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The festival presented a diverse range of music, from traditional folk music to high-energy Balkan brass and contemporary jazz, as well as bass-heavy urban brass music with techno influences. Alongside the concerts, there were workshops, panel discussions and competitions that formed an integral part of the programme, which was held under a motto that perfectly summed up this event: ‘Love, Peace & Brass Music’. The combination of Sennheiser and Neumann technology ensures that festivalgoers can enjoy the live music without the sound being compromised. With the high number of bands performing across multiple stages, reliable wireless transmission and precise microphone placement were both essential to delivering consistent sound throughout the event. The 2027 edition of the festival will be celebrating its 15th anniversary, and only bands that have previously performed at Woodstock of Brass Music will be playing to mark the occasion. Featuring a ‘Best of’ concept, artists already lined up include Fäaschtbänkler, Querbeat, Sašo Avsenik & seine Oberkrainer, Die Innsbrucker Böhmische and Lucky Chops.
will mercilessly expose any weakness in the electro-acoustic signal chain. The transients and extreme attack phases require absolutely clean reproduction. For that reason, it’s extremely important for us to use top-quality microphones that are able to operate without distortion even at very high volume levels.” To address these demands, Neumann MCM systems were used to close-mic the instruments. According to Schwarz, they can handle extremely high sound pressure levels without any issues. “I’d say that, in the meantime, 90% of all festival bands are equipped with clip-on microphones and are very satisfied,” he says. “Although there are a few large brass bands that still use the conventional A/B stereo microphone configuration with support microphones, these tend to be the exception nowadays. Close-miking directly at the instruments offers significant advantages, particularly in a festival situation and on loud stages.” Schwarz adds: “In fact, placing the microphones close to the instrument bell really does produce a good sound when the individual signals are skilfully mixed and enhanced with the right amount of reverb or room simulation.”
to support multiple audio channels through a single wireless link, simplifying complex stage set-ups. For a festival that hosts a staggering 150 bands, this approach can make managing microphones, transmitters and audio signals more efficient, while supporting the demands of a busy live production environment.
The Buffet Crampon Main Stage featured a double-stage set-up with
two Sennheiser Spectera Base Stations, 12 handheld transmitters and 24 bodypacks, alongside 24 Neumann MCM clip-on microphone sets. The Allerhand Stage and Kraut & Ruabm Arena also used Spectera systems, while the Woodstock Stadel relied on Sennheiser EW-DX digital wireless equipment and additional Neumann microphones. Brass instruments can also fluctuate in sound volumes and dynamic range. Sound engineers are faced with challenges to accurately capture these sharp changes. Schwarz is a qualified sound engineer and passionate trumpet player. “I have a very clear mental image of exactly how brass music should sound,” he says. “When brass band music is played through a sound system, it should be as natural as possible. The incredible dynamic range of the instruments
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