Our loudspeaker system consisted of various parts to deliver specific elements of the show.
The L-ISA system received 96 inputs from the FOH mixing console consisting of live vocalists and orchestras, pre-mixed stems and mono objects from the Ovation replay system. The loudspeaker arrangement consisted of 20 outputs and a sub-bass output.
All loudspeakers were mounted within the set structure which rotated throughout the show. L-ISA was used to move objects from array to array to maintain coverage of the audience as the set rotated.
Our immersive system consisted of three parts:
Main system - 8 Kara arrays and 5XT front fills.
Immersive system - 20 Syva mounted to the set.
K2 system - 2 arrays of K2 for localistation to the LED screens.
Eight arrays of six L-Acoustics Kara were distributed around the 360-degrees of the set. The rotation of the set during the show meant that the sound objects needed to be manipulated in L-ISA to counter the rotation of the set to maintain coverage of the audience.
Multiple sub-bass arrays were equally distributed around the set to maintain low frequency energy throughout the set rotation. Front fill consisted of 16 L-Acoustics 5XT loudspeakers distributed along the front edge of the orchestra.
20 L-Acoustics Syva were deployed with 10 inward facing elements on the inside face of the set and 10 outward facing elements on the outside face of the set.
This arrangement allowed us to place orchestra and choir inputs in the immersive system for diffussion and depth of field which we could maintain while the set rotated by moving the objects to counter the rotation of the set.
K2 SYSTEM FOR SCREEN CONTENT
Localisation to the LED screens
The pre-show video packages were played to the LED screens with the stage in darkness. We used separate loudspeaker arrays of L-Acoustics K2 located adjacent to each LED screen to localise the audience to the LED screens and keep the stage acoustically dark.
The L-ISA Control environment
The L-ISA session included 96 MADI inputs and 28 outputs. The inputs consisted of individual instruments from the live orchestras and vocalists, pre-recorded choir stems and mono sound effects objects, as well as a printed 7.1 sound effects package. The L-ISA Processor was controlled using the L-ISA Controller, firing snapshots on time code from the Ovation system.
The video below shows how L-ISA was used to counter the rotation of the set / loudspeaker system to maintain coverage of the audience.
Audio control system
We used a mirrored pair of DiGiCo Quantum 338 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.
Merging Technologies Ovation was used for replay and time code host. A dual-redundant pair of Ovation systems delivered MADI to the consoles.
The people and companies that made it happen.
A huge thanks to Andrei Boltenko, Sami Yusuf, Olga Kalina and the team from ABV for involving us in this project. Congratulations on delivering a really amazing project that was a joy to deliver.
The Audio system was designed by Scott Willsallen and Ethan Curry. Our team also included Luis Miranda, Joe Callister, Steve Logan and Martin Dineley.
Thanks to Agora Dubai and Live Sound Agency for supplying, installing and maintaining the system for us.
Here is an article by TPMEA published in their October / November 2022 edition discussing the audio and lighting challenges of the project.
Poem of the Eternal City - Production team credits
Creative Producer and Show Director: Andrei Boltenko
Art Direction and Original Story: Bobur Ismailov
Director and Musical Director: Daniil Pikturnyi
Production Designer: Zinovy Margolin
Costume Designer: Hilola Sher
Graphic Design: Raketamedia
Lighting Designer: Richard Neville
Audio Director: Scott Willsallen
Executive producer: Ksenia Oleinikova
Producer: Olga Kalina
Composers: Sami Yusuf, Alexander Knyazev
Arrangement and Orchestration: Marat Maksudi, Nodir Makharov
Music Consultant, Conductor: Kamoliddin Urinbaev
Assistant Director: Alexandra Alexandrova
Script: Madina Muminova
Editor: Nodir Nishonov
Technical Director: Alexey Bulgakov
Technical Producer: Tarmo Krimm
Set production: Ilya Piatrouski, Sergei Koltsov
Show callers: Anna Gromkova, Dmitry Danilov
Project curator: Firdavs Abdukhalikov
TV Director: Alexander Boltenko
TV Producer: Sergei Sevumian
Director of Photography: Nikita Ivanov
TV Editor: Sergey Vasiliev
TV Crew Coordinators: Andrey Dreux, Olga Kovalev