The Sound of Eurovision

TECHNICAL FOCUS : SOUND

Inside the sound system at Europe’s most celebrated live television broadcast By: Steve Moles

This was my third Eurovision Song Contest (ESC) in just over 10 years, and it was far and away the finest show I’ve seen and heard. In numbers of performers alone, its achievements far outclass any musical TV show of the current era—especially when you consider it’s a live broadcast. Secondly, and especially for those of you who didn’t watch it, you have to take your hat off to the Nordic races, most especially the Finns: In the field of live production, they should be very proud. To briefly offer some perspective: For the 52nd annual ESC, 24 acts got a three- minute-10-second slot each, with a 45- second changeover. Everybody had to sing live (to a backing track, admittedly). There’s a smattering of in-the-arena announcements by the emcees and some PHOTO: LOUISE STICKLAND inserts from backstage and downtown consciousness, is not to be ignored; arena are also four J-Subs on the floor, two per Helsinki. Broadcast live to over 100 million managers in the rest of the world could do side built into the fascia of the set, but it people, the performance section lasted themselves a favor and take a leaf out of has not been possible to place a front fill just over 100 minutes. That’s sustained the Finns’ book. Wouldn’t that improve the for the first few center audience rows; they pressure; yet by the Ukraine’s song (a concert experience for everyone? are covered entirely by the J12s from wacky dance number by a tinfoil ensemble above.” led by a lunatic with a mirrorball for a Euro sound Surely this is a very big system for an head) the entire crew of board operators Reima “Reiska” Saarinen was the sound audience of just 9,000? “It is big,” said at the front of house rose en masse at system designer engaged by YLE, the Liski, “but that is because of coverage every chorus and performed a Finnish broadcaster; Akun Tehdas was the issues, not the need for power or synchronized jive routine. These were sound contractor. I spoke with the headroom. We have to fly very, very high; people at the top of their game, running a company’s system engineer, Timo Liski, everything is above the lighting system huge show, and having the time and two months before ESC. trim to keep all camera shots clear. The confidence to enjoy it. “The stage is in the usual place at one array is very tightly curved at the bottom Hartwall Arena is Helsinki’s top ice end of the arena, just like a regular to make the coverage even and deliver the hockey venue, with seating for this event concert, although it extends down the ice required throw consistency.” coming to just over 9,000. The ceiling and an extra 4m,” he said. “That means, To discover how it all performed in upper walls are clad in an acoustic compared to a normal concert that could reality, I spoke to Saarinen about the deadening material, with a substantial air take 12,000 people, this will only seat realization of his design. “I have added a gap existing between the two surfaces. 9,000; some of that shrinking is due to couple of fills around the hall, a Q1 on the The consequent lowering of the noise floor reduced sightlines and the stage floor each side of stage, for example, just is superb; for a sound person, it’s a dream, backdrops. to cover some VIP seats to the sides down especially when you add the carpeted “The main system design is d&b low where we weren’t originally expecting arena floor for this particular event. It bore audiotechnik’s J System. Closest to the anybody to be sitting,” he said. “Otherwise, comparison to the studio-like environs of stage and flown are six J-Subs, beside the design is exactly as planned. In the the Heineken Music Hall in Amsterdam. which are 12 J8s, with two J12s beneath. house, there are two Q7s up in the catwalk There’s also a significant insulation benefit, Pointed off to the side is a third flown line to cover some areas shielded by the which, in this era of carbon emission array of Q-Subs with Q1s beneath. There projection screens each side of stage, and,

80 • July 2007 • Lighting&Sound America To briefly offer some perspective: For the 52nd annual ESC, 24 acts got a three- minute-10-second slot each, with a 45-second changeover. Everybody had to sing live (to a backing track, admittedly). There's a smattering of in-the-arena announcements by the emcees and some inserts from backstage and downtown Helsinki. Broadcast live to over 100 million people, the performance section lasted just over 100 minutes. That's sustained pressure.

back at house right, there is a hockey team logo permanently hung audience members. Even if the sound image is a pretty high for from the roof; both things have cut the highs from the main them, at least they hear good sound.” system. The main consideration was the hockey scoreboard and Matti Helkamaa, of YLE, was the technical manager for all Jumbotron above the center of the rink. This blocked a lot of audio considerations on ESC. “Regarding the hardware, of course sound from the system to the upper seating tier, but the followspot we asked for quotes as normal; in that respect, I can say we got platform proved a perfect position for some delay; we put three exactly what we wanted: Hardware and operators, and the correct Q1s behind it. Actually, in some ways, those seats have some of economic consideration. Everybody seems to be happy with the the best sound in the house, but the view is not as good.” PA system; the only issue has been the rehearsal volume. The relatively high and/or remote positioning of the PA was “The guys have fine-tuned the system excellently…good also a consideration. “The cable runs are 50m for the main engineers, good system features. I’m not trying to sell you Akun system,” said Liski. “The main hangs about 20m apart, the subs a Tehdas and d&b, but it’s very good. I’m responsible for everything little less, but cable paging getting them over the lighting master audio, intercom, commentary, broadcast and live—this part for me grid forced the long runs. But we have put the amps up on has been the easiest.” platforms in the bleachers well above the stage level, so it could The rehearsal issue mentioned is about monitoring, Saarinen be worse. The d&b Sense Drive system that’s resident in the D12 says: “Because of the need to provide the artists with a consistent amps sends a voltage to every driver in the system, which then monitoring experience, we have insisted that all rehearsals are returns it, and the software makes a calculation to adjust the conducted with the system at show levels [96/97dBA slow]. The amplified signal accordingly. The system is responding in the backing tracks run direct from Pro Tools can sound pretty same flat response as normal.” compressed [recordings of varying quality were provided] so, when Saarinen first used the d&b J System in November, for a we’ve had grannies and grandchildren in to provide audience for concert by 50 Cent at Hartwall. “We had a thermal plastic cover the rehearsals, there have been lots of complaints that it’s too loud. on the ice; this was the height of the hockey season, but still That was quite a fight, but once I’d convinced him of our argument, pretty good—normally, halls are not so audio-friendly in Finland. Matti was very strong in backing us.” My design is as it was when it was first drawn: It’s He was proven right the night of the semi-final—no feedback, straightforward, apart from the balcony fronts and glass no upset artists. Regarding monitors, Saarinen says: “It would just reflections; not so much to affect the stage sound, but to affect be too dangerous to rehearse at 85dB and then spring real pockets of the audience. It’s the same thing with the Jumbotron volume on the performers for the show. We pitched it at that level scoreboard; it is a flat-sided hexagon and, although they have because we consulted on audience noise from the Euro fans and draped around it, we have still had to fine-tune the system in previous shows. They scream around 100dB, peaking to 103/104. places to negate reflections.” In the end, it’s the monitors that matter; the show is all about Jonas “Jones” Wagner, from d&b application support, broadcast, so the performers must hear best, but the PA must confirmed all Saarinen’s design configurations and assisted Liski give it atmosphere.” with the system tuning. “The biggest problem is having the show hosts speaking out in front of the PA, which is downstage among Monitor sound the audience, especially one time when they’re exactly on axis of Monitoring fell into two parts: Conventional wedge and side-fills the stage right system. To make matters worse, they wear head- and radio systems, part of the famed Sennheiser radio solution worn mics and face back towards the stage and the PA, but we that has serviced ESC for 20 years. “We actually cut the number manage,” said Saarinen. (These were probably front-of-house of wedges from eight to six, because we won the battle for side engineer Kimmo Ahola’s most nervous moments; more from him fills, just,” said Saarinen. “I think this is the first time ESC has had later.) “That was one of the reasons I didn’t fight for front fills,” side fills in years. Just three Q1 cabinets per side at 9.5-10m from continued Saarinen. “Besides, the 120° coverage of the J12s at performers; we just scraped in with a 25ms delay between what the bottom of the line array manages to hit all the front row they hear from above and what’s playing. With the wedges (d&b

www.lightingandsoundamerica.com • July 2007 • 81 TECHNICAL FOCUS : SOUND PHOTOS: STEVE MOLES Monitor men Arto Nuppola and Klas Granqvist. FOH sound engineer, Kimmo Ahola. Akun Tehda’s system engineer, Timo Liski.

M4), the artist can go approximately 3.5-4m upstage before variation from the various singers, not least when rehearsals stepping out of HF field. The d&b M4 has a 75° x 45° horn turned to the real thing; one or two overdid it a touch. pattern.” Kimmo Eerik Ahola is front-of-house engineer for Finland’s Apparently, Akun Tehdas contributed considerable input to leading international act, Nightwish (a sort of Fleetwood Mac on d&b’s design process in producing the M4 wedge, a derivative of steroids and opera) and was asked by Akun Tehdas to take the the company’s M2, with its colossal 143dB SPL (not that such role. “I’ve been here three weeks and everything was okay from levels were required here). “A few performers do have an extra the beginning. Reima and Timo have the PA perfectly tuned; I just wedge, but most are more than happy with the set-up as is,” said had to sit here and test it. Even though I’ve been touring all my Granqvist. adult life, the last two weeks of proper rehearsals have been some Klas Granqvist was one of the two monitor men: “For most of of the longest days. The Pro Tools files we got are all very the acts, a week before semi-finals was the first time we got an different: A couple sound really nice—I mean, EQ off, open track, idea of the musical content. Arto Nuppola and I are the two that’s it. The most I’ve had to work on is input EQ minus 10dB operators—he takes the odd acts, I take the even. We’re behind and really narrow band. A couple of countries have done lots of just one Innovason SY80 console—the second runs as a spare. compression and finalizing and it sounds so small, no dynamics at Ville Kauhanen is down onstage, because we’re totally hidden all. They’ve asked me to get something more musical out of it, but behind a drape stage left; he is our artist interface. The day before you can’t get something from nothing.” the first rehearsals, we establish a basic generic approach to the What did he think of the PA? “It’s my first time with this options—in-ear and/or wedges and side-fills. With each artist, we system, but Nightwish has played Hartwall with d&b’s Q system. ask them to make a simple mic test; then with playback; then the The sound is the same, but Q was just enough of a system for a musicians. There is, of course, some acoustic effect from some room this size, J covers it comfortably. Akun have already asked instruments, even though it’s all essentially playback. The singers me what I’d prefer next time and it will be J. Also, d&b flew me experience a generic mix to start, then Ville, who has been key to down to their factory in Germany for two days’ training just before this operation, builds the relationship with the artists and we tune we loaded in here; even though I’m not the system tech, it was the mixes to suit. Frankly, and mentioning no names, some still a very useful experience. Couple that with Reima Saarinen, countries appear to have a tradition of listening to very loud one of the best system designers in Finland, and I’ve been well onstage sound—even distortion—but that would affect the looked after. It’s been an honor. I’m really grateful Akun Tehdas broadcast event, so we have to say no.” asked me to do it.” “On a technical front, it has not been possible to give anyone a Timo Liski, the system tech, added: “Innovason has been great stereo mix; Sennheiser advised it should all be mono because of with backup. We only have three of their desks; they provided the RF problems with the video screens. Klaus [Willemsen of other SY80. There is also a Yamaha DM1000 at the front of house Sennheiser] made that recommendation. In truth, about 95% of all to mix in the announcers and video inserts; it’s much better to the mixes stay stable for their three-minute performance, so keep all that stuff in a separate environment.” stress levels for us are low. We have maybe 50 pages recorded in the desk, so one console can easily handle the show. The spare is Radio audio MIDI-linked and just sits there, always on the same page as the It was not possible to gather advance information about master. Sennheiser handles all the microphones and IE systems, Sennheiser’s planned contribution, but so well implemented was so we can just focus on the mix.” the company’s system that, by the time of my arrival, Klaus Willemsen, Sennheiser’s MC at ESC for 20 years, was awash with Front of house interview time. The fact that he’s been doing ESC for so long It’s not the most onerous of jobs, under the circumstances: A more than validates his modus operandi as one that any aspiring maximum of six vocal channels and playback from Pro Tools into radio specialist might choose to emulate. an Innovason SY48. What could be hard about mixing that? But He explained: “This year, we have more difficulties with it’s a responsibility, nonetheless, and there certainly was dynamic technology producing RF, all digitally controlled devices radiate

82 • July 2007 • Lighting&Sound America “We have a maximum of six performers onstage for any one country, so we have two groups of six hand-held microphones—that’s 12—and then we have spares for each, so that’s 24. Then there’s a duplicate set of head-worn mics, and one spare each. In total, 36 mic channels, and they have to be on air all the time.”

some. Mostly, the stage is the problem—I mean the 300 sq. m of time looking to sort other people’s equipment issues, he just transmitter, the video screens around it. So we know in advance accepts it and tunes his equipment to cope. we have a problem; just like any environment, the first thing we do “When we scan the stage I’m looking to optimize antenna is scan the area and see what’s there—TV transmission, wireless position, and, for the IE, where we place the transmitter. We’re systems, and, once we’ve identified the bands that are occupied, looking for slots of 6MHz [which is the U.S. television station we set our systems to work in between.” bandwidth]. That identifies a usable band, but you can still get But it’s not that simple, is it? “No, we have a maximum of six interference in there, so we increase the power of the signal; the performers onstage for any one country, so we have two groups trick is to establish the minimum required to overcome the of six hand-held microphones—that’s 12—and then we have situation. spares for each, so that’s 24. Then there’s a duplicate set of head- “Even so,” he continued, “you can get unexpected things, worn mics, and one spare each. In total, 36 mic channels, and especially visiting crews who don’t read the house warning that they have to be on air all the time.” Why? “Because there’s just no radio links are to be used in the arena. We catch them on the 30-45 seconds for changeover, so contemplating switching scanner pretty quick,” he laughed. “But a digital camera not using between channels is just too dangerous and leaves too much a radio link still produces RF, maybe 50mV at 5m, so, before the chance for error.” first rehearsals, I measured all the cameras being used.” He continued: “In-ears: We again have six; but, because they The RF solution has a natural balance to it; the in-ear system, take longer to fit to performers [belt packs are concealed in which is in the most vulnerable position for interference (close to costumes], we have three groups, for 18. Again, they all have to the screen), can be assisted by boosted signal. That boost is not be live all the time so, if the next performers are waiting offstage, possible with a handheld mic; those little units can kick out 50mW they can check that they can hear, and we can check that we’re and that’s it—unless you want a mic the size of a cop’s nightstick getting mic signal before they go out.” So far, the logic seems to accommodate the extra batteries—but the receiving antennas irrefutable, though many a theatre production must be envious of can be distanced from the problem source, and then, using the abundance of channels and packs. mechanical filters, tuned to the least interfered frequencies. “For the microphones, it’s not so much an issue; we can “We create a situation where there is no position onstage place the antenna for receiving the signal 20m off stage. I might where the signal is too low, or too high, which, again, would read 200mV RF from the screen onstage, but, for the mic, that’s produce distortion,” said Willemsen. And what about the dissipated by the time it reaches the antenna. But for the IE reception transmission issue for those anxious performers waiting system, the receiver is in the body pack and the artist can be as to go on? “With broadcasting to the IEM system, I was lucky that close to the screen as, say, 1m. If they pick up RF from the my antenna position also worked well to the offstage area; that screen, then what they get is distortion. For double safety, the was another reason to make it mono, to be able to operate with first decision we make is to send only mono to in-ears. For lower signal.” (Offstage, they’re away from the screens, but also selecting the correct frequencies, we have to use filters. The mic from the transmitter.) “We also make gains in signal strength by system is our 1046, which has been the standard for 10 years; positioning all the transmission equipment and antenna the handhelds are the new SKM5000 200 model. The 1046 is immediately beside stage, so there’s no signal loss down long the most expensive, but for the professional environment, it runs of cable.” works.” The winner of this year’s Eurovision Song Contest was Marija Is there no way to adapt the screen in collusion with a Šerifovic, who performed the song “Molitva,” so next year’s manufacturer like Barco to ameliorate these RF effects? “No, not broadcast heads to Serbia. Luckily, Serbia’s TV center has been practically; every year I experience some new technology or other rebuilt since the U.S. accidentally dropped a bomb on it during that causes a problem; we just have to find ways to work around Serbia’s campaign of ethnic cleansing against the Croats. (The it.” A critical comment: Willemsen’s whole approach is thus target was the Chinese Embassy.) Even so, next year’s producers predicated on expecting RF interference appearing from a will have their work cut out for them trying to match the quality of constant stream of new technology onstage. He doesn’t waste this year’s presentation.