From Toronto to San Bernadino – and 22 North American cities in between – the banners read, “Safe in Sound Festival, featuring PK Sound.” When you’re featured as a major draw in the headline, you better perform to expectations, especially if you’re a sound system.
While PK Sound and the Trinity system do indeed have a unique fan base, especially among the dedicated electronic music crowd, the star performers for the tour included Nero, Excision, Flux Pavillion, Zeds Ded, Bro Safari, Zomboy and Terravitia. Also featured in various cities were other talented acts, all of them more than happy to put the PK system through its paces.
Kyle Anderson, FOH engineer, who has toured with the best systems in the world, says, “The biggest compliments I got from people had to do with the low end. Trinity is a big step up for PK Sound; there’s more headroom and a cleaner top end.”
Different acts. Different venues. Different preferences. These are all a fact of life on the road with multi-talented, multi-city shows such as SIS, where set up times are limited and new challenges pop up daily. PK’s Trinity system was designed to address these challenges, with the premise that “one size fits all” should no longer be the norm. The result is the world’s first 3D adjustable sound system.
PK’s team designed Trinity based not only on their professional capabilities as sound engineers, but also on their extensive experience as DJs and FOH personnel at live concerts. Thus, the goal was not only superior sound, but also a vastly improved, and much safer, technology for setup and in-concert adjustments.
Auto-align rigging streamlines the whole set-up and strike process, an important factor especially when schedules are tight and personnel have a multitude of tasks to perform. Furthermore, once the array is up, Trinity’s Kontrol™ software enables the sound technician to use their laptop to adjust the sound field safely on the ground. Electrically actuated systems inside each module allow continuous horizontal adjustment between 60-120° with 10° resolution and continuous adjustment from 0-6° with 0.1° resolution.
Trinity’s features also significantly ease the challenge for engineers who are charged with keeping the sound within the venue, to avoid issues such as municipal sound bylaws in dense urban settings. Trinity’s 3D Wavefront Control lets you focus the sound, so you can reduce the spill into adjacent zones and direct sound away from reflective surfaces. If even coverage over long distances is the challenge, Trinity’s horizontally actuated horn flares, coupled with the patent pending Coherent Midrange Integrator (CMI), has the unique ability to focus high frequency energy.
These features and others have one goal in mind for PK Sound: creating the ultimate concert experience ever for both the fans and the artists, each and every time. In setting this new standard, PK has given the sound engineer a more effective, more efficient technology to fully employ their experience and professional skill. Just as in the world of Formula 1 racing, the winning team is the one who designs not only a car with a more powerful engine, but also a more advanced system to drive it.