NEW YORK – Of the 56,012 runners who started the 2024 New York Marathon, a record 55,646 – more than 99% – finished the race, with an impressive average time of 4:17 for men and 4:48 for women. Also getting up early to provide a wireless assist to those starting on the Staten Island end of the Verrazzano-Narrows bridge: SRS Productions.
SRS Productions’ Joey Ghiuro, who served has the audio engineer for the main stage at the top level of the bridge, provided FRONT of HOUSE with some details on the audio setup at the start of the race. SRS worked with audio provider Wireless Sounds Ltd., and Aaron Gennett served as systems engineer.
Along with both sides on the bridge’s top level (where traffic normally flows both East and West), runners set off toward Brooklyn on one-half of the lower level, in the lanes where traffic normally flows West. For those runners, a second audio setup got support from audio engineer Kyle Walker.
Back on the top level, the main stage’s audio support included a ground stack of d&b audiotechnik T10 loudspeakers over d&b B2 subs, with an outfill of d&b T10s over Q-subs powered by D80 amplifiers and controlled via a Yamaha DM7 console.
“From front of house we used a Shure PSM1000 transmitter to send signal to two separate delay zones where we land at Shure UHFR receivers,” said Ghiuro. “At the first delay zone we had four d&b V10P’s running on d80 amplifiers. At the second delay zone, we deployed three separate flown array stacks of 4x d&b Y8’s, 165 feet between each stack.”
Each stack sent and received audio wirelessly using Shure PSM1000’s and Shure UHFR, Ghiuro added. “Each stack got its own Shure transmitters and receivers, plus a Shure SCM410 [four-channel automatic mixer], d&b D20 amplifier and a Honda 3K generator,” he added. “We then use a PSM1000 to send signal to the lower level of the Verrazzano bridge, landing at another Shure UR4D and a Yamaha QL1, which then sent out audio to eight d&b M6’s on sticks and four d&b M4s on sticks.”
Summing up, the main stage audio setup included (12) d&b T10, (2) d&b B2 subs and (2) d&b Q-Sub; (1) Yamaha DM7C console; Shure PSM1000 delay transmitter, (2) RF Venue Helical Beam delay transmitters, Shure AD4Q for stage mics, (4) d&b M4 stage monitors and (3) d&b D80 amplifiers.
The setup for delay zone 1 included (12) d&b Y8, (3) d&b D20 amplifiers, (3) Shure SCM410, (3) Shure PSM1000, (3) Shure UR4D, (3) RF Venue Diversity Fins and (3) RF Venue Helical Beam units. Delay zone 2 included (4) d&b V10P, (1) d&b D20 amplifier, (1) Shure UR4D and (1) RF Venue Diversity Fin.
The lower-level speaker setup included (8) d&b M6 and (4) d&b M4 powered by (3) d&b D20 amplifiers and controlled by a Yamaha QL1. There was also a Shure UR4D to receive signal from the upper level and (1) RF Venue Diversity Fin.
