CLIENT
Done + Dusted
LOCATION
Bakr Al Shaddy Theatre, Riyadh, KSA
YEAR
2024
PROJECT TYPE
Live broadcast awards ceremony
Scope
Theatre PA design, show control systems, full audio team
Services Provided
- →Audio system design
- →FOH and monitor mixing
- →Replay operation
- →Orchestra mixing
- →Audio technical management
The Brief
Auditoria were engaged from the concept stage to provide a comprehensive sound design for the Joy Awards 2024, the Middle East’s answer to the Grammys. Our brief covered loudspeaker and control systems design for the main theatre.
The client needed a system that could deliver pristine intelligibility, dynamic musical performance, and seamless integration with broadcast capture, all within a compact footprint and under tight turnaround conditions.
The Challenge
The Bakr Al Shaddy Theatre’s acoustically dampened environment was excellent for speech reinforcement, but less so for exciting musical reproduction. Our task was to transform this acoustically neutral space into a venue worthy of the live orchestras and global talent onstage, all while maintaining an invisible audio footprint for broadcast camera shots.
Adding complexity, the orchestra was split, half positioned upstage behind a transparent LED wall, and half in downstage wings among the audience. We also had to accommodate a live-to-air four-hour broadcast with no commercial breaks, which demanded an unshakeable control infrastructure.
Our Approach
We designed a loudspeaker system that used overhead and surround reinforcement to energise the space during musical moments, which was dialled back for speech. This was our first use of L-Acoustics L2D as a main PA in a theatre, chosen for its pattern control, vertical consistency and its compact form-factor.
Control positions were streamlined to minimise the physical footprint but retained full functionality and failover protection. We also implemented a separate team of operators and duplicate infrastructure for late-night rehearsals, allowing shift patterns and programming to continue without affecting the main show systems or crew.
Technical Highlights:
Audio Design
Main PA: L2D left/right with centrally flown KS28 subs
Surrounds: 11 X8s per side, 13 overhead, 8 rear, 6 X12 delays
Stage Fill: 12 5XT, 4 X8, 4 Syva Low within stage structure
Workflow Innovation: Applause recorded during rehearsals was replayed through the surround system during the show to cue the audience subliminally, enhancing the live atmosphere both in the theatre and on air.
Three dual-engine DiGiCo Quantum 7s (FOH, Monitors, Orchestra)
Dual-redundant L-ISA II Processors
Optocore and AVB signal transport networks
Over 24 channels of Shure Axient Digital and Sennheiser 6000 wireless systems
20+ channels of Shure PSM1000 IEMs
Full mic and IEM coverage for a 100-piece orchestra
Show Control Design
Dual-redundant Ovation replay systems
The Results
The sound system delivered nuanced speech clarity, impactful musical moments, and a transparent integration with camera sightlines. Despite the complexity, the broadcast ran faultlessly, with every performance cleanly captured and energetically received both in the room and at home.
The system’s flexibility enabled smooth transitions between artists like Lang Lang, Karol G, Amr Diab, and the surprise appearance of Nagat, whose rare return was a huge cultural moment. Orchestra localisation and reinforcement were handled subtly, helping to unify the performance across the split-stage layout.
Acknowledgements
Our Client
Delivered in partnership with the brilliant team at Done + Dusted, alongside Stufish, Black Skull Creative, and the always-on-point technical production leads Sven, Nick & Harry.
Our Team
Sound Design – Scott Willsallen
Project Management – Ethan Curry
FOH Engineer – Simon Sayer
Monitor Engineer – Martin Dineley
Orchestra Mix – Ben Milton
Replay – Joe Callister
Our Supplier
Agora LLC
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