of the many festivals on the island nation. “The Village was set for six days of exhibition, activities and performances to exude the essence of Jamaica’s heritage.”
Other highlights for the company over the last year include the Jingle Ball, a Christmas show that featured Kelly Clarkson, LMFAO, and Cody Simpson; Jazz in the Gardens at Miami SunLife Stadium for a crowd of 50,000; and the Nine Mile Music Festival at Virginia Key Beach Park, where they “kept the sound and lights grooving from 2 p.m. to well into the evening.” They also support events at Miami’s Marlins Park.
“We increased our staff this year and are up to 18 people, and purchased some new DiGiCo SD5 consoles that we’re really thrilled about. We added some d&b [audiotechnik products] as well,” including the new V-Series to complement the company’s J Series systems. Beachsound also has plenty of Q Series and T Series speakers available.
Serafini’s 20-plus-year background in pro audio includes Dolby Lake and L-Acoustics certifications and international touring experience. Initially the company started as a recording studio, which Serafini parlayed into live sound. No starting-in-a-garage story here: Beachsound started in a 4-by-8-foot trailer.
“I was doing a lot of the underground alternative punk and metal scene in the beginning, and have experienced steady, moderate growth ever since,” he says. “The years 1998 to 1999 saw a growth spurt where I was getting better accounts and dabbling in more corporate work. I wasn’t just doing events that were music-based, but industrial and theater projects.”
He’s pleased to have his company in the winner’s circle. “The last time we won the Hometown Hero award, it was really a good thing for us,” Serafini says. “The exposure helped our business grow, and that’s why we’re so honored to be here again.”
Beachsound Goes Martin for Brazillian Artist Ivete Sangalo’s First Major US Concert!
Charismatic Brazilian pop star and Latin Grammy Award-winner Ivete Sangalo kicked off a string of US dates at Miami’s American Airlines Arena on August 28th. The artist, who performed beneath a Beachsound-supplied rig of Martin MAC luminaires and backdrop Martin LC Series LED screen, is one of the most popular Brazilian singers, having sold over 12 million albums worldwide.
Full service production company Beachsound, Inc. of South Florida provided a full turn-key package that included lighting, LED video and imaging, audio and labor.
Beachsound, celebrating their 15th anniversary this year, is a Martin dealer with an impressive inventory of entertainment production gear. No stranger to big time live performance, they have supplied big shows for artists like Gloria Estefan, Marc Anthony, James Blunt, Paulina Rubio and many others.
“When we got the call to do the first concert in the US for one of the most popular and best-selling Brazilian female artists, we were excited,” stated Beachsound Operations Manager and event Crew Chief Juan Ugas. “We proposed a Martin rig of 20 MAC 2000 Washes™, 28 MAC 2000 Profiles™, 11 Atomic 3000™ strobes, and 18 LC Series™ 2140 LED panels with a P3-100™ processor.”
Ugas worked together with Ivete Sangalo’s lighting designer, Junior Luzbel, to customize a look to match the high energy live performance and fulfill audience expectations. Beachsound and Luzbel didn’t disappoint.
LC Series simplicity
By all accounts, the show was a rousing success. Ivete Sangalo moves on to Madison Square Garden in New York City, where she will record a live DVD.
Beachsound’s Juan Ugas concludes, “Besides being rider friendly and cost effective, the Martin gear is very reliable. The event went very well. Everyone seemed to be very pleased, as were we!”
Lighting Designer: Junior Luzbel