SLS supplies ASAP Live in Dubai
Published: MEA
UAE: SLS Production was called on to supply audio, video and lighting equipment for the recent ASAP Live in Dubai concert. The event was the first time ASAP 19 had been staged in the UAE and a crowd of 18,000 gathered in Dubai Festival City for performances by more than 40 Kapamilya stars, led by Gary Valenciano, Martin Nievera, Vina Morales, Zsa Zsa Padilla and Kris Aquino.
The concert also launched the partnership of ABS-CBN The Filipino Channel (TFC) Middle East with OSN. As a result, SLS needed to design a system that would work for a live audience whilst also being capable for live broadcast. According to the production company, this brought challenges with setting up the audio system for the audience.
The chosen solution was composed of left and right arrays of 16 JBL Vertec 4889 cabinets and two outfill arrays comprising six Vertec 4888s. For low end reinforcement, 36 4880A subs were ground stacked with two rows of frontfills. These frontfills saw eight Vertec 4887s in front of the main stage combined with a further four 4887s on the forward stage.
Power for the system was courtesy of Crown. The subs called for 14 Crown MA5002Vz, while 12 Crown IT6000 and IT4000 units were used for the main array and back fills. Completing the line up, eight Crown 3600Vz and 5002Vz were used for out and sidefills.
According to SLS, the PA was designed in this manner due to the wide seating areas and the nature of the live broadcast. The production required VIPs and guests to be very close to the performance area which meant using different elements for the sound system.
The performance area itself was covered with four flown arrays of four 4888s while a further four 4880A subs were ground stacked. Wedge monitors were from Martin Audio, with eight LE2100s on the main stage, six LE400s on the catwalk and a further six LE400s for the forward stage area. Backstage, two arrays consisting of a pair of 4881 subs and two 4887As were put to use as backfills.
Two Dolby Lake processors were called into action for the main PA, outfills and frontfills. The remaining elements of the system were processed courtesy of XTA 448 and 226 units.
With a variety of performers on stage, the concert required a large number of wireless mics and in-ear monitors. For this reason SLS opted to use 17 Shure UR4D dual receiver plus a further two as back up. This setup was suitable for 30 of the manufacturer’s UR2 mics and four UR1 body packs.
Because of the large quantity of wireless channels involved, a frequency scan was performed using Shure’s Axient spectrum analyser. With the assistance of local Shure distributor NMK, This allowed SLS to avoid RF interference and intermodulation between all the frequencies.
At FOH, the show’s engineer opted to use a DiGiCo SD7 digital console. This was supported with an external effect unit rack including Yamaha SPX990, SPX2000 and a TC2 Delay.
The recording setup for the show consisted of a Mac Workstation running Reaper with 70 channels. Two RME HDSPes made it possible to record through the SD7’s Madi port.
The intercom system consisted of two HME DX200s, one Clear-Com Tempest, a Clear-Com MS702 and an MS704. These were all connected to the OB van’s Clear-Com Eclipse system through a 2/4 wire interface. In the OB Van, Midas Pro6 was put into use, receiving a full split of the microphone signals.
On the visual side, SLS used equipment from the likes of Sony, Analog Way and Absen. While the lighting setup saw fixtures from Clay Paky and Arri with control from Avolites.