Australia's Mundi Mundi Bash, an outback music festival, drew 16,000 attendees to the remote Mundi Mundi Plains of New South Wales. This year’s proceedings were made possible with sound delivered by a comprehensive L-Acoustics K series concert system across a massive 60,000 sq m outdoor concert area.
Turnkey production company Powa designed and deployed the festival’s audio solution, selecting L-Acoustics K2 for both main PA and delay systems to achieve precise coverage across the site's 240m width and 250m depth. The K2 adjustable Panflex coverage patterns proved essential for optimizing audio distribution in the challenging desert environment.
Geoff Knight, Powa’s managing director and production manager, said: “On top of being highly rider-friendly, we really like the K2 due to the flexibility of the box's coverage. You can narrow it up or widen it out depending on your site. By setting the fins to 70 degrees, we get more SPL to reach the back of the audience, others were set wide at 110 degrees for broader coverage. Other products don't give you that variable directivity.”
Powa’s team leveraged L-Acoustics Soundvision software with Vectorworks CAD modelling for both technical planning and client presentations. The detailed pre-planning enabled the entire 148-enclosure system to be lifted off the ground within five hours despite challenging logistical constraints.
Knight noted: “We had effectively three days to build. Two days were for ground support and then just one day of production. One of the challenges with these remote festivals is working with volunteers rather than experienced audio loaders. Having very precise information from our Soundvision design translated directly to efficient deployment on site.”
Powa’s FOH system designer, Hamish McKoy received updated training from the L-Acoustics Application team weeks before the event. He explained: “The L-Acoustics team suggested focusing more on SPL coverage rather than prioritising tonal coverage across the site, and shared perspective on other small adjustments the help me optimize the system.”
The final system design featured an all-L-Acoustics configuration specifically engineered for the massive festival footprint. Main PA consisted of two K1-SB subwoofers over 14 K2 per side, with extended out-hangs of eight K2 per side and narrower out-fills using two A15 Wide per side. Eight ground stacks of three SB28 subwoofers with A15 Focus boxes provided front-fill.
Two delay rings ensured consistent coverage: four hangs of eight K2 positioned 30 metres past FOH, and four hangs of eight Kara at 150 metres back. Near-field monitoring at FOH utilized a pair of A15 Wide boxes. The complete 148-enclosure system was driven by 31 LA12X and 18 LA8 amplified controllers, delivering consistent coverage throughout the concert area without overwhelming nearby food court and activity plaza areas.
The desert location near wind farms presented significant environmental challenges, with 50km/h to 90 km/h dust storm winds during build and dramatic temperature variations between cold nights and warm days.
McKoy reveaved: “Having control over the main PA through Soundvision Autofilters was super useful for keeping everything updated during the day. As temperatures changed throughout the day, I mainly had to adjust system timing to keep everything phase-aligned. The L-Acoustics ecosystem was excellent for this.”
The system earned enthusiastic endorsement from headline artists and their engineers. Marshall Cullen, FOH Engineer for festival closing act, The Hoodoo Gurus, commented: “I use the same show file each time, which gives me a very easy comparison between different line arrays as we tour around the world. The system provided by Powa met and exceeded my expectations. It was an absolute pleasure to hear the clarity in the vocals from 40 metres away and beyond on the two delay sets. I am very much looking forward to using the K Series again.”
Shane Jerome, Audio Engineer for Dragon, echoed the positive response: “I had a very easy time mixing Dragon at Mundi Mundi 2025. Walking the area during previous bands, I found coverage was spot on. The L-Acoustics system was set up very well with everything clear and plenty of headroom.”
Knight concluded: “Normally, if there's an audio deficiency, there will be plenty of feedback on socials. At Mundi Mundi, there wasn't. We had positive comments from festival socials all the way through the three days.”