Consultants to the Arts and Culture
979 loudspeakers
Our loudspeaker system consisted of various parts to deliver specific elements of the show.
The L-ISA system received 96 inputs from the SD7Q consisting of pre-mixed stems and mono objects from the Ovation replay system. The loudspeaker arrangement consisted of 34 outputs and a sub-bass output.
Our immersive system consisted of four parts:
Personal 5.1 systems - a total of over 500 5XT and 300 X4i and 20 Syva Low to deliver a high fidelity nearfield experience.
Sides- 15 5XT loudspeakers on each side of the grandstand fed from the L-ISA system.
Panorama - six arrays of six K2 and one array of 16 KS28 subwoofers, all fed from the L-ISA system.
Mountain systems - eight arrays of six Kara distributed around the site to bounce the sound off the mountains for two specific moments in the show.
NEARFIELD SYSTEM
Personal 5.1 systems
The grandstand seating was arranged in couples seating for the majority of the audience. Each couples seat had 3 x L-Acoustics 5XT's as individual left - centre - right centred on the LCD display. L-Acoustics X4i loudspeakers were used for rear left and rear right. 20 L-Acoustics Syva Low dual 12" bass speakers were evenly distributed throughout the audience area.
This system provided a nearfield spatial listening experience for every listener
FAR FIELD SYSTEM
The 6-element panorama and LFE
This system consisted of six arrays of 6 L-Acoustics K2 distributed along the eliptical walkway and 16 L-Acoustics KS28 sub-bass array at distance of approximately 110m from the grandstand.
This system was used to add depth of field to the music (particularly strings, choir and percussion) and for sound effects relating to the projected content.
VERY FAR FIELD
Reflecting sound off the mountains
This system of eight Kara arrays was used in 2 key moments in the show to exaggerate the sense of space and celebrate the mountainous environment of the event.
The L-ISA Control environment
The L-ISA session included 96 MADI inputs and 10 outputs. The inputs consisted of mono stems and solo instruments and mono sound effects objects, as well as a printed 7.1 sound effects package. The L-ISA Processor was controlled in several ways including directly from the L-ISA Controller, via DeskLink from the SD7Q and from the Ovation / Pyramix system using the L-ISA Plug-in.
Audio control system
We used a mirrored pair of DiGiCo SD7Q consoles with a pair of L-ISA Processors, one per console, connected using MADI. The signal distribution system consisted of multiple DiGiCo SD Racks for inputs and various Optocore network devices distributing the outputs to LA-Rack's around the venue.
Show Control Systems
We used a dual-redundant pair of Ovation systems by Merging Technologies operated by Simon Sayer. The system consists of a purpose-built Windows 10 computer running Ovation, the Horus audio interface delivering 128-channels via MADI and the Ovation keyboard for each system.
ACKNOWLEDGEMENTS
The people and companies that made it happen.
A huge thanks to Es Devlin and her design team, Jo Mackay, Ian Greenway, Nick Levitt and the whole team at LarMac for involving us in this project. Congratulations on delivering a really amazing project that was a joy to deliver.
Our Client
The Audio system was designed by Scott Willsallen. Our team also included Richard Sharratt on FOH, Martin Dineley on systems, Simon Sayer and Matteo Peraccini on replay, with remote support from Luis Miranda and Steve Logan.
Our Team
Thanks to Giulio Rovelli and his team from Agora for supplying, installing and maintaining the system for us. Thanks to James Ghamlouch, Luca Nobilini and the tireless audio team who put so much care and energy into this massive project.
