Page 233 - Protec PR Book Volume 2

COMBINED RESOURCES
Protec combined their resources to provide industry standard video, audio, lighting, backline, stage and set elements and full rigging services.
Simon Travis took on the project manager role for Protec liaising with Envie Events, Backbone International and the Sensation crew from Holland.
“Meydan is very different from the usual kind of dance music venue, particularly because it’s a race track so we had to consider the horses stabled there, in terms of noise levels. We had restricted time slots where we could carry out the work. The noise was very strictly controlled as they didn’t want to freak out the horses, though they did move them off site for the show day,” explains Travis.
The Envie Events team adds: “Meydan is a great venue with more than 8,000 parking spots, exceptional infrastructure facilities and perfect distance from downtown Dubai. Makes it a very attractive venue for a global series like Sensation. Working on Meydan does bring its challenges and having an experienced partner like Protec really makes the difference.”
TECH SPECS
Travis describes Protec’s involvement: “The audio was fairly straightforward. We provided 32 flown L-Acoustics K2’s on the main hangs, above which were two K1 subs on each of the hangs — all powered by 11 LA-RAKs containing 18 LA8 amps. For the front fills they set four positions of 12 L-Acoustics Kara enclosures, powered by the LA8 amps. Subwoofers comprised 30 SB28s — 15 a side. L-Acoustics amps and speakers were also used for DJ monitors and wedges which comprised three Kara elements per side on top of a pair of SB18 subs.”
The company used a DiGiCo SD10 as their FOH mixing desk with all amplifiers networked so they could be closely monitored, with signal transmission via Neutrik fibre optics.
Processing comprised Antelope Audio lsochrone OCX Clock, Lab Gruppen Lake LM44 processors, MAC laptops controlling playback and processing (including Smaart), and DIs for DJ equipment.
Protec fielded 16 Sennheiser G3 receivers and a transmitter as wireless monitoring for the dancers so they could work with the music and receive feeds from their choreographer. A couple of handheld radio mics meanwhile covered DJ requirements.