CLIENT
Done + Dusted
LOCATION
ANB Arena, Riyadh, KSA
YEAR
2025
PROJECT TYPE
Live Event / Awards Broadcast
Scope
Main show and Lavender Carpet
Full loudspeaker system, audio control, and show control design
Live operation and technical support across all phases
Services Provided
- →Audio Systems Design
- →Show Control System Design
- →FOH Mix
- →Monitor Mix
- →Orchestra Mix
- →Replay Operation
- →Systems Engineering
- →Rehearsal Support
- →Lavender Carpet Audio Director, FOH and Replay
The Brief
Now in its fourth year, the Joy Awards has fast become the Middle East’s answer to the Grammys, a high-profile celebration of music, film, and television talent from the region and around the world. For 2025, the ceremony moved to the significantly larger ANB Arena in Riyadh, opening up new opportunities for scale, spectacle, and creative ambition.
Auditoria were brought on board from the concept stage to deliver full audio and show control system design, live mixing, and technical operation for the main ceremony and, for the first time, a complete audio package for the Lavender Carpet.
The Challenge
The new venue offered more capacity, but also introduced fresh complexities. The room’s acoustics were dry and unexciting for musical performance, similar to the previous year’s theatre space but on a far grander scale. The size of the space also demanded more expansive coverage but with the same expectations of clarity and localisation.
With additional presentation positions to the extreme sides of the stage and a wraparound orchestra framing the audience, gain-before-feedback, localisation, and precise timing across zones were critical.
Additionally, some of the incoming artists required their own independent control packages to be included within our carefully managed and redundant control ecosystem.
Our Approach
As with previous years, we used L-ISA’s Room Engine to enrich the space for musical performances while tapering it back during speeches to retain clarity. The system design this year expanded significantly, incorporating new side arrays for the presentation positions, a delay system of L2D arrays and surround arrays designed to provide immersive energy and subtle audience cueing. All 62 individual loudspeaker outputs were routed through a redundant pair of DirectOut PRODIGY.MP processors which included a complex delay matrix to provide accurate timing and localisation to the various system states based on the on-stage source position.
We took an innovative approach to front-fill by embedding four stacked KIVA II arrays into the downstage stairs behind acoustically transparent cloth. The approach preserved sightlines while delivering excellent coverage to the front rows and maintaining gain-before-feedback through the extended pattern control of the line lengths used.
A key advancement this year was the seamless integration of our Lavender Carpet systems. These were designed with the same robustness as the main stage, complete with dedicated FOH, replay, and audio direction personnel, ensuring consistency and control from the lavender carpet through to the final encore.
Technical Highlights:
Audio Design
Main L2 over L2D arrays with KS21 cardioid subs
Central flown sub array of 2 x 5 KS28
Far left/right arrays for presentation positions (L2D)
Delay hangs: 4 x L2D
Side orchestra localisation: 9 X6i per side
28 X8 overheads and 4 x 4 KARA II for rear surrounds
Built-in front fill: 4 x 6 KIVA II arrays + 8 Syva Low
Extensive Shure Axient Digital and Sennheiser 6000 series radio microphones
Performer monitoring via Shure PSM1000 and Sennheiser SR2050 IEMs
Dual-redundant L-Acoustics L-ISA II Processors
Dual-engine DiGiCo Quantum 7 consoles each for FOH, Monitors, and Orchestra
Dual-redundant DirectOut PRODIGY.MP for AVB matrixing
Redundant AVB and Optocore signal distribution
Separate Optocore network feeding MADI stems between all consoles, replay systems and the broadcast facility
Show Control Design
Dual-redundant Ovation replay system
The Results
With more space and an even bigger show, the 2025 Joy Awards managed to raise the bar yet again. Our immersive system design and highly detailed control infrastructure allowed for fast transitions, flawless audio capture, and an electrifying in-room experience, all delivered live to air in a four-hour programme with no commercial breaks.
Audience reactions were subtly enhanced through the strategic use of “canned applause,” played back via surround speakers to cue live responses, a now-signature technique that again proved highly effective both on camera and in the room.
Acknowledgements
Our Client
Done + Dusted
Our Team
Sound Designer – Scott Willsallen
Project Manager – Ethan Curry
Replay Operator – Luis Miranda
FOH Mix Engineer – Ben Milton
Monitor Mix Engineer – Phil Down
Orchestra Mix Engineer – Simon Fox
Systems Engineer – Martin Dineley
Rehearsal Operator – Martyn Ward
Lavender Carpet Audio Director – Greg Kershaw
Lavender Carpet FOH Engineer – Sam King
Lavender Carpet Replay Operator – Merlin
Our Partners
Production – Done + Dusted
Creative Direction – Black Skull Creative
Set Design – Stufish Entertainment Architects
Technical Production (Done + Dusted) – Sven De Beul, Nick Malbon, Henry Gillett
Lavendar Carpet
Line Producer (Done + Dusted): Caroline Babington
Technical Production (Done + Dusted): Harry Guthrie
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