30 minute read
Audio
KICK OFF | AUDIO
A closer look at products and projects from the world of audio.
FULCRUM ACOUSTIC BLUE CROSS ARENA
Blue Cross Arena is a multipurpose venue with just under 12,500 seats that has operated for more than 60 years. Solutionz worked directly with Fulcrum Acoustic on a design build project aimed at upgrading the arena’s sound system during the latest renovation of the space. The relatively low roof structure within the arena required a distributed loudspeaker system to achieve the project goals for audience area coverage. The available space was further limited by the need to avoid interfering with sightlines to the new scoreboard. Fulcrum Acoustic’s AH4, AH, and FH Series products were selected as the primary loudspeakers for the project. Their combination of output, fidelity, control, and efficiency is uniquely suited to the requirements of large-scale entertainment venues. They deliver extremely even response within their coverage pattern and offer the variety of horn patterns necessary to optimise coverage for the geometries of the venue’s seating. Their smooth off-axis response allows them to transition well in distributed systems where many audience members may be seated in a ‘seam’ between adjacent loudspeaker zones. Nine primary loudspeaker arrays provide coverage for most of the audience seats and the arena floor with supplementary delayed loudspeakers providing coverage for shadowed seats. Six of the nine arrays are flown above the dasher boards along the sides of the ice floor (three arrays per side). Each is comprised of two AH HighOutput Coaxial Horns, with a backwards-firing FH15 Full-Range Coaxial Horn providing coverage for the arena floor. Four arrays include four CS121 21-inch subcardioid subwooferd to provide low frequency support for music playback. At the north end of the arena, three arrays provide long-throw coverage for the taller seating sections that extend upward behind the hockey goal. Each array is comprised of one AH4 Higher-Output Coaxial Horn (long throw) above one AH (medium throw). The centre array includes four CS121 cardioid subwoofers. Supplementing the main arrays, five FH15s are mounted along the large north roof truss to cover the uppermost rows of sets that would otherwise be shadowed by the truss. On the south side of the arena, four FH15s cover the corners and the lower-level seating. Four GX12 Coaxial Loudspeakers provide coverage for a smaller, elevated seating section at the south end of the arena. Michael Lawrence from Rational Acoustics was retained to tune and balance the system. “Loudspeaker selection and system design set the bar for what’s possible during the alignment,” he said. “I could tell the Fulcrum team did a great job in that department because my team had an easy day. We worked through all 57 zones in about three hours and we were only able to move that quickly because the system was in such good shape when we showed up.” Each subwoofer array, using CS121 Passive Cardioid subwoofers, provides substantial low frequency output and control. “With distributed subwoofer designs, usually you have tons of late arriving energy coming at you from all over the room, and that makes a bit of a mess,” continued Lawrence. “But with the passive cardioid subwoofers, you shave about 10 dB off from what’s coming off the back of the box, and it’s a ‘big’ 10 dB. You end up with less energy going where you don’t want it, and perceptually it was night and day from what I would expect without that directional control in the low end. At times I had to ask the DSP tech to check the mutes because I couldn’t tell whether the subwoofers on the other side of the arena were on.”
www.fulcrum-acoustic.com
L-ACOUSTICS ROLAND-GARROS
The iconic centrepiece of Roland-Garros, the 15,000-capacity Court Philippe-Chatrier, host to one of the most anticipated events in the tennis calendar and the only Grand Slam tournament to be played on clay, has received a major makeover with the completion of a new retractable roof and night lighting installation. The project also marks a new era of sound for the fabled court, with the installation of an L-Acoustics K Series PA, which was managed by the French Tennis Federation (FFT) with the support of French acoustic and audio consultant, Scenarchie, and installed by leading integration company, SNEF. The global renovation programme at Court Philippe-Chatrier was launched three years ago after the court was almost completely rebuilt to accommodate the strengthening required for the retractable roof, which weighs half that of the Eiffel Tower and was finally completed last year. “The next big step for us was to upgrade the audio system, so the action could be heard loud and clear by the audience at this year’s tournament,” said Julien Mauduit, Director of IT and audiovisual project lead at FFT. A key challenge for the installation of the system was its architectural integration. “We had designed and built two concrete structures that would house the PA. Their size was carefully evaluated due to limitations on height, which meant we also had to find the best compromise between the length of the line source system and audio performance for the audience,” continued Julien. “Our second challenge was to choose a system that would work well with the retractable roof, which has a significant impact on the arena’s acoustics overall. We needed it to be highly versatile, providing perfect coverage and crystal-clear audio for both the open and closed roof scenarios.” After a rigorous evaluation process, which included testing systems by four different loudspeaker manufacturers, L-Acoustics was chosen based on sound quality, build quality and price. The final system design comprises two main hangs of nine Kara IIi with three KS21 per side, providing coverage for the majority of the court. These are hung in the concrete structures, positioned in the centre of the second tier of seats in the court’s southern tribune. The system is powered by seven LA4X amplified controllers. Thanks to L-Acoustics Panflex technology, coverage from the Kara IIi could be exactly matched to the audience geometry whilst maintaining a solid SPL level at 90-metres throw. Good intelligibility levels were preserved by limiting the overlap between the two hangs of Kara IIi and the existing PA, which is now used as a voice alarm system. Overseen by the company’s Rodolphe Roellinger, SNEF completed the installation in the summer of 2020, the new system is offering perfect sound distribution and audio quality. “The feedback from audiences has been fantastic with people complimenting the sound and saying how clearly they can hear everything,” concluded Julien. “On less clement days, we are also able to experience the system with the roof closed, and sound quality isn’t affected in the slightest. Overall, we are very pleased with the installation and the support we received from the Scenarchie and L-Acoustics teams. The Court Philippe-Chatrier is a key venue for tennis competitions on the world stage, and we know that our L-Acoustics system will shine there.”
www.l-acoustics.com
DYNACORD ADAMS PARK
The 10,000-capacity Adams Park, home of English Football League club, Wycombe Wanderers, has undergone an extensive audio upgrade project with Dynacord’s MXE5 Matrix Mix Engine at the heart of its new digital audio system. The football club opted for Landways to design, fund and install this new system, alongside high-performance solutions for Wi-Fi and security, to help realise owner Rob Couhig’s ambitious vision for a great match day experience. Control and audio distribution for the new audio solution are courtesy of nine Dynacord MXE5 performance audio matrices. MXE5 serves as a communications hub for all IP-based peripherals and provides comprehensive supervision of all systemwide commands. In addition to this, the 24 x 24 crosspoint performance audio matrix offers both routing and mixing functionalities. Tying in with the stadium’s safety systems, a Bosch Praesensa system handles the emergency messages in all public areas, with guaranteed clarity for ground evacuation. These can be prerecorded messages from the System Controller digital message storage, or live announcements from two Praesensa emergency call stations. The audio from Praesensa is sent to the MXE5s over OMNEO IP-architecture. During an emergency, Praesensa messages are always ready to broadcast at the highest priority and the entertainment audio is automatically muted. The MXE5 audio matrices handle all of the signal routing and loudspeaker processing, distributing high-quality digital audio streams to a series of amplifiers located at the edge of the network, adjacent to more than 250 powerful new loudspeakers to serve every seat and public space in the stadium. In addition to this, 28 TPC-1 touch panel controllers, located in the function suites, bars, and corporate hospitality boxes, allow staff and guests to set their own volume levels and choose from different input sources, such as the match day presenter, or a local Dante enabled Bluetooth interface. Featuring a high definition 5.7-inch display, the TPC-1 touch panel interface is freely configurable in SONICUE sound system software, allowing custom images and text to be added to control elements. The MXE5 and TPC-1 devices were all programmed effortlessly with SONICUE sound system software using the powerful system logic editor, allowing the system designer to create advanced system tasks. Business paging is handled by two custom touchscreen PC call stations located in the match control room and the pitch-side press box. Each PC call station communicates with the MXE5s over the network using the OCA communications protocol architecture. The audio signal from an Electro-Voice PolarChoice microphone is distributed via Dante. Dante is also used to transport audio from the MXE5 outputs to the amplifiers and loudspeakers. “I am delighted that Landways’ digital infrastructure is now fully in place and available for everyone inside Adams Park to benefit from,ˮ said Rob Couhig, Chairman of Wycombe Wanderers. “Through our partnership with Landways, we are making a longterm investment in digital technology to improve the match day experience, reduce costs and help our business continue to thrive. It is great that the same underlying energy-efficient infrastructure that delivers our incredibly fast Wi-Fi can also be used to deliver high quality stadium audio and new safety systems, at the same time as being ready to handle data growth and new digital services in the future.ˮ “Landways’ project at Adams Park highlights just how powerful the MXE5 Matrix Mix Engine is,” noted Richard Leadbitter, Sales Manager at Dynacord. “This was a complex and innovative stadium sound solution and MXE5 was exactly the right choice to turn the concept into a reality. The combination with TPC-1 means simple and intuitive control is at the fingertips of stadium staff for every event the venue hosts.”
www.dynacord.com
D&B AUDIOTECHNIK XSL SYSTEM
The new d&b XSL System scales the industry-leading features of the SL-Series into a smaller, lighter-weight, even more energy efficient, package. XSL encompasses all the comprehensive features of its SL bloodline, from outstanding broadband directivity control and extended low frequency performance, to comprehensive rigging, cabling and transportation. The XSL System delivers cardioid performance across the full frequency spectrum, resulting in; reduced audio spill onto open mics on stage, improved clarity and impact of individual instruments, and less coloration of mid-range build up in venues and on broadcast and recording feeds. Less spill from the main PA to the stage, and backstage, improves the creative experience for performers, while giving more control to monitor engineers, particularly in the mid to low frequencies. XSL loudspeakers achieve broadband directivity using patented SL-Series cardioid techniques to control low frequency dispersion. The XSL System’s excellent sonic performance and clarity is achieved with this unique pattern control and enhanced further with d&b Enabling technologies including d&b ArrayProcessing. The system comprises installation specific and mobile touring variants. XSLi for permanent installations, is ideally suited to venues with a high dependency on the clarity of spoken word, together with the need for high power, full spectrum performance. The XSL mobile version addresses the needs of the broadest range of touring applications. The XSL system is suitable for the broadest range of applications. The XSLi installation system is shipping now. The mobile XSL package will begin shipping in January 2022.
www.dbaudio.com
MAG AUDIO BOZSIK ARENA
Bozsik Arena, a new, multi-purpose stadium in Budapest, Hungary opened this year. The stadium is a home arena for the Kispest Honved Football Club, where the legendary football player, Ferenc Puskás, started his career. Now, it’s a completely new sports arena, adorned in red and black colours of Honved FC, which has a capacity of 8,200 seats and meets the UEFA 4 category standards. AVmax System Integration company won the audiovisual design for the arena with the sound design project applying loudspeakers from MAG Audio. The purpose of the sound system is to provide live or streamed information at the stands, as well as high-quality music reproduction. The sound system is also aimed for emergency announcements and as a supplement for the fire alarm system. The main requirements are high SPLs and the right coefficient for speech intelligibility in order to meet the stadium safety requirements. “This design is very flexible to test, and it’s easy to modify and expand, so the building’s audio system is timeless and flexible, as well as adaptable to the changing needs,” explained sound engineers from AVmax System Integration. The sound system is based on MAG AIR-152 IP - a powerful installation-dedicated system with a 15-inch coaxial subwoofer. These loudspeaker systems operate in a normal non-peak mode and create the required SPL level and high speech intelligibility, which is vital to the stadium’s atmosphere. It also has IP54-rated weather-resistance, which allows convenient use in outdoor venues. “The broadband, high-performance, high-pressure loudspeakers are weather-resistant. The 42 pieces of MAG AIR-152 IP loudspeakers were placed under the roof facing the grandstands, and the amplifiers were installed close to the loudspeakers to achieve the lowest possible signal loss”. In the design and construction of the sound system, AVmax engineers took into account the need to ensure adequate sound pressure and speech intelligibility in the open stand and in the areas delimiting the other sides, in addition to the background noise generated by fans and audiences. “During testing, the speech intelligibility measured in the empty stadium was STI PA≥ 0.64 at sound pressure of 81.4 dBA. The direct sound pressure was 103 dBA in the range of 125 Hz to 5,000 Hz - this was produced by the system for more than one minute without overheating, distortion and failure.” The stadium has already welcomed several matches this year, as it was selected as one of the venues to host the 2021 UEFA European Under-21 Championship. And even though the first matches took place without an audience due to COVID-19 restrictions, the opening quarter-finals match between the Netherlands and France got an attendance of almost 1,700 spectators. True football fans enjoyed the real-life football experience to the utmost - with true emotions, true atmosphere and true high-quality sound.
AUDINATE CHINESE ESPORTS LEAGUE
The Peacekeeper Elite League is the highest level of esports competition for the video game Peacekeeper Elite – the localised title of PUBG Mobile in the Chinese market. And while esports is a burgeoning market in the live production world, the production costs across these performances have traditionally been high due to the need for dedicated, on-site staff and expansive cable runs connecting many different video and audio feeds. To mitigate this challenge, VSPN - a co-organiser of the Peacekeeper Elite League - recently experimented with a new way to host its events by relying on Audinate’s Dante for broadcast audio over a vast geographic distance. On May 3rd, 2021, the first weekly final of the Peacekeeper Elite League 2021 S2 season was held in Chongqing Banan Huaxi Sports Center. 20 professional teams from across the country gathered in the mountain city of Chongqing to compete. While the idea of remote production had previously been considered too challenging due to latency issues associated with audio, the production team’s discovery of Dante changed their approach. Used in more than 3,000 different products from more than 350 different manufacturers, Audinate’s Dante is recognised as the de-facto standard for digital audio networking. With near-zero latency and perfect synchronisation, Dante offers uncompressed, multi-channel digital audio channels that can be routed over standard Ethernet networks. And, as proven by the Peacekeeper Elite League, it can also be effectively transmitted over hundreds of kilometers without latency issues. Using Dante, the event’s commentators and production staff were able to largely work remotely in Xi’an – some 750 kilometers away from where the competition was taking place in `qing – with minimal audio latency. This setup enabled impressive cost savings by reducing the number of individuals on-site, minimising traditional AV cable runs, and simplifying the workflow under an easy-to-manage Dante network. In Chongqing, the event’s workflow uses an SSL System T S300-32 platform with a redundant T25 DSP engine for outside broadcast. An SSL Live L550 audio mixing console is also used with several Dante interface boxes to capture team voice chat. The Dante network located at the competition site in Chongqing is then connected to the studio in Xi’an through a dedicated network line. This allows for real time, remote audio production in the live broadcast with minimal latency. Further, the team was able to add a robust level of features and management capabilities to the production using Dante Domain Manager. “To realize the Dante remote production, we needed to solve signal transmission across subnets, network delay, and PTP clock synchronization,” said WangWei Xie, Technical Manager of VSPN. “To solve most of this we added Dante Domain Manager to the system, which allowed us to group and isolate devices across subnets and plan device group attributes.” Dante Domain Manager is network management software that enables user authentication, role-based security, and audit capabilities for Dante networks - all while allowing for a smooth expansion of Dante systems over any network infrastructure. “In our system, Dante Domain Manager enables PTP V2 functionality for all Dante devices,” WangWei Xie said. “It locks the devices in the two places under their respective GPS clocks through the Assign Zone function and divides the domains of the Dante devices in the system for distributed management. It also allows us to activate the maximum latency value of the Dante devices and opens enough buffer space to deal with the data transmission delay caused by the remote transmission of the dedicated network line.” The workflow used a Leader LT4610 GPS master clock generator with the Dante systems in Xi’an and Chongqing. This enables the two locations to receive GPS satellite signals through an antenna and convert the signals into PTP, BB, and other clock synchronisation signals. “The result was that the system was stable, and the live event was a complete success,” WangWei Xie said. “We used Dante to realize the two-way real-time transmission of nearly 20 uncompressed audio streams through the dedicated network line. After three days of live broadcast and testing, the entire audio system had no failure. It perfectly achieved our expected results.”
www.audinate.com
LAWO MC²36 MKII
Lawo’s mc²36 MKII ‘All-in-One’ audio console is designed to deliver maximum output using minimal space, weight and power requirements. Powered by IP-native A__UHD Core technology, Lawo’s new core for mc² consoles, the new mc²36 mixer raises the audio production bar by more than doubling the DSP channel count of its predecessor. For the first time ever, Lawo introduces an ultra-compact 16-fader version that delivers big performance in the smallest mc² footprint ever. The 48-fader version with a dual-fader bay has the same footprint as the 32-fader model and makes the new mc²36 even more of an all-rounder for theatre, houses of worship, corporate, live and broadcast audio applications - wherever pristine audio performance in close quarters is required. IP Easy, based on Lawo’s HOME platform for IP-based media infrastructures, makes managing IP networks as simple and intuitive as analog. The mc²36 MKII offers 256 processing channels, available at both 48 and 96 kHz, and natively supports ST2110, AES67, RAVENNA, and Ember+. It provides an I/O capacity of 864 channels, with local connections that include three redundant IP network interfaces, 16 Lawo-grade mic/line inputs, 16 line outputs, eight AES3 inputs and outputs, eight GPI/O connections, and an SFP MADI port. Operational features include Button-Glow and touch-sensitive rotary controls, colour TFT fader-strip displays, LiveView video thumbnails, and super-precise 21.5-inch full-HD touchscreens. Loudness control is built-in and complies with the ITU 1770 (EBU/R128 or ATSC/A85) standard, providing peak and loudness metering for individual channels, as well as summing busses. The new mc²36 offers seamless integration of third-party solutions - recording systems, effects engines, and other systems running on external PCs - into its user interface. Such applications display right on the console’s screen and can be controlled using the console’s keyboard, touchpad and touchscreen functionality. Last but not least: like its bigger siblings, the mc²36 offers best-in-class integration of Waves SuperRack SoundGrid, providing operators with access to Waves’ extensive plug-in selection of real-time signal processing alongside the console’s internal processing engine - no additional screens or control devices required. Equipping the mc²36 with A__UHD Core technology means that all future developments will apply to a single, unified platform, and that Lawo offers production file compatibility between all mc² consoles. For instance, a production file created on an mc²36 can be used on an mc²96 for postproduction - opening the door to a whole new level of performance. IP Easy, which is part of Lawo’s innovative HOME management platform for IP-based media infrastructures, makes connecting IP-based audio and I/O devices as easy as if they were baseband - the console automatically detects new devices and makes them available at the touch of a button. HOME manages IP addresses, multicast ranges, and VLANs. It also includes security features like access control and quarantining of unknown devices to protect your network. HOME is natively built on a cloud-ready microservices architecture, enabling users to connect, manage and secure networked production setups from the ground up. Furthermore, it provides centralised access and control for all compatible gear within a setup. HOME helps broadcast professionals address some of the most challenging requirements of modern IP infrastructures, including automated discovery and registration of devices, connection management, flow control, software and firmware management, scalability and security.
www.lawo.com/mc²36
EDDIE THOMAS
Can you give us some background to how you started your career in the industry?
I started out like most people in their school days – learning electronics, building my own disco system and going from there. In those early days, I really got into audio through my work with Apple Sound in Mold, North Wales, then onto my apprenticeship, working as a service engineer for a high end HiFi shop in Chester. I sort of darted in and out of audio as I was working in banking, office computer systems and financial systems. These industries gave me great networking opportunities and insight into other technologies, which definitely helped when it came to the pro audio sector. Come the late ‘70s / early ‘80s, I went to work with Tyco and was Contracts Manager for the Avalon Audio PA/VA division based in Slough. That’s when I started to really get involved in commercial audio, as I like to call it. During my time at Avalon, we relocated to Tyco’s head office up in Manchester, which was a lot easier in terms of my commute to North Wales. Tyco purchased another business and merged us both, which didn’t work out in the long term as they operated in different marketplaces, so I looked to move away. I started working as an independent freelance engineer / consultant for a few fire alarm and audio businesses and then, after about 18 months, I was introduced to Millbank – who I’d already been working with. Millbank were purchased by a company called Vision Systems and I was taken on to help bring those two businesses together. I was there with a couple of other people in the industry at the time and we won quite a few contracts – the Millennium Dome, as it was known back then, as well as many other stadiums. From there, Vision Systems became Xtralis. There wasn’t really the appetite to continue with the audio and video side of things so, basically, I was left looking after the Dome and I eventually decided to start my own business in ETASound.
You’ve built a positive reputation based on your work in stadiums and sporting venues – was that an area you specifically wanted to focus on?
I did have, and still do have, a frustration about the level of quality and attention to detail that’s paid to large format audio systems, and I just wanted to do it properly and better than anyone else. I believe that I’ve managed to do that on the projects that I’ve worked on. I’ve been lucky enough to work on some prestige projects that I really wanted to do, and I love the fact that I’ve been able to help them develop the clientfacing experience, while also pushing the envelope in terms of what technology can do. I don’t like to use the same concept twice when I work on venues. I’ll always try and develop something new and that’s because technology moves along very quickly. It’s always good to try and use that new technology to help with your design concept. Plus, it really does help with that spectator experience, which is obviously a huge part of every project now.
What stadium and sporting arenas have you worked on in the past?
Most recently, I designed and delivered the Tottenham Hotspur Stadium and Ascot Racecourse PAVA (public address voice alarm) and performance audio systems, which were two incredible venues to work on. There’s the O2 Arena, too. I’ve basically been on site at the venue, in its many guises, since 1998. And I’m still there today! I’ve completed some work at the Olympics, of course, then there’s the likes of Hillsborough, Villa Park and Liberty Stadium, to name a few.
So, you’re now heading up Pro Media Audio Video EU (PMAV-EU) – how did that come about?
I didn’t actually have a particular plan or another role to step into, but I knew that a new challenge was needed. SSE Audio bought my company, ETASound, in 2012, so I had been part of SSE Audio for the last
Eddie Thomas
or nine years. I feel as though I helped grow that business quite considerably on the install and contracts side, and we built a premier team of people who are very good at what they do when delivering technically complex types of projects. I decided to make one final move before I retire, so to speak. Through a contact of mine, I got introduced to Ted Leamy who runs Pro Media Audio Video (PMAV), which is now part of Clair Global Integration. In the beginning, we had discussions about how it would work, where PMAV wanted to be in the future as part of the Clair Global Group and so on. We identified quite quickly that it would be the ideal opportunity to bring the PMAV brand from the US into the UK and Europe as part of a global expansion. Like Clair, PMAV has an outstanding technical reputation built up over the last 45 years. For me, it’s the number one integrator in sporting venues and has unparalleled relationships with Major League teams. They asked if I was interested in leading the European expansion and I thought it was an incredible opportunity to build something new again, from scratch. In April this year, we officially launched Pro Media Audio Video Europe (PMAV-EU). We see ourselves as more than an integrator, as an innovative technology solutions company with real blue-sky thinking. We want to deliver new ideas and concepts that will help owners and operators of venues
actually see the benefits of using technology to enhance the client experience. In turn, the venues will see visitors staying within stadiums and sporting venues for longer periods of time, choosing to spend more as part of a fuller entertainment experience.
With PMAV-EU, you’ve recruited some of the best in the industry – who have you brought in to work alongside you?
The first person to join after myself was Andy Rigler, who headed up the UK and Ireland business for Bose. Andy is very well known in the industry, with a huge range of contacts, and he had the opportunity to come and join us, which we are delighted about. Andy was actually one of the people who introduced me to Lez Dwight and Twickenham-based audio rental company Britannia Row Productions (also part of the Clair Global Group), which is where the PMAV-EU office is now located. It made sense that Andy would bring his own experience to developing PMAV-EU. It’s a great fit as we’d worked together on a few projects during his Bose days, such as The O2 Arena, Ascot Racecourse and Villa Park. I knew Andy well and the last four or five years had seen us working closely on sales, contract and partnership negotiations, so we were firmly on the same page. His primary responsibility is to meet with consultants, clients and operators and develop those relationships, as that’s what our industry is all about. The next person we brought on board was Tom Williams. I have known Tom for many years and always admired his professionalism, so the opportunity to bring him on board was a no brainer for me. Tom is heading up the technical design and development side of our business. He’s a hugely experienced applications engineer, having spent around 10 years with Harman and, more recently, with L-Acoustics during which he looked after design and implementation of complex audio systems in stadiums, arenas and large venues. It made perfect sense to bring in Tom’s wealth of experience, not to mention his audio and acoustic knowledge. After securing our sales and technical department, we required someone to actually deliver the projects. Our newest hire is Jake Miller. Jake is also a very experienced Project Manager, whom I have worked with on many prestigious projects. I have total confidence in Jake heading up our projects division. His responsibility is to deliver what we design and sell under contract to clients. He’ll be building his own team to deliver those projects, so it’s an exciting development for the company.
As you mentioned, PMAV have a great reputation in the US, is there anything that you can learn from how they have approached projects that you can utilise in UK and Europe with PMAV-EU?
There definitely is. Tottenham Hotspur Stadium touched on it, in that they have a proper video production gallery for all of the content around the stadium, on their website, across their social media and so on. That’s not something many stadiums have in the UK. I think American culture has got it right with regards to the ‘game day’ entertainment and what they do to enhance the experience as a whole. They bring the fans into the venues earlier and keep them there longer, and that’s all down to the audiences having a good time and enjoying the experience of live sporting entertainment. That concept is something that we are trying to bring over to this side of the pond. It’s about changing the approach to largescale venue design to have a more encompassing solution. Instead of just focusing on the venue’s PA or VA, we see ourselves as a technology partner; we want to help develop fully integrated state-of-the-art technology solutions for any sporting venue.
With the effects of the pandemic, we’re seeing things fundamentally change within stadiums and sporting venues. Has this had an impact in terms of how you approach a project?
I think we’re at a point where we’re starting to see stadiums and sporting venues open up again and normality return on some level, but the sports clubs, owners and operators have lost considerable amounts of money over the last couple of years. When it comes to a new stadium being built or an existing one being refurbished, what really needs to be considered is the other uses and opportunities for that venue. It’s about that corporate world, too – conferences, product launches, exhibitions and so on – when developing stadiums. During the week when stadiums are, in effect, closed, they have to become a venue for that world in a bid to create more revenue for these enormous buildings that cost millions to build, service and run. Stadiums need to be looked at as more than just sporting venues, and that’s really how they are going to recoup some of that money that has been lost during the pandemic.
It’s obviously an exciting new era for yourself and PMAVEU – what’s the aim for the next few years?
Realistically, we know that competition is out there and we know them really well from prior working relationships. We just want to be recognised as one of the key technology partners and integrators that the European stadia and venue markets come to. We will win new projects with futureproof concepts, fresh ideas and forward-thinking uses of the available technology. Considering that the business has only been going for five months, things have been very positive in terms of stadium designs. We’ve focussed a lot on AV integration as a complete solution. We’ve got two or three in the pipeline, so watch this space.
What do you consider to be the next big thing in terms of stadium and sporting venue technology?
I think the fan experience and using technology to enhance that in any way possible is key. We’re fortunate that we can lean on the expertise of the live production and touring specialists in the Clair Global Group to truly tap into fan and audience engagement, alongside the live sports knowledge we all bring to the business. So much happens in terms of technology in quite a short timeframe - it’s difficult to predict where we’ll be in the next few years. The standards and restrictions we work under do limit things. I don’t think the construction standards move as quickly as the technology used in the building does. Saying that, there’s still plenty around the corner in terms of AV distribution and networking. We may even see the cabling infrastructure be replaced with wireless systems. There are all sorts of concepts in the pipeline, which will hopefully make things easier for the owners and operators.
Finally, what has been your favourite sporting venue that you’ve worked on?
That’s hard to say! I suppose the one that stands out as being the most enjoyable to deliver and to work on for the last three years – both for myself and the team I’ve got on board now – is the Tottenham Hotspur Stadium.
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THE FULL PITCH
028 Lord’s Cricket Ground | London, England
040 Adams Park | Wycombe, England
