PRODUCTION PROFILE
be able to play with more than 2,500 sq m of LED.” Pissenem added that one of the main challenges was providing intimate moments during the show and not being overpowering. “When you have such a big structure, you have to be careful to use it subtly,” he noted. LIGHTING THE WAY The PRG lighting rig comprised 1,360 fixtures, including LED Striplights and Floods, Martin by Harman MAC Viper Wash, GLP impression X4 Bars, LITECRAFT OutLED AT10.plus, Elation Professional Proteus Smarty Hybrid IP65, and PRG GroundControl Longthrow Followspots. “There were a lot of challenges in terms of lighting, which is mainly due to the 360° configuration of the tower,” described Lighting Designer, Jean Christophe Aubrée. “The idea was to be able to create some volume in all of this and to use the surfaces, seats and structures of the stadium a little differently.” To this end, the team positioned lighting in all directions, from both inside and outside of the tower. “We also had to carefully consider the size and weight of our fixtures, since they all had to fit into the tower. Working with a 3D model allowed us to visualise the project more effectively,” Aubrée explained. AUDIO BEHIND THE SCREEN The lack of visible PA is a striking feature of the design, which allowed for the content
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displayed on the tower’s 360° LED to be enjoyed by everyone in the stadium without any obstructions. PRG Projects carried out numerous tests with several audio manufacturers and developed the SoundBlast Solution, which uses the weight of the audio as ballast behind the LED screen to support the weight and structure of the LED installation. “The Titan-X and the PRG SoundBlast Solution will allow us to take a step forward in the development of large videos and video content design because being able to place the sound behind the video screen has been the dream of all designers,” stated Opsomer. David Nulli, Technical Manager of MPM Audiolight, which has been providing sound for the company since 2015, talked through the audio deployment. “Nicola was very particular in that he didn’t want to have any clusters of speakers around the screen,” he began. “It was impossible for us to have the most powerful PA and a good sound image of the stage with PA flown under the screen. So, we decided with DV2 – Adamson’s France distributor – to design the PA configuration behind the screen.” After numerous tests with PRG, the production ultimately engineered a behindscreen array, which incorporated four different PA cluster configurations. There were four clusters of 18 Adamson e15 and three e12, another four of 21 e15 and three e12, four of 12 e219 subs and then a final eight clusters of four
s10. On the floor there were 32 e119 subs, 32 S7s, eight s7Ps and eight s10Ps. For the upper tiers of the stadium, 14 clusters of six e12 were then deployed for flown delays. “The band have been fans of the Adamson brand for many years and it’s an integral part of their sound,” stated Nulli. “The group and their engineer, Olivier Lude, especially like the low mid of the Adamson speakers – particularly on the guitar.” Nulli went on to complement Adamson’s Energia System for the homogeneity of a large spectrum of frequencies in a large distance. “The Energia contributed especially well for a stadium tour to preserve a large spectrum frequency in seats,” he stated. On both ends of the optocore, DiGiCo Q7s looked after FOH and monitor duties with an additional SD12 that handled a premix. Monitor Engineer, Lionel Pelatan also made use of Klang Fabrik 3D immersive system for the artist on stage. “After a long break for our company due to COVID-19, it was so exciting to make a big show with a lot of Adamson equipment,” stated Nulli, adding that the largest challenge was that nothing like this had ever been designed before for a stadium concert. FIN In total, 250 technicians were mobilised for the entire tour, and more than 950 shift workers were hired. The show was truly an international effort, with nine different