Coachella 2013

Jun 1, 2013 9:00 AM, Mix, Text by Matt Gallagher // Photos by Dave Vann


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Coachella 2013 crowd

The 13th Coachella Valley Music and Arts Festival took place over two weekends: from April 12-15, and April 19-22. An estimated 90,000 fans trekked to the Empire Polo Club in the Southern California desert town of Indio, Calif., to check out an assortment of rock, pop, hip-hop and electronic dance music from acts including the Red Hot Chili Peppers, Phoenix, Wu-Tang Clan, Vampire Weekend, Dropkick Murphys, Rodriguez, Dinosaur Jr., the Yeah Yeah Yeahs, Nick Cave & The Bad Seeds, New Order, Dead Can Dance, Janelle Monae, El-P, Bassnectar, and many more.

Rat Sound Systems of Camarillo, Calif., once again designed and supplied the audio systems for all six Coachella stages, including Avid Profile, Avid SC48, Midas Heritage 3000, Midas Venice 24F, Midas XL88, Soundcraft EPM8, Soundcraft FX-8, and Yamaha PM5D-RH consoles and mixers. The P.A. systems featured L-Acoustics dV-DOSC, K1, Kara, Kudo, and 108P, as well as SB28 subwoofers and Rat Sound Systems’ proprietary subwoofers.


Bassnectar supercharged and closed out the EDM-oriented Sahara tent on Friday, April 12.

Brendan Hoffman

Brendan Hoffman

Bassnectar’s production manager and front-of-house engineer Brendan Hoffman has been with the artist, also known as Lorin Ashton, for 16 months: “Rat Sound had everything set up in advance by the time I got there. The system had been time aligned and tuned, so from my end it was a matter of walking in and having a listen to what I was working with. I don’t view [mixing Bassnectar] as mixing a band. What I’m doing in fact is live mastering, and that’s quite a different mindset. The material has already been premastered [by mastering engineer Seth Drake] and sent to me, and then I’m just adjusting the tonality for the consistency that I’m looking for. [Drake and I] talk at length about the P.A.s I’m using, and I’m making the adjustments that are needed as it’s coming out of the speaker. It provides a compositional tonality to the set from beginning to end, because the set is dynamic and I want to keep those dynamics there, working at high volumes, as well.”

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