Variable Panflex directivity and rider-friendly K Series delivers consistent coverage at the Mundi Mundi Bash 2025 for 16,000 festivalgoers across 60,000 square metres of challenging Australian outback terrain

Australia’s iconic Mundi Mundi Bash has become a true outback spectacle, attracting 16,000 fans to the vast plains of New South Wales for three days of music, family activities and record-breaking community events. Now in its fifth year since debuting in 2021, the festival continues to pair authentic outback heritage with world-class production values — as this year’s incredible audience experience was underpinned by a formidable L-Acoustics K Series system that delivered crystal-clear sound across a sprawling 60,000 square-metre site.

Tasked with powering the festival’s sonic punch, turnkey production company Powa turned to L-Acoustics K2 for both main PA and delay systems.

The choice was key to achieving precision coverage across the 240-metre width and 250-metre depth of the concert field. “On top of being highly rider-friendly, we really like the K2 due to the flexibility of the box’s coverage,” explained Geoff Knight, Powa’s Managing Director and Production Manager. “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.”

Planning and deployment relied heavily on L-Acoustics Soundvision software, combined with Vectorworks CAD modelling, ensuring both accuracy and efficiency. The result was an immense 148-enclosure system lifted into place within just five hours despite challenging logistics and a largely volunteer build crew. “We had effectively three days to build. Two days were for ground support and then just one day of production,” Knight noted. “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, brought fresh insight to the deployment following updated training from the L-Acoustics Application team. “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 that help me optimise the system,” McKoy explained.

McKoy’s final design brought together an all-L-Acoustics configuration built to conquer the site’s scale: main PA comprised two units of the K1-SB subwoofers over 14 units of the K2 per side, extended out-hangs of 8 units of the K2 modules per side, and narrower out-fills with a pair of A15 Wide per side. Eight ground stacks of 3 units of the SB28 subwoofers with A15 Focus boxes provided for powerful front-fill reinforcement.

Two delay rings ensured consistent coverage: four hangs of 8 units of the K2 positioned 30 metres past FOH, and four hangs of 8 units of the 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 units of the LA12X and 18 units of the LA8 amplified controllers, delivering consistent coverage throughout the concert area without overwhelming nearby food court and activity plaza areas.

The harsh outback environment, with dust storms reaching 90 km/h and dramatic day-to-night temperature swings, added further complexity. “Having control over the main PA through Soundvision Autofilters was super useful for keeping everything updated during the day,” McKoy revealed. “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’s performance drew praise from both audiences and headline acts. Marshall Cullen, FOH Engineer for closing act The Hoodoo Gurus, remarked: “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, was equally impressed: “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.”

Across the three days, the L-Acoustics K Series demonstrated not just its power but also its resilience in one of the toughest festival environments on the planet. “Normally, if there’s an audio deficiency, there will be plenty of feedback on socials. At Mundi Mundi, there wasn’t,” Knight concluded. “We had positive comments from festival socials all the way through the three days.”

With Powa continuing to invest in L-Acoustics, the Mundi Mundi Bash now stands as proof that even the most remote and rugged locations can host arena-grade sound with precision and reliability.