APRIL | COVER FEATURE
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1: Peter Kerwood 2: Adam Hornblow 3: Pete Downton 4: Phil Shaw-Stewart
there’ s a 3�db drop off between two points.” This was achieved at the Margate �oul �eekend, where ��L installed a sound drop off to protect residents.
��rganisers wanted 1��db on the dancefloor which was very ambitious. �ut, using �aimed bass’ and cut off technology we actually achieved ��db at the entrance, and ��db on the dancefloor.
��oint source evolved into the convenience of line array, but people recognise that when the wind blows and you suddenly can’ t hear. �o, ��s technology is coming back and every organiser wants to offer something better and different that works.”
��G, meanwhile, recently pro�ect managed an e�periential tour that needed only 3, ��� audience members connected to a local server via �i��i. The infrastructure for this and managing 3, ��� concurrent
connections made the connectivity budget three�times the budget for lighting, video and rigging combined.
�erwood says� �The L�D race has largely been won, but we need more processing power. L�D screen resolution is a race that is mostly done � the distance the audience are from screens means that it is indifferent if the screen is �mm or 1�mm screen �or anywhere in between� so the more pressing L�D solution changes are based on colour space, colour rendition and speed of processing �delay from camera to screen�.
��ncreases in media server power will change everything. �estivals will end up with more screens �such as ��T in Hyde �ark� so visiting bands will need to have their creatives do more site specific pre�production.”
The stakes are high for live, and the future is a blank canvas, according to �ete Downton, ��� �digital. ��t’ s taken the music industry the best part of 1� years to get used to the post �D era. The ne�t �� years needs e�citement and live has a massive role in that.
��e’ re scratching the surface as to what we can do with audio. �e’ re also looking at how we can make �live’ available to more fans in high �uality, and doing what happens at Glastonbury for smaller scale events.
��ver the ne�t two or three years people will see concerts try new technologies and the show will also be streamed in high �uality �irtual �eality to e�tend the concert’ s lifespan outside of �ust the festival. There will be more immersive e�periences, and �’ m convinced live will play a much larger part of people’ s consumption of music.”
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