Firehouse Productions Brings Live Energy to NBA Bubble With JBL Professional Audio Solutions
To bring the energy and excitement of a typical basketball experience to an NBA season that was anything but typical, Firehouse Productions deployed two complete HARMAN Professional Solutions audio systems featuring state-of-the-art JBL Professional loudspeakers and Crown amplifiers.
Due to restrictions on large gatherings related to COVID-19, the NBA decided to proceed with the 2019-20 season without fans present. To safely accommodate players, staff and support crews, the NBA set up a strict isolation “bubble” at the ESPN Wide World of Sports Complex at Walt Disney World. Teams began playing July 30 at the 8,000-seat AdventHealth Arena and 5,000-seat HP Field House venues with audiences of just a few hundred essential personnel.
To ensure uncompromised, high-impact sound for the dramatically reduced crowds, NBA officials turned to Firehouse Productions, who have been providing sound reinforcement for NBA games for more than a decade. To deliver a dynamic experience while retaining intelligibility under strict volume limits and preventing bleed onto the court, Firehouse Productions deployed JBL VTX V20 line array loudspeakers and VTX S25 subwoofers powered by Crown I-Tech HD Series amplifiers.
“The NBA has a very strict 85 dB limit on the PA system, so intelligibility becomes everything,” said Mark Dittmar, Vice President, Firehouse Productions. “When you can go up to 100 dB, you don't need as much intelligibility, because you can just turn it up and people can hear it. When you have an 85 dB limit, that's a very different game. You need to be intelligible above the audience sound.”
To ensure a high degree of intelligibility for commentary, court audio and music, Firehouse Productions deployed three hangs of eight JBL VTX V20 line array loudspeakers in each venue. With 10-inch Differential Drive woofers and D2 dual-diaphragm compression drivers, the VTX V20 provides impressive power output with ultra-linear frequency response and low distortion characteristics. The three-way design and Radiation Boundary Integrator waveguide provide broad coverage for the audience while preventing sound from bleeding onto the court, which had its own sound system. The ASM suspension system allowed Dittmar’s crew to deploy the sound system efficiently and precisely while following COVID-19 safety protocols.
“For most of my shows, and for the NBA in particular, I've been using JBL VTX V20 loudspeakers for a number of years,” said Mark. “With their intelligibility, size and power factor, they’re just spectacular. The 105-degree pattern really lets me cover a lot, and they sound great. Part of what I like about JBL is that it's very consistent and reliable for me. I don't have to worry about intelligibility or things like that, so I don't have to get into a complicated design. I like to keep it very, very simple.”
To provide the same impact as a typical arena sound system with more focused coverage, Firehouse Productions added JBL VTX S25 subwoofers in cardioid configuration. Featuring two 15-inch Differential Drive woofers engineered for extra-long excursion, the VTX S25 provides industry-leading low-frequency output for its size, with extremely low distortion. Designed specifically for use with VTX V20 line array elements, VTX S25 subwoofers can easily be arrayed in a cardioid configuration to prevent low-frequency spillage outside the coverage zone.
“The subs are my favorite thing out there,” added Mark. “Up until I saw this product, I hated 15-inch subs. Then the S25 came out, and I don't know what they did or how they did it, but it’s a huge amount of power in a very small package. I use it all the time. It's designed to work with the V20s, and it's got way more low-end than any double 15 I've ever worked with in my life.”
Firehouse productions selected Crown I-Tech 4x3500HD and 12000HD amplifiers to power both sound systems. Featuring BSS OMNIDRIVEHD processing with linear phase FIR filters and the acclaimed LevelMAX Limiter Suite, both models provide crystal-clear amplification with ample headroom. Network connectivity via HiQnet and Ethernet protocols provides a high degree of control and real-time diagnostics.
Having provided sound reinforcement for NBA games and all-star events for the past 10 years, Firehouse Productions maintains a solid working relationship with the organization. It’s this mutual trust, Dittmar says, that allowed his team to react quickly to the unique situation, designing and deploying the sound system in a short time frame with outstanding results.
“I've got a very long-standing relationship with them, and a heck of a lot of trust,” Mark said of the NBA. “If I say something, that's what I'm going to deliver. If they tell me something, that's not just them making up an excuse or something. We have a very strong working relationship together, and that allows us to take complicated, fast-moving situations and get really great results.”
Firehouse Productions Brings Live Energy to NBA Bubble with JBL Professional Audio Solutions
Florida—To bring the energy and excitement of a typical basketball experience to an NBA season that was anything but typical, Firehouse Productions deployed two complete HARMAN Professional Solutions audio systems featuring state-of-the-art JBL Professional loudspeakers and Crown amplifiers.
Due to restrictions on large gatherings related to COVID-19, the NBA decided to proceed with the 2019-20 season without fans present. To safely accommodate players, staff and support crews, the NBA set up a strict isolation “bubble” at the ESPN Wide World of Sports Complex at Walt Disney World. Teams began playing July 30 at the 8,000-seat AdventHealth Arena and 5,000-seat HP Field House venues with audiences of just a few hundred essential personnel.
To ensure uncompromised, high-impact sound for the dramatically reduced crowds, NBA officials turned to Firehouse Productions, who have been providing sound reinforcement for NBA games for more than a decade. To deliver a dynamic experience while retaining intelligibility under strict volume limits and preventing bleed onto the court, Firehouse Productions deployed JBL VTX V20 line array loudspeakers and VTX S25 subwoofers powered by Crown I-Tech HD Series amplifiers.
“The NBA has a very strict 85 dB limit on the PA system, so intelligibility becomes everything,” said Mark Dittmar, Vice President, Firehouse Productions. “When you can go up to 100 dB, you don't need as much intelligibility, because you can just turn it up and people can hear it. When you have an 85 dB limit, that's a very different game. You need to be intelligible above the audience sound.”
To ensure a high degree of intelligibility for commentary, court audio and music, Firehouse Productions deployed three hangs of eight JBL VTX V20 line array loudspeakers in each venue. With 10-inch Differential Drive woofers and D2 dual-diaphragm compression drivers, the VTX V20 provides impressive power output with ultra-linear frequency response and low distortion characteristics. The three-way design and Radiation Boundary Integrator waveguide provide broad coverage for the audience while preventing sound from bleeding onto the court, which had its own sound system. The ASM suspension system allowed Dittmar’s crew to deploy the sound system efficiently and precisely while following COVID-19 safety protocols.
“For most of my shows, and for the NBA in particular, I've been using JBL VTX V20 loudspeakers for a number of years,” said Dittmar. “With their intelligibility, size and power factor, they’re just spectacular. The 105-degree pattern really lets me cover a lot, and they sound great. Part of what I like about JBL is that it's very consistent and reliable for me. I don't have to worry about intelligibility or things like that, so I don't have to get into a complicated design. I like to keep it very, very simple.”
To provide the same impact as a typical arena sound system with more focused coverage, Firehouse Productions added JBL VTX S25 subwoofers in cardioid configuration. Featuring two 15-inch Differential Drive woofers engineered for extra-long excursion, the VTX S25 provides industry-leading low-frequency output for its size, with extremely low distortion. Designed specifically for use with VTX V20 line array elements, VTX S25 subwoofers can easily be arrayed in a cardioid configuration to prevent low-frequency spillage outside the
coverage zone.
“The subs are my favorite thing out there,” added Dittmar. “Up until I saw this product, I hated 15-inch subs. Then the S25 came out, and I don't know what they did or how they did it, but it’s a huge amount of power in a very small package. I use it all the time. It's designed to work with the V20s, and it's got way more low-end than any double 15 I've ever worked with in my life.”
Firehouse productions selected Crown I-Tech 4x3500HD and 12000HD amplifiers to power both sound systems. Featuring BSS OMNIDRIVEHD processing with linear phase FIR filters and the acclaimed LevelMAX Limiter Suite, both models provide crystal-clear amplification with ample headroom. Network connectivity via HiQnet and Ethernet protocols provides a high degree of control and real-time diagnostics. Having provided sound reinforcement for NBA games and all-star events for the past 10 years, Firehouse
Productions maintains a solid working relationship with the organization. It’s this mutual trust, Dittmar says, that allowed his team to react quickly to the unique situation, designing and deploying the sound system in a short time frame with outstanding results.
“I've got a very long-standing relationship with them, and a heck of a lot of trust,” Dittmar said of the NBA. “If I say something, that's what I'm going to deliver. If they tell me something, that's not just them making up an excuse or something. We have a very strong working relationship together, and that allows us to take complicated, fast-moving situations and get really great results.”
ChyronHego Selects Matrox QuadHead2Go to Expand Broadcast Studio Video Wall Designs
Matrox has announced that ChyronHego, a global leader in software development for the broadcast and sports industries, has chosen Matrox QuadHead2Go multi-monitor controllers with its PRIME Video Wall integrated graphics authoring and video playout solution for broadcast video walls applications. Combining QuadHead2Go with the PRIME Video Walls solution enables studio set designers to create odd- and/or ultra-large-sized video walls of any size, shape, or pixel count.
A resolution agnostic, real-time graphics application, PRIME Video Walls integrates seamlessly with QuadHead2Go multi-monitor controllers to synchronize an unlimited number of pixels to multiple outputs. By capturing a single, 4K ultra-high-resolution channel feed from the PRIME Video Walls platform, QuadHead2Go instantly supports up to four standard and non-standard aspect ratio video monitors for unprecedented video wall flexibility. In addition, the PRIME Video Wall sub-channel technology allows clients to define custom-sized areas of a larger output channel and playout graphics to any position on any of the screens in any order.
“Video walls are the backdrop in studios, but are often brought to the forefront if done properly,” said Olivier Cohen, senior vice president of marketing at ChryonHego. “Content producers are incorporating these large or uniquely-shaped display configurations to complement and enhance storylines, and the ChryonHego PRIME Video Wall and Matrox QuadHeadGo platform offers the simplest and most visually enriching experience possible. And we are happy to recommend the QuadHead2Go to all our broadcast system integrators.”
“The modern broadcast studio has changed and video walls have played an integral role in that upgrade,” said Francesco Scartozzi, VP sales and business development, Matrox broadcast and media group. “Video walls provide the perfect canvas to deliver stunning graphics and video content to engage audiences like never before. It is now a critical part of the studio design and production process as it is about showcasing one’s brand.”
Dynacord’s Latest SONICUE 1.2 Software Release Adds Major Enhancements to Sound Systems
SONICUE sound system software addresses the entire sound system and encapsulates Dynacord’s core design philosophies of simplicity, clarity and transparency. Its unique interactive design provides a clear and comprehensive system overview, making it quicker to set up, tune and operate sound systems with minimal effort.
Dynacord significantly expands the scope of SONICUE with the version 1.2 update. The new release fully supports the new MXE5 matrix mix engine, which completes the sound system by providing input, routing and mixing functionality, as well as sophisticated DSP functions. When integrated with Dynacord IPX series amplifiers, MXE5 can serve as a system head for overall system supervision, monitoring and control, while the system logic supports communication with other OCA devices, including third-party products. Running as independent apps on desktop PCs and the TPC-1 touch panel controller, SONICUE 1.2 adds customization features for user control panels and system logic for advanced tasks.
SONICUE’s new control panel designer is a comprehensive toolbox that allows the creation of standalone, lockable applications. The design of the user interfaces is customizable and assignable with different functions according to the required user type, such as system and sound engineers, facility managers or service personnel in hospitality areas. Together with the new system logic and customizing functions, the applications can be loaded with dynamic content for specific application modes, raising the user experience to a new level.
The logic editor is quick and easy to operate for the system designer and produces advanced system tasks without requiring coding skills. System integrators and AV installers can address project requirements for fixed installations in a more efficient and effective way via by SONICUE’s intuitive, highly flexible interaction concept, which is based on a guided workflow and direct access of all system parameters.
This update also includes an activated update routine for loudspeaker databases and a handy overview that displays the current firmware versions of all supported devices. The software is available now as a free download from the Dynacord website.
German Bundesliga Club 1.FC Cologne and Production Company Flutlicht-Film Use Q5X Microphones and Transmitters for Club TV
German premier league football club 1.FC Cologne continues to develop its documentary format 24/7 FC and takes the viewer onto the pitch with PlayerMic systems from Q5X. Q5X microphones and transmitters are compact and lightweight and worn directly under the players' jerseys they have no negative effects on mobility or athletics. With the body-worn transmitters, fans could hardly be any closer to the action. 24/7 FC is a club-own documentary format, produced and realised by Cologne-based production company Flutlicht-Film OHG.
To achieve perfect audio quality and to ensure uninterrupted audio signal transport, Flutlicht-Film opted for Q5X systems. The audio transmitters are extremely small and powerful without obstructing the players on the pitch and during the game. Project implementation was accompanied by Broadcast Solutions Produkte und Service GmbH, a subsidiary of leading European system integrator Broadcast Solutions, and is responsible for the distribution of Q5X products in the DACH region. By adding the Q5X systems to the 24/7 FC production, the fans of 1.FC Cologne not only can see their players in action but also hear how intense the action is during a match.
Currently, eight episodes are scheduled for production and will air on the club's 247.fc.de channel and will be broadcast afterwards on German Pay-TV channel SKY. In the first stage, the microphones and audio transmitters are used during training and test matches. 1.FC Cologne is always keen to develop its club TV formats further, and with this technological add-on, fans will have a direct and candid insight into the lives of their stars on the pitch.
For the production, Flutlicht-Film uses Q5X PlayerMics. The audio transmitters are compatible with products from Shure, Sennheiser and Wisycom. To gain the highest usability and resistance the audio transmitters are housed in a flexible, rubber-coated and water-repellent enclosure, that can be placed in pockets integrated into jerseys or glued to pads to fit directly on the player's body. The devices work up to eight hours on battery power.
Yi Sun-sin Stadium Equipped with Electro-Voice & Dynacord
Home of Chungnam Asan Football Club, the 17,376-seat Yi Sun-sin Stadium in Asan, South Korea has enhanced the game-day experience for fans with a new level of audio intelligibility and coverage, thanks to a new sound system featuring Electro-Voice loudspeakers powered and processed by amplifiers from Dynacord.
Dlogixs Co., Ltd. (Anyang-si, Kyounggi-do) completed the system design and installation, with manufacturer support from Hosung Lee of Electro-Voice/Dynacord. “As per customer requirements, the new system needed to combine power and precision with cost-effectiveness and energy efficiency,” says Lee. “The goal was to minimize acoustic blind spots while ensuring sufficient SPL and headroom for speech and background music. The Electro-Voice and Dynacord solution provides perfect system-wide alignment between the main speakers and the delay speakers, in terms of both timing and tone.”
The main covered grandstand on the home side of the stadium is the only suitable structure from which to fly loudspeaker clusters; the away-side seating areas directly across the pitch are uncovered. The challenge was to achieve consistent coverage and SPL for both the home and away fans, using a combination of main loudspeakers in the grandstand and delays to cover the away seats. As line-arrays were not a cost-effective option, point-source models with excellent pattern control were selected as a solution.
Weatherized EVH horn-loaded loudspeakers in four vertical clusters of two serve as the mains: longer-throw 90°H x 40°V over wider-coverage 90°H x 60°V. Ideal for sports venues, the EVH’s rotatable waveguide design (multiple patterns are available) ensures pattern control is maintained down to 500 Hz. The EVH models are supported by eight weatherized Sx300PI two-way loudspeakers as side fills for the areas right below the main clusters. Across the pitch, 16 ZX1i compact two-way loudspeakers are distributed to cover the away-side seating areas, with tonal characteristics and delay time carefully aligned to match the main system. Each is pole-mounted inside a weatherproof enclosure and equipped with a TC-ZX1i terminal cover. Two EVID 6.2 compact two-way loudspeakers complete the Electro-Voice equipment list, wall-mounted as monitors in the control room. The entire system is powered and processed via a combination of Dante-equipped IPX and L series amplifiers from Dynacord, with optimizing presets for the Electro-Voice loudspeakers.
“The fans are the ultimate judges of a successful sound system installation,” continues Lee, “and the response has been very positive. The speech intelligibility is excellent and the SPL is balanced across all areas. Electro-Voice and Dynacord have a proven track record in stadium installations, and this adds to that list. In particular, the EVH models are exceptionally competitive in terms of price and performance. Combined with the Sx300PI models and ZX1i delays, this install demonstrates how impressive results can be achieved while aligning with a limited project budget.”
WFS LIVE Returns in November
After the success of its inaugural edition, which gathered 158 speakers and over 3,400 professionals, WFS LIVE returns, bringing the football industry’s most influential community together once again to share experiences and lessons learned during the restart of competitions after the hiatus imposed by the coronavirus, pool strategies for the crucial times to come and explore new paths for the industry to continue moving forward in the so-called new normal.
Building football’s roadmap for the future will be the motto of this virtual gathering to take place from November 23-27. Industry leaders will share strategies developed to cushion the multiple effects of the pandemic on their businesses, new opportunities they have encountered along the way, and their future prospects in light of the knowledge and experience gained in recent months.
WFS LIVE will also stress the need to take this opportunity to evolve towards a more modern, more digital and more interactive industry, as well as one that is fairer, more inclusive and more supportive. The event will continue contributing to the fight against the effects of coronavirus on vulnerable communities, and 10% of the ticketing revenues will be donated to Common Goal’s Covid-19 Response Fund.
“Resuming competitions and finishing them successfully has been the biggest challenge the sports industry has ever met. The experience and knowledge gained by the different stakeholders during the process is huge and it should provide invaluable guidance for the industry in the crucial times ahead of us. It’s therefore essential that leaders share their experiences, learnings and vision for the future, and together build a roadmap that will allow the industry to move forward with a firm step in this new and still uncertain normality,” said Jan Alessie, Director of World Football Summit.
As in the inaugural edition, the WFS LIVE platform will allow attendees to engage with speakers by submitting questions during the sessions and to interact with other attendees via group discussions or scheduling one-on-one meetings and video calls. In addition, new features will be added to improve the user experience and provide more networking opportunities.
Covid-19 has marked 2020 in every sector, but the pandemic has not been the only significant event. The year will also be remembered as one in which sport firmly stood up to racism. The actions taken both individually by athletes of all sports, and collectively by organisations and companies across the industry undoubtedly signal a turning point in the need to eradicate racial discrimination.
There were also significant statements of intent to bring greater parity between the men’s and women’s games, with the decision taken by the Football Associations of England and Brazil to pay their international female teams the same as their male counterparts, following the steps of Australia, Norway and New Zealand.
These events are also featured in the comprehensive WFS LIVE Conference Concept, available on the event website, which pivots around five main themes:
1. Explore: The 'new normal' in football
2. Bridge the gap: Partnerships, investments & more
3. Discover the next step: Sports technology & OTT
4. Inclusivity: This game is for everyone
5. Breaching boundaries: New global possibilities in sport
The WFS LIVE Programme, which will be released in the coming weeks, will also feature the final of the WFS StartCup by GSIC and the WFS Industry Awards, issued annually to recognise outstanding works done by professionals of the different fields within the football business. This year the awards will be handed virtually.
Verge Aero Soars with the Philadelphia Eagles
Verge Aero, the leader in high-performance drone shows, recently took to the skies together with partner Strictly FX for a celebratory light show marking the launch of the 2020 NFL season for the Philadelphia Eagles. The company, which is based in Philadelphia, deployed a fleet of 200 drones to deliver the large-scale aerial performance, which played out above Philadelphia’s Mann Center for the Performing Arts.
As Eagles fans across the city looked on, Verge Aero’s sophisticated, GPS-guided drones delivered dynamic images, logos, animations and messages of support across Philadelphia’s night sky. Imagery included the iconic screaming eagle’s head of the team’s logo, animated football players, and messages including the Eagles’ ‘Let’s Fly’ slogan and fans’ familiar refrain, ‘Go Birds’.
The Verge Aero team collaborated closely with the Eagles to develop new graphic concepts while optimizing their brand identity and messaging for aerial display. The stunning show content was carefully programmed by Verge Aero’s design team prior to launch, using the company’s proprietary software.
The drones took off and touched down again at a safe zone adjacent to the Mann Center. Thanks to its class-leading drone technology, which has been specially developed to ensure simple deployment, accurate positioning and fully reliable operation, the company was able to complete the whole performance with a minimal crew, following strict COVID-19 safety guidelines at all stages.
The show, which was filmed for the Eagles’ website and shared widely on social media, also drew enthusiastic responses from thousands of Eagles fans on the team’s digital channels, with many fans calling for it to become a regular feature of Eagles’ night games.
Speaking on behalf of the Philadelphia Eagles, Jessica Cashin, Senior Advertising Coordinator, said, “The team was amazing. Thanks again to your team for turning our vision into something so special to kick off the season.”
“This was a fun show to do,” said Nils Thorjussen, CEO of Verge Aero. “It really highlights that there are countless applications for drone shows. The reactions from Eagles fans in the city on the night, and on social media in the days following, was incredible. We enjoyed flying with the Eagles and we wish them the best for the season ahead. Go Eagles!”
Plans for a New Arena in Manchester Given Green Light by Council’s Planning Committee
Oak View Group’s plans to develop a state-of-the-art arena in East Manchester have been given the green light by Manchester City Council. The arena, which will have a maximum capacity of 23,500, making it the UK’s largest, will bring £350million of private investment to the city.
Following final confirmation from national planning authorities, OVG plans to begin work as early as November, bringing 3,350 jobs during a three-year construction phase. The arena will create a further 1,000 jobs when the arena opens, which is projected to happen in 2023.
OVG has committed to pay all employees at least the Manchester Living Wage and will prioritise hiring local people. Manchester has historically been a world-leader for entertainment, with an iconic reputation for music, sport and culture, but in recent years it has missed out on some of the world’s greatest events and is losing market share to other UK cities as they surged ahead with ambitious plans for new arenas.
OVG has demonstrated that demand is there in the regional catchment to put Manchester back at the forefront of live entertainment. As part of the planning application, OVG commissioned independent research that indicated the arena will drive up to £1.5bn extra activity in the city’s economy.
Further research showed that Manchester’s live entertainment market has the potential for an extra 2.05million visitors by 2035. 2 Manchester city centre is predicted to receive £95m of the total audience spend of £165m by visitors to the two arenas. Restaurants and bars in the city centre will experience an uplift of £25m from the operation of two arenas, with retail outlets capturing a £28m increase. Hotels and overnight accommodation in the city centre will benefit from £35m extra spending. All of this represents a doubling of the expenditure by arena audiences for city centre businesses.
Proposals for the new venue at a site on the Etihad Campus were submitted in March following in-depth consultation with the local community. The final plans were shaped by community feedback and since then the project has received support from a wide cross-section of local stakeholders including local companies, MPs, ward councillors and a range of city centre businesses.
Tim Leiweke, OVG’s co-founder and Chief Executive, said: “We’re delighted that Manchester City Council has given our proposals the go-ahead, and we can’t wait to get started, bringing a £350million private investment, creating thousands of jobs, and delivering one of the world’s best arenas to this amazing city”.
“I want to say a huge thank you to the community for taking the time to listen to what we had to say and providing feedback that ensured this arena is of Manchester, for Manchester and by Manchester.”
Councillor Pat Karney, City Centre Spokesperson, said: "Today’s decision is about confidence in our city, Greater Manchester and the North West. It is about new employment and training opportunities for thousands across East Manchester and beyond at a time when they are badly needed. The city centre, our communities and the wider city will be strengthened by our newest neighbour - Oak View Group Manchester. This is the next chapter in East Manchester's regeneration."
The new arena will be a best-in-class sustainable venue, with renewable energy, energy efficiency, and low carbon technologies integral to the design. During operation, the venue will benefit from the excellent existing transport links to the Etihad Campus. OVG has committed to investing in improving walking and cycling routes, as well as funding an expanded Controlled Parking Zone to minimise disruption for local residents. Construction of the venue is anticipated to begin in November, with events projected to commence in 2023.
Formula E and Bubblebee: How Sport Broadcasters Cope with New Social Distancing Measures
The sound recordists responsible for delivering this year’s ABB FIA Formula E coverage to the BBC made good use of Bubblebee Industries technology to help circumnavigate the impact of Covid 19, which had threatened to scupper the sport’s 2019/2020 season.
Like so many sports, Formula E faced challenges because of the pandemic. Normally the fully electric, single seater cars race around major city centres in front of thousands of spectators but due to the pandemic that was deemed unsafe. After months of deliberation a solution was found – namely to complete the season by holding six races over nine days, behind closed doors, at Berlin’s iconic Templehoff airport. Live TV coverage was provided by host broadcasters Aurora Media Worldwide and North One TV, known as Formula E TV, who supply the international and English host broadcast feed to channels such as the BBC, Eurosport and Mediaset.
Formula E’s Sound Supervisor is Paul Halstead, who heads a dedicated crew of sound engineers, many of whom have extensive live broadcast experience and have been involved in Formula E since its first season six years ago.
“We work as a team but we have very distinct roles,” Paul Halstead explains. “Scott Morton looks after ENG crews and is involved with the live presentation element, while I handle mic allocation around the track and mixing the international feed, along with any additional race support presentation.”
For the Berlin races, Scott and Paul had to contend with the German Government’s social distancing rules, which meant making changes to how the audio was captured. Handheld microphones shared between interviewers and drivers were obviously out, so they switched to boom microphones and used Bubblebee Industries’ Spacer Bubble to get the right balance between wind protection and audio transparency.
“Switching to boom mics was a major safety protocol and we used them for more than 80% of our ENG and live presentation audio,” Scott Morton explains. “In this new landscape, presenters can’t get close enough to the drivers to share a handheld mic, and our sound engineers are not allowed to touch the talent so we can’t easily fit lavaliers. Our solution was to give presenters their own stick mic and use a boom mic to capture the interviewee’s responses.”
Scott adds that the Spacer Bubble system proved a real winner during the event because it can be easily adapted to suit the weather and ambient noise levels. This three piece windshield solution for shotgun microphones is specifically designed for changing conditions and features a noise-free mesh base with coarse foam inside and a specially designed rubber mount that can be left on the boom or camera mic. The foam and mesh are ideal for indoor recording, while short and long haired fur Spacer Covers are available for outdoor recording and can be quickly fitted to provide wind protection in all kinds of weather.
“The modular nature of the Spacer Bubble system was perfect for us because we could get variations in the shielding,” Scott Morton says. “Other systems are full on fur or nothing. We like the flexibility this system gives us because it means we are able to adapt to changing weather conditions much more quickly. We used them with various Røde and Sennheiser shotgun microphones and got excellent results. As so much of the audio for the Berlin event was captured on boom mics, Bubblebee Spacers were very much in evidence – especially as we didn’t worry too much about booms being in shot because there was so little we could do about it.”
Another innovation adopted by the Formula E sound team in Berlin was Bubblebee’s Sidekick In-Ear Monitor. This virtually invisible earpiece became a vital piece of the communication jigsaw because it allowed the sound crew, presenters and talent out on the track to communicate with the sound mixers back in the studio.
“The earpieces were great at blocking out noise and I was able to communicate very easily with everyone out on the track,” Paul Halstead says. “Formula E is not as noisy as Formula One, which I have also worked on, but you still require a discrete solution where the presenters can hear the gallery. You can get away with earpieces instead of headphones for comms – and that makes a big difference to how the presenters look on the show.”
Designed to deliver comfort and intelligibility, Bubblebee’s Sidekick In Ear Monitor features the world’s first micro driver solution where the driver itself fits invisibly in the ear canal. Because it is so small and lightweight, it makes a great alternative to earwigs and can be comfortably worn for long periods of time.
Scott added: “Our presenters (Nicki Shields and Vernon Kay) were very happy with the Sidekicks and were able to wear them for long stretches of time because they were so comfortable. From an aesthetic point of view it looked better on camera because you couldn’t see the presenters were wearing an earpiece at all. There was one occasion where I gave Nicki a telling off for not having her earpiece in when we were about to go on air, only to have to issue a grovelling apology when she pointed out that she did have it in – I just couldn’t see it!”
The presenters fitted and cleaned their own earpieces, which they found very easy. This was especially important because Covid restrictions meant they had to be responsible for their own kit.
“I work on a number of other live shows such as Gogglebox and I shall certainly be recommending Sidekicks to them because they are so invisible,” Scott added.
Formula E racing will hopefully be returning in 2021 with the first event currently scheduled to take place in Chile in January. Bubblebee windshield and in ear products will be on equipment list as both Scott Morten and Paul Halstead are happy with their performance this year.