Sound Co
Clearwing Productions
Venue
Margaret T. Hance Park
Phoenix, AZ
Crew
A1/System Tech: Phil Reynolds
A1/Monitor Engineer: Andy Rouse
Stage Techs: Steve Coronado, Tyler Williams
Production Manager: Almir Lejlic
Project Manager: Ryan Driscoll
Gear
FOH
Console: Avid Venue Profile
Speakers: 24 L-Acoustics K2, 6 KARA, 16 KS28, 4 ARCS II
Amps: 7 LA-RAK II
Power Distro: Motion Labs
Processing: 3 Lake LM44
Rack Components: Q-Sys 510i Frame w/ Dante and AVB cards; custom 48×12 Matrix “Desk Selector” Block for up to 10 guest consoles (Left, Right, Sub, Fill); Yamaha QL1 for house music and video input; Focusrite RedNet D16 and A8R to handle AES or Analog input at FOH; Rational Acoustics Smaart 8 for SPL Monitoring; Focusrite D16R for PA Drive; Cisco Meraki 10Gig Network for System Control
MON
Console: Avid Venue Profile
Speakers: 12 d&b M4
Amp: d&b D80
More Details from Phil Reynolds:
“For MMMF we used a redundant Dante deployment along with AVB. The fully custom drive system supplied, PA drive, Festival desk matrix, custom 16 input by 9 individual shout mixers, stage production internet…For the FOH desk and guest consoles, we used a QSC Q-Sys 510i frame with Dante and AVB cards. A custom “Desk Selector” block was built to handle up to ten consoles (Left, Right, Sub and Front-Fill). The desk selector is a 48×12 matrix with external push button GPIO to turn on or off each desk. With the help of Forward Thinking Designs, the desks selector had two extra features programed in that allows me to fade the band out if over allotted time, if the Stage manger calls to fade the band the system then sends a email with a time stamp to the production team if needed. The Main Festival desk, and guest inputs came in over Dante either AES or Analog. We used Focusrite RedNet D16R and A8R for this. There was also a Yamaha QL1 that handled all house music, Video audio, and MC mics this fed Dante directly to the QSYS. With Rational acoustics Smaart 8. I take a few site measurements to determine the property line SPL limits. With a screen at FOH I set the Broadband meters to relay the A and C weighted SPL with meters turning yellow when close to property line limit. A Full SPL log was archived if any questions from client or city came up. With the custom User Controlled Interfaces in Q-Sys I built for the shout system between the audio crew. There was a Stage left computer with a touch screen for any adjustments or changes to each individuals “mix” the crew was also able to use iPads across the stage if any adjustments were needed. Video/archive room we used a Focusrite X2p for video inputs and output for record archives.
“For PA Drive we used a Focusrite RedNet D16R on each side of the stage for outputs to L-Acoustics LA12X Amplified controllers. The Pa consisted of 12 L-Acoustics K2 aside, 16 KS28 Subs, 4 Kara Front-Fill, 2-Arc II out-fill, And 2-Flown Arc II’s for VIP fill. With a total of seven LA RAK II’s to power the system. All PA system DSP was covered using LA- Network Manager.
“A Full Cisco Meraki 10Gig network between FOH, Stage Left and Stage Right. The Audio crew and production wireless network needs were covered by Cisco Meraki Access points running a total of 5 SSID’s. With a total of six VLAN’s two were client and production private networks provided FOH and stage with internet and stage production needs. The other four networks are isolated for each part of the audio system. All network infrastructure was connected with fiber complete with redundant firewalls for fail safe routing.”
