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The 56th Miss World Final took place in the Polish capital of Warsaw’s Palace of Culture on 30th September. This was a significant event for Poland, as it was the first of East Europe’s former communist countries to host Miss World and attracted a recorded television audience of round two billion. Polish rental company Fotis Sound provided an extensive amount of PA equipment for the evening, including a DiGiCo D5 Live digital mixing console and XTA digital signal processing.
“We received the technical specifications from PLUS4AUDIO,” explains Fotis Sound’s Piotr Majewski. “Initially, different consoles were specified for both front of house and monitors, with an L'Acoustics loudspeaker system controlled by XTA processors.
“However, we proposed a D5 Live for Mark Ballard’s front of house position and a PM5D for monitors, to which they agreed. They needed to have the highest quality digital console for front of house and the D5 is, in my opinion, now the industry standard.”
Fotis configured the D5’s stage rack with 56 inputs – 48 standard plus eight tube - and 16 outputs, whilst the local rack had 40 inputs and 32 outputs. “However, we actually worked with around 56 input channels and six outputs,” says Majewski.
The main PA comprised an L’Acoustics DV-Dosc system with ARCS for sidefills and biamped d&b monitors, all controlled using XTA processing. “We have used XTA for many years,” says Majewski. “We used them here because it was in the technical requirements, but even if we are not require to, we always use them.”
Three XTA DP226s controlled the d&b monitors, with another two four way DP448s for the side fills. “It took us a while to decide where to put the side fill loudspeakers,” says Majewski. “We needed to have high quality with clear reproduction and a good "beat understanding" signal on the stage, but the side fills needed to be invisible. We decided to use four L'Acoustic’s ARCS, two on either side: one was stage centre, the second reinforced the front of the stage and we added a little delay between the two sidefills.”
Fotis understands very well that sound reinforcement for theatrical architecture always needs added attention. “To divide the signal from the DV-Doscs, we again used XTA processors,” continues Majewski. “Two XTA DP226 for the main PA and an XTA DP428 for the subs and front.
“We prefer to use XTAs because they have very good presets for the L’Acoustics line arrays and we have access to all the parameters we need to work with.
“The combination of DiGiCo and XTA means we are always satisfied with the sound quality of our systems!”
9th November 2006
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