GLASTO '08

August 2008

TPi rounds up some of the production highlights from worthy farm.

Uncharacteristic good weather, improvements to the Worthy Farm site and close working relationships between various agencies were the key drivers behind the success of this year’s Glastonbury Festival. And despite slower than normal advance ticket sales, the eventual turnout was as high as ever.
    Although rapper Jay-Z’s headlining appearance on the Pyramid stage prompted criticism — notably from Oasis’ Noel Gallagher — that hip-hop compromised the festival’s rock roots, the star wowed fans with his acclaimed performance.
    With tongue firmly in cheek, Jay-Z opened his set with a cover of ‘Wonderwall’ — complete with a giant 15 x 5 panel Lighthouse R7-ER LED screen from The Picture Works — and ironically boosted sales of the Oasis classic and returned it to the UK Top 100, 13 years after its original release!
    Other performers who benefitted from significant post-Glasto record sales increases included Neil Diamond, The Verve, Amy Winehouse, Kings Of Leon, MGMT, Kate Nash, Duffy, Foals, Crowded House, The Fratellis, Edwyn Collins, Editors, Goldfrapp, The Last Shadow Puppets, Gilbert O’Sullivan and folk legend Leonard Cohen. It was indeed a typically diverse line-up of old greats and the best of contemporary talent.
    RG Jones, Synco and Martin Audio collaborated to create sonic solutions for the Pyramid stage with an all-new PA system design that saw RG Jones extend its contribution in 2007 from the stage sound to the main arena PA.
    Engaged last year to provide full control systems and stage monitoring, this year the team was brought in by Chris Beale of CBA and Dick Tee, respectively Pyramid stage sound co-ordinator and production manager, to supply a powerful, pristine, controlled sound solution and a highly experienced crew for both stage and FOH.
    In charge of the south London-based rental company’s team was renowned FOH engineer Simon Honywill (whose involvement with RG Jones goes way back) with Diarmuid McLennan at his side, and system engineer Mark Edwards.
    As well as heading up the on-stage operation, Mark Isbister was overall responsible for pre-production. Monitor world was looked after by Steve Watson and Isbister, alongside ‘patch master’ Ali Viles; whilst Steve Carr, Ben Milton and Laura Yensen took care of the stage.
    Martin Audio became involved in March this year, when RG Jones director John Carroll asked if the company would be interested in proposing a sound system design for the Pyramid stage. Convinced that it had the products to meet this challenge, Jim Cousins and Jason Baird set about conceiving the design immediately the tender document was received.
    This document centred round a specification written by Beale which described the coverage patterns and SPL levels required for all the main sound systems used at the festival. As well as specifying figures for the audience areas, it also sought to minimise spillage between the stages. In order to graphically demonstrate the parameters set out in the Martin Audio design proposal, Cousins and Baird made exhaustive use of Martin’s proprietary 3D predictive software, Display.
    Since the Pyramid stage field is 350m deep and around 200m wide, the team rigged dual 15-deep left and right hangs of Martin Audio’s W8L Longbow high power line array, each with W8LD downfills and complemented by W8LC stereo infills. The arrays — dry hired from Capital Sound with on-site support from Ian Colville — were individually EQ’d and aligned using XTA Audiocore software controlling an array of DP226 processors under wireless tablet control to ensure the requirement for consistent levels across the arena, and rapid attenuation beyond it, were fully met.
    As well as coverage within the site, Martin Audio also had to be cautious of any spillage beyond the perimeter. Extensive off-site noise monitoring by Mendip Council and Capita Symonds was designed to ensure that the festival remained within the levels set down in its licence. Display’s 3D mapping facility enabled Cousins to accurately map the terrain right out to surrounding residential areas and predict the Pyramid stage arena’s contribution to the festival’s noise leakage with considerable confidence.
    The greater challenge was to design a sub array with similar properties. One of Martin Audio’s acoustic engineers, Andy Pardoe — along with Jason Baird — devised a central array of 54 WS218X 2 x 18" subs, a third of which were facing backwards. The whole array was mounted along the stage apron and driven in a cardioid configuration in order to control the levels on stage as well as spillage to the other stages.
    However, a long, straight array of subs has a laser beam-like dispersion pattern. A technique had to be found to widen this beam to cover the whole width of the field and to match the coverage of the main and side hang system.
    This required the use of sophisticated software-based modelling techniques for sub arrays, currently being developed by Martin Audio. This allowed Pardoe to demonstrate that manipulating the drive signal along the sub array, from its centre to the ends, could broaden out the beam to exactly the right coverage pattern.
    A significant benefit of this single cluster approach was that the ‘power alley’ created by widely spaced left/right sub arrays was totally absent. The low end was remarkably smooth over the whole of the field. Equally impressive was how the system maintained this controlled coverage character right to the back.
    RG Jones’ long-time membership of the Synco Europe Network was underlined by a new stage monitor system comprising exclusively Synco proprietary low profile stage monitors. The monitor system consisted of 20 Synco CW15A low-profile dual concentric 15" monitor wedges, complimented with two 2 x 15" STS Synco subs for the drumfill. System EQ was achieved using XTA digital EQ controlled by a wireless tablet and Klark Teknik DN360 for grab EQ.
    Three delay hangs of Synco by Martin Audio W8LC-based line array hangs, with with eight Martin WLX units forming steered sub-bass arrays, from RG Jones’ rental stock, ensured excellent level and clarity across the 80,000 capacity arena.

DIGITAL IN CONTROL
Control systems reflected RG Jones’ successful deployment of an all-digital signal control solution in 2007. A highly flexible line system provided both digital and analogue feeds to monitors, FOH and the BBC’s outside broadcast team, configured as classic festival A/B systems, allowing one band to perform while the next was being line checked and a third set of equipment was being prepared backstage.
    A mixture of 12-pair and 48-pair multicore systems was interfaced with 96 ways of Klark Teknik active splits to generate the FOH, monitor and media outputs.
    The system was also designed for fast interfacing with visiting bands’ line systems. One of last year’s successful RG Jones innovations, a sophisticated shout system between stage and FOH, saw all stage crew wearing a radio IEM and a push-to-talk radio headset, while FOH and monitors had switched microphones and wedges, all controlled by a dedicated Yamaha LS9 mixer.
    Another solution carried over from last year was the all-digital FOH setup, offering engineers a pair of Digidesign Venue consoles at FOH in an A/B flip-flop configuration, with a D-Show Profile serving as FOH matrix, linked to stage via an Optocore DD32E digital fibre-based network system — and thence via AES to the XTA loudspeaker processors. The solution maintained a digital signal path all the way to the DP226 outputs, while the consoles’ integral processing and plug-ins eliminated the need for effects racks.
    The combination of Venue’s unique mix buss algorithms and the Optocore’s ultra-high speed transmission resulted in optimum audio quality. For visiting engineers who opted to use their own consoles, the team had a rapid changeover routine well rehearsed, allowing 20-30 minute intervals between bands.
    Simon Honywill commented: “RG Jones were invited to submit a design for the complete system after delivering a successful job with the stage and control systems last year. Many of the suppliers involved with the festival, including the BBC had stated that they were very impressed with the way the stage was handled, and with the team in general.
    “Chris Beale was confident that we could deliver, and we have found that people appreciate our approach, which we could sum up as being ‘not very rock’n’roll in a traditional sense’, but completely dedicated to what we do.”
    As ever the sound design team, working in conjunction with environmental acoustics consultants Capita Symons, faced a dual challenge — delivering a exciting sound level to the packed main bowl audience yet without allowing the excess spillage into areas outside the site that have caused problems in the past.
    “A great deal was learned during last year’s festival,” said Chris Beale, “and in particular, it was decided that we would draw up an audio specification that described not only how the audio system in each of the three main arenas — Pyramid, Other and Jazz — should perform, but how they should be designed so as not to interfere with each other.
    “For the Pyramid stage arena itself, the design called for a main PA in which the top cabinets would be angled down by 8° to ensure it would get under potential wind effects, and a bass array design that took into account low frequency pressure limits in the audience areas near to the stage, relative to the low frequency sound pressure distance. And the delays would need to be proportionately as powerful as the main system, again angled down and with individual cabinet control. Those criteria together provided the basis for designing the arena system.”
    Beale added: “Melvin Benn [festival production director] paid very close attention to the system and walked the arena with us, and he’s extremely satisfied. We’ve got a great result, because of the amount of effort that everyone’s put in, the thinking and co-operation that’s gone on between everyone involved has been really good. And following the weekend, the local authority have declared themselves very happy too, which is great news for the festival.”

AN ELEGANT SOLUTION
Optocore devices were used again for the digital returns system on the Pyramid stage, sending multiple AES channels to stage processors and distributing them, as well as transporting the RS485 control signal.
    Andy Huffer of Optocore’s new UK distributor, HD Pro Audio, explained the set-up. “At FOH, the AES outputs from the Digidesign Profile console were sent to the Optocore DD32E device, with all digital devices locked to an external word clock. The DD32E also received an RS485 input from an XTA DP226 processor located at FOH.
    “These signals (both AES and RS485) were then sent to the Optocore DD32 device located on stage, and distributed. The AES signals were patched to multiple outputs via the Optocore internal matrix, allowing the same signal to be sent to multiple XTA DP226 processors where necessary — as in the case of the main PA hangs, where one input signal was ‘zoned’ via several DP226s.
    “The RS485 signal was also sent from the DD32 device to the first DP226 in the RS485 chain on stage. Custom XLR panels were used to allow for easy patching of all amplifier and processor racks with four-way AES multicore cables.”
    Huffer concluded: “The main advantages of using Optocore for this application were the easy transport and distribution of multiple AES signals, an area traditionally full of cable and word clock issues, plus the solid transportation of RS485 control data, which can prove unreliable over long distances and multiple connections.”

A ROLAND DEBUT
Roland Systems Group (RSG) teamed up with South West Audio to put the first RSS M-400 digital consoles on a Glastonbury stage. RSG’s Peter Heath and Martin Thomas joined the crew working on the BBC Introducing stage, which had M-400 desks at both FOH and monitor positions, connected by the RSS digital snakes which could also be found on the Park stage.
    “All the bands on the BBC Introducing stage are unsigned so they tend not to have their own engineers,” explained Mark Bott, system designer and head sound engineer for South West Audio. “This gave us the ideal testing ground for Roland’s new M-400; essentially, we had a festival situation with hardly any guest engineers.”
    Teamed with the Cat5e-configurable digital snakes, the M-400 represents a formidable festival package — super-compact and lightweight, with excellent sound quality and a highly intuitive user interface.
    Making its UK festival debut, it was under pressure to deliver — the BBC Introducing stage, a showcase for up-and-coming artists nominated by BBC new music shows across the country, hosted more than 30 bands this year. Performances were carried live on a continuous webcast, and headliners The Wombats enjoyed a special live slot on Radio 1. All bands were being recorded for future broadcast.
    “The M-400 was really quick to set up, and we all felt that its work surface was very intuitive and easy to use,” continued Bott. “In the context of its cost, you simply cannot go wrong. For the BBC stage, it was perfect and we really enjoyed using it, especially features like being able to offer two-channel recording on to a USB stick.
    “In other festival environments, with numerous guest engineers, there may be the usual issues of familiarity but these will be solved with time and with training, as with any new digital console.”
    South West Audio welcomed the savings in manpower and time that came with Roland’s lightweight CAT5e digital snakes. “All our engineers have commented on how clean and clear the signal was.”
    For the open-air Park atage, featuring a diverse list of performers including Pete Doherty, Cerys Matthews, Dizzee Rascal and Brazilian electro-rock sensation CSS, the snakes had to be buried.
    With the FOH mix position some 40m from the stage, South West used both the S-1608 and S-4000 versions of the digital multicore to run 48 channels of audio, including returns and comms lines, with a split to the monitor console, plus a fully redundant system.
    “At the BBC Introducing stage, we simply flew the multicore and that was really simple,” said Bott. “At the Park stage, our only options were to use cable ramps which would have had consequences for the budget, or to bury it.
    “With the digital snakes, you vastly reduce the risks of an accident, such as someone putting a spade through the multicore, and it costs so little that we can just leave it buried after the event! And by running one extra cable, we can have full redundancy which gives us the confidence that the system is going to run, no matter what.”
    The systems were accompanied into the Glastonbury fields by Peter Heath and Martin Thomas from RSG, who worked with South West Audio for the duration of the festival, helping to bury their digital multicores as well as mix the showcase bands.
    “We’ve seen the desk working flawlessly without any issues being raised over input or output capability,” said Heath. “About six visiting engineers used it and reported that they found the M-400 interface to be very intuitive, logical and easy to work with, and that they thought it sounded excellent.”
    South West used recently-purchased lighting and sound equipment from Miltec (UK) Ltd on the Park stage. The company took advantage of its new Lynx line array system from VMB — comprising eight Lynx V8 active top boxes, with six Lynx active 218 subwoofers per side, driven through a new Ark 48 system processor — as well as Ecler powered speakers for monitoring.
    The company also used MT IP-rated LED battens and moving heads (XL1200/ XL700 profiles) from PR Lighting.

ADLIB...SKAN...TANNOY...
Adlib Audio provided sound services to six stages and fielded a crew of 20, chiefed by Hassane Al Essiahi — a project co-ordinated by Dave Jones.
    The Liverpool firm serviced the Cabaret tent (Nexo Alpha/Soundcraft); Circus stage (Adlib FD rig/Yamaha/Soundcraft); Astrolabe stage (FD/Yamaha); Blazing Saddle stage (FD/Yamaha/Soundcraft); Outdoor Circus stage (FD/Allen & Heath Mix Wizard); and also crewed a small mobile system provide sound reinforcement to various on-the-spot events.
    Meanwhile, Skan PA catered for audio needs at the Other stage with a Midas XL4 FOH desk mixing to a L/R d&b J-Series line array and L-Acoustics V-DOSC centre hang, powered by d&b D12 amplifiers.
    Tannoy’s hot new VQ Series loudspeaker system was successfully deployed in the Dance Village’s 1,400-capacity Igloo tent, which hosted top name DJs.
    With just a single stack per side, comprising a VQ Net 60 cabinet above an accompanying VS218 DR subwoofer, the aesthetic impact on the 360° visual projection space of the Igloo interior was minimal. Thanks to the VQ’s high sensitivity and incredible SPL, however, the sound from just that pair of stacks was phenomenal.
    Igloo Vision’s Colin Yellowley said: “The VQ system allowed us to provide amazing clarity of sound at a high impact level that left DJs clamouring to use the system.”

PEELIE’S WORLD
On the John Peel stage, which hosted 43 bands including The Cribs, monitor tech Mike Taylor used HK Audio products for the first time.
    Fourteen CT 115 ConTour Series hi/mid-range units, biamped with DSM 2060 controllers and Lab.gruppen FP 10000 power amps, served as front monitors. Two CT 112 enclosures and four CTA 118 units provided the drum fill, and one ConTour Array with two two CTA 208 and CTA 118 enclosures made up the side fill system.
    Commenting on the performance, Taylor noted: “With 43 bands and 20 minutes for each changeover time, you need monitors that handle this kind of action. I was tremendously satisfied with the CT 115 units... and the ConTour Array side fill was so accurate it felt like being in a studio!”

GOOD RELATIONS
Sennheiser Global Relations and Sennheiser UK once again provided support at Glastonbury, working with customer South West Group to supply a wide range of equipment and technical know-how for the John Peel, The Park and the BBC Introducing stages.
    This was the sixth year of this collaboration and it’s a combination that certainly works for South West Group MD Alister Pook who stated: “This partnership we’ve formed with Sennheiser is a win-win for both parties. I know the information they gain from being involved at this level is helping to make a great product even better, and it enables us to deliver the best possible solutions for the bands.”
    After six years of working with South West Group it’s no surprise that those involved have seen some changes occurring. “This year we were running Sennheiser evolution 300 Series IEMs with 500 Series radio mics, all with 935 capsules,” commented monitor engineer Mike Taylor.
    “All wired mics were also e935s and instrument mics were from the Sennheiser evolution range. I've been doing this gig for many years now and it’s encouraging to see the increasing amount of Sennheiser mics being specified year on year. People are finally getting out of the dark ages and actually listening to how mics sound.”
    Bands using Sennheiser equipment across all stages included Seasick Steve, The Raconteurs, The Feeling, Editors, The Hoosiers, Mark Ronson, Kings Of Leon and many more. Johnny Dodkin, FOH engineer for The Ting Tings on the John Peel stage, said: “It was great seeing the Sennheiser guys on site. Knowing we have their support at these festivals means a lot to myself and the band.”
    “It was a great weekend,” said Sennheiser UK’s artist relations manager Phil Cummings. “I'd like to thank everyone involved including Mark Saunders from Global Relations, our Sennheiser UK team, Andy Lillywhite, Alan March and Rob Sales, as well as the entire crew working on the three stages we were involved with, especially Alister Pook, Julian Spear, Mark Bott and Mike Taylor.”

AVO IN CONTROL
Avolites lighting consoles were once again the universally popular ‘console of choice’ site wide across the numerous stages. Over 28 Avolites consoles were in action, along with at least 20 Avolites Art2000 dimmer racks.
    At Jazz World, where Jimmy Cliff, Estelle, Joan Armatrading and Eddy Grant performed under the 18m Serious Stages Orbit roof, lighting was supplied by Essex-based DPL for the second year running, and designed by DPL director Pete Watts, who specified an Avo Diamond 4 Vision.
    This was controlling 28 moving lights (a mix of Robe and Martin), an assortment of PARs, ACLs and ETC Source Four profiles, plus ChromaQ DB4 LED battens, 12 Robe ColorSpot 1200E ATs and six Robe ColorWash 2500E ATs, a backdrop of 42m2 of ChromaQ ColorWeb LED and six Robe 8-lite LEDBlinder 196 LTs on top of the PA towers. The results were stunning!
    The LED fixtures were fed with content from a Hippotizer V3 digital media server triggered by the D4. “The D4 is flexible, powerful and gives instant access to everything, which — when you have moving lights, generics, digital and architectural lighting, plus visiting LEDs to accommodate — is absolutely essential,” commented Watts.
    On the Pyramid stage, Amy Winehouse’s LD Chris Bushell used a Diamond 4 Vision for her Saturday night performance. Editors LD Chris Steel did the same on the Friday, and lighting for The Verve, who closed the Pyramid stage on Sunday evening was also Avo D4 controlled.
    All lighting equipment for the Pyramid and Other stages — including Robe ColorSpot 2500s and 8-lite LEDBlinders — was supplied by Neg Earth. In fact, the robustness and weather resistance of Robe fixtures generally make them an ideal choice for festival lighting, and they proved to be a hit amongst a range of LDs all over the site.
    Over on the West Dance stage, the familiar party team of Jaz Bullah and Stuart ‘Woody’ Wood operated another D4 Vision. They split the operational duties into shifts, and lighting kit was supplied by Colour Sound Experiment. The D4 was controlling 18 Robe movers, Atomic strobes, PARs, 2-lites and i-Pix BB7 and BB4 LED wash lights.
    Colour Sound also supplied Avo desks to the G stage (Pearl Expert operated by Toby Lovegrove), The Silent Disco (Pearl Expert/Kester McLure), the Dance Village Lounge Bar (Pearl 2004/Colour Sound Collective), Continental Drifts stage (Pearl Expert/Adam Povey), the Baseline Circus/Shangri La tent (Diamond 4 Elite/Alan King) and five Pearl Tigers covering lighting control in the larger of the 18 Workers Beer Company bars across the site.
    Lighting was provided by Colour Sound for the Glade stage, which was designed by Jasper Johns, who operated the stage lighting using a Pearl Expert, while Stuart Picton ran a Tiger to control all the environmental lighting.
    Bristol-based Fineline once again serviced its traditional Glasto areas of the Theatre, Circus Big Top, Cabaret and Acoustic stages. Circus was again designed by James ‘Judge’ Loudon and the Pearl Expert running the shows for this hectically scheduled arena was operated by him, Jan Osborne and Didier Barreau.
    Over in the Theatre tent, Hal Himsworth used another Pearl Expert, as did Kris Lundberg in the Cabaret tent. All these areas also featured ART2000 48-way dimmers.
    The Acoustic Tent lighting was designed by Rob Sangwell, complete with a D4 for control, operated by Sangwell and Mike Dicken. Fixtures included Martin and Robe moving lights and assorted conventionals.
    Fineline also supplied kit to the Outdoor Circus stage (a Pearl 2004 operated by Chris Drake), the Blazing Saddle stage (Pearl 2004/Tim Williams) and the Jazz Bar lighting, run from another Fineline Pearl 2004.
    South West Group (they don’t just do sound!) supplied lighting for the ever-popular John Peel Tent, featuring the hottest new music talents-of-the-moment, with a rig designed by Cate Carter. She specified an Avo Diamond 4 Elite console for its power, dynamics and quick programming. This was controlling 24 Robe moving lights and 72 channels of Avo dimming for PARs and other conventionals.
    South West dispatched a Pearl Expert to the main stage in The Park area, where the rig was and operated by Marc Rogers. This popular stage rocked with a full line-up and headliners Pete Doherty, CSS and My Morning Jacket over the three days.
    Also in The Park, the Radio 1 Introducing stage energised some of the best unsigned and just-signed musical talent on the planet, with lighting controlled by another Pearl 2004 from SW Audio, operated by Liam Griffiths.
    Over in the Fields of Avalon, Southampton-based GLS was again the lighting contractor. The kit list in here was headed with an Avo Diamond 4 programmed and operated by Will Thomas and Matt Morris. Fixtures included GLS’s new Robe ColorSpot and ColorWash 700E ATs, ChromaQ ColorBlock DB4 LED battens and Source Four profiles.
    Siyan supplied a Pearl 2004 and lighting for the Leftfield stage, with John Baker looking after FOH and the console, along with an enthusiastic team of students from the BRIT School. They had no trouble picking up how to operate the Pearl very quickly, allowing Baker more time than usual to enjoy the line up while overseeing the action.
    As is tradition, Avolites also sent a strong team of ‘Avolifers’ to site. Their mission was to enjoy the great atmosphere, catch up with Avolife friends — old, new and groovy — all over site and help everyone party on happily for yet another uniquely fabulous Glasto weekend, claimed as one of the best for 10 years and blessed with sunshine.
    The 2008 Avolife team were Koy Neminathan, Lindsey Markham, Phil Blue (ably ‘supported’ by TPi’s Hannah Eakins!), Isa Sapin, Nick Forro, Aziz Adilkhodjaev, Stephen Booker, Stephen Baird-Smith, Luke Kou and Greg Haynes.

GOING GREEN WITH i-PIX
Collaborating with Greenpeace, i-Pix supplied its BB4 and Satellite fixtures to Greenpeace’s Greenfields site, after being approached by the organisation who wanted their area to be as eco-friendly as possible.
    The Satellites and BB4s were used to illuminate a large skate ramp complex at the centre of the Greenfields area, the end section of this also doubled as a band stage area showcasing a series of up-and-coming talent.
    The Greenfields area lighting and AV was co-ordinated by Niall Whybrow of Potters Bar-based PP AV, and this year i-Pix provided an ideal green solution.
    “Anything that reduces the amount of energy consumed is good and what i-Pix are doing is very interesting,” said Bob Wilson, events co-ordinator for Greenpeace UK, who added that they had been keen to work with the Manchester-based specialist LED fixture manufacturer since Live Earth last year. He said that he also hopes the stages at Glastonbury will start exploring more low-energy options as appropriate fixtures become available.
    The skate ramp was illuminated with four BB4s which each draw just half an amp at full power, so they are also exceptionally expedient on power consumption for the light output. These were rigged at the highest point and washing along its length.
    In the evenings, a projection screen was rigged at the back of the ramp forming a backdrop for the stage, and the light levels in this area were boosted with two more Satellites and two BB4s, which Whybrow described as “awesome fixtures”.
    The other four Satellites were used to wash the front of the ‘Eco House’ — a show home featuring green living products, solutions and ideas, including low energy lighting, solar panels, regenerated cardboard wall insulation, special windows, etc.
    I-Pix fixtures were used in different configurations by LD Jasper Johns on The Glade stage, Jas Bullah and Stuart ‘Woody’ Wood in the West Dance tent, and by LDs Jonny Gaskell (Groove Armada) and Chris Bushell (Amy Winehouse).
ON SCREEN
As well as The Picture Works’ major contribution to Jay-Z’s performance (it also provided screens for the Leftfield and Glade stages), ADI supplied three video screens for the Pyramid stage.
    ADI arrived on site on the Tuesday to begin rigging the two 40m2 screens that would be flown either side of the Pyramid stage, as well as position the 25m2 mobile screen behind the FOH position about 50m from the stage.
    With huge crowds of up to 80,000 clamouring for a good view, ADI’s screens played a vital part — particularly the mobile screen, which allowed a good view for those behind the mix tower.
    ADI’s project manager, Nick Robinson, commented: “Having worked in the industry for 10 years and done music festivals throughout Europe, we approached Glastonbury as we would any other job, however, once on site it became clear that it is a very special event built on strong ideological beliefs and supporting a plethora of worthy charities.
    “The attitude of all those working there reflected this; in an atmosphere of co-operation we delivered to as diverse an audience as I had ever seen.”   

REINFORCING SAFETY
The Event Safety Shop (TESS) was once again involved in producing a safe and successful festival. Health and safety is at the forefront of festival planning, and this year saw important legislative developments — notably the Control of Noise at Work Regulations and the smoking ban, both of which affected Glastonbury for the first time.
    TESS worked closely with Melvin Benn to develop policy and deliver practical controls to meet the needs of both pieces of legislation. Independent monitoring proved the measures were an outstanding success.
    This year, TESS used a new computerised file sharing system to improve the exchange of health and safety information between the festival contractors and service providers. The huge amount of documentation generated by the event, and the need to scrutinise safety information and insurances, means the easy sharing and retrieval of documents is crucial.
    Well over 90% of the paperwork for Glastonbury was handled electronically through TESS’s new FTP server. Not only did this make the sharing of information quick and effective, but it meant it was easier than ever for contractors to upload risk assessments, method statements and insurance certificates. A system of password protected access levels means various users can interrogate the growing database of documentation and review or download what they need.
    Tim Roberts, TESS director and Glastonbury’s health & safety co-ordinator, commented: “Glastonbury has set a benchmark for dealing with noise exposure to stage crews and others — and by actively promoting awareness and proactive measures we have moved a significant way ahead in achieving both legal compliance and a safe place for our crew and artists to work.
    “Our new FTP system has allowed us to avoid drowning in paperwork and maintain a focus on the real-world measures that are needed to keep this fantastic show moving ahead.”
    In recent years, Glastonbury’s well-publicised security problems have become a thing of the past, and one company that has been involved in this turnaround is crowd management specialist, AP Security, which was looking after its fourth festival at the site.
    AP’s remit is comprehensive and includes security and stewarding across this site. “We work pretty much everywhere apart from the stages themselves,” said AP’s MD, Martyn Webster. “We look after the camping areas, the entrance to The Park and The Park itself, and the Silent Disco. We are also in charge of the thoroughfare that runs down to Glastonbury’s late night area, the Shangri-La, making sure that numbers are controlled there.”
    Supplying around 550 staff in one of its biggest single jobs of the year, AP also took care of the children’s fields, Circus and Big Top Theatre.
    “When we were brought in four years ago, the fencing had already been improved and ticketing made more secure,” concluded Webster. “However, the festival’s management team is always keen to ensure that it makes any necessary improvements and this year, to that end, it has increased the number of personnel we have on site.”  

HAPPY OFFICIALS
Mendip District Council, the festival’s licence-granting authority, was more than satisfied with this year’s event. The licence, which was issued before the 2007 festival, lasts for four years and allows Glastonbury’s organisers to continue holding the festival until 2010, after which the Eavis clan will need to re-apply.
    According to Mendip’s director for planning and environment, Charles Uzzell, there was no significant breaches of the licence, and the levels of noise were within the national recommended guidelines.
    Uzzell also praised the efforts of organisers in providing more camping areas following recommendations from the district council last year, which raised concerns about the density of some areas.
    Tom Killen, Mendip’s portfolio holder for licensing and public protection, said: “The Glastonbury Festival is a major event for Mendip and the country as a whole.