Based in Vina del Mar, near Santiago, Audio-pro has been supplying audio systems
for corporate, social and artistic events since 1990. In the mid and late nineties,
they moved into the live music events, positioning themselves as one of the most
serious and prestigious companies for sound reinforcement in Chile’s concert touring
market. Last year, having thoroughly researched the market, they decided to shift
up another gear and service large-scale concerts. “For this we had to buy the best
loudspeaker system in the world,’ says the company’s owner Jorge Diez. “L-
Acoustics K1 was the clear choice, for its rider friendliness, quality sound and
longevity. We knew it would be a good investment.’

Ordered in December, Audio-pro’s L-Acoustics touring system, the first of its kind in
Chile, comprises 48 K1, 24 K1-SB subs, 36 K2, 24 KS28 subs, along with 18 LA-
RACK IIs, each with three LA12 X amplifiers, and four ARCS WiFo. The first benefit
of stocking K1 was being able to take on supplying the main stage sound system for
Lollapalooza where Metallica, Cage The Elephant, Rancid, We Are The Grand, Jimmy
Eat World and Two Door Cinema Club, amongst others, were appearing.

Audio-pro had already supplied the sound system for the third biggest stage at
Lollapalooza. This year, based on their trusted relationship with the festival, and the
renown of the L-Acoustics K1 system, they were able to increase their remit at the
event.

“We had been involved with Lollapalooza Chile Festival for the last four years,’ says
Diez. “When Lotus, the festival’s technical producers, learned of the arrival of our
K1 system, they said, “We want it for the Festival’.’

Audio-pro was again contracted to supply the third stage this year, but with its new
K1 system, it was also able to take on the main stage.

With more than 140,000 people attending, this is the biggest crowd in the festival’s
history and meant that the main stage system needed to cover a very large area.
With the help of Alex Soto, L-Acoustics Application Engineer for Latin America and
the Caribbean, and using Soundvision to help with the design, the Audio-pro team
were able to devise a system that would provide perfect coverage for the entire
arena.

“This was a major challenge as we needed to cover up to 220 metres in depth and
170 metres width,’ explains Soto. “To achieve this, we had a set up that comprised
28 K1 with six K2 as downfill, plus 12 K1-SB in throw configuration. Side hangs
were a further 20 K1 plus four K2 as downfill, with ten K1SB, again in throw
configuration. We also had three delay towers, each with hangs of eight K2. We
used two K2 and four distributed ARCS WiFo as front fill, with 24 KS28 and 16 SB28
ground stacked subs in an electronic arc configuration.’

In addition to aiding with system design for Lollapalooza and being present
throughout the festival, Soto has trained Audio-pro’s team of engineers, ensuring
that they’ll get the very best of their system for all events on which they use it in
Chile and beyond.