the zero-lag interaction . Our expertise is in this proprietary environment to synchronize with the equipment on stage to make sure it gets to the user without delay and vice versa .”
It ’ s also sonically directional , he continues : “ The sound of a given user speaking to an artist will follow the position of a user on stage . We ’ re not looking at a stage from a 180-degree approach , where you ’ re in the audience and watching the stage . We ’ re thinking about it as a 360-degree experience ; fans taking this in from different angles and perspectives and we take into account the sound as well .”
In the Montreal eSpace , Tomeo says , “ Audio isn ’ t a huge component – we have three Electro-Voice EKX-12Ps for monitors , wireless earpieces and wireless mics , and a small 32-channel Midas M32 mixer .”
That said , the audio package does vary from application to application . “ It all depends on the technical rider of the artist and what they want to produce ,” Tomeo says . Regardless of the audio equipment provided , “ the solution is so good because of the interaction ,” he continues . “ On other [ virtual ] shows , the artist may be able to see the people in front of them , but they can ’ t interact with them like this .” To deepen that interaction , Solotech provides other equipment as necessary on a show-by-show basis .
For the U . S ., however , Yoop modified their approach , creating unique hybrid experiences by turning existing venues , specifically the Tennessee Performing Arts Centre in Nashville and L . A .’ s Microsoft Theatre , into Yoop eSpaces . The team from Silent House designed the setup in both locations .
In both cities , Yoop and Solotech are leveraging existing human and technological resources at the venues , says Lee Moro , the VP of Solotech ’ s Live Productions Division : “ They have in-house rigs and techs there already and we want to work with them because , obviously , it ’ s great gear and they ’ re great people .”
For artists , using existing venues allows an experience that closely mirrors a normal , pre-pandemic show day . “ The same gear on stage , a monitor engineer and console , big sound through the house PA . Yoop chose real theatres because they want artists to feel like they ’ re in a performance space .” That also allows the artist to use the spaces and amenities that are such a big part of a ‘ regular show day ’ – dressing rooms , side stage wings , a full backstage area – all things that reinforce “ normality ” and , by extension , prompt artists to think less about the fact that the audience they ’ re playing for isn ’ t physically present .
With all the resources in play already at the venues , what Solotech is providing in both spaces , Moro says , is “ basically a broadcast setup that ’ s very similar in both venues .”
Among the elements deployed in both Nashville and L . A . are a DiGiCo SD10 console and DigiGrid MGB MADI interface for multitrack recording , a Waves Server One , Genelec 1030a reference monitors , a Shure ULXD4Q wireless system , and an Ableton playback rig with Launchpad for announcements and SFX . “ There are some differences ,” Moro notes : “ For consoles , we have a DiGiCo SD10 in Nashville and an SD7 in L . A . – both great-sounding broadcast desks .” Additionally , Solotech has provided a 100-channel splitter , a Lexicon 960L reverb unit , and a variety of microphones ( including SM58s and WL184 lavalier mics ), and some Clear-Com elements .
Again , as in Montreal , onstage audio gear varies from client to client and application to application , but generally speaking , audiowise , it ’ s a seamless and simple setup – “ Everything coming from the deck we ’ ve got split , going to the desk . It ’ s a straight broadcast mix ,” says Moro . “ They ’ re also taking audio from the Yoop platform , which sends the audio from the audience participants to the broadcast desk . While that doesn ’ t go out to broadcast , it is sent to monitor world so the artist can hear and interact with audience members .”
That interaction requires a mix of broadcast cameras provided by Solotech , and Yoop “ perspective ” cameras , as well as various large-scale LED screens deployed in the eSpace – with the broadcast cameras capturing the performance for the audience , the perspective cameras capturing the “ audience eye ” view , and the screens presenting the artist with a view of the audience themselves . Placement varies in each venue , but in each case , there are screens mounted behind and in front of the performers , with the audience situated left , right , and centre in front of the performance area .
And while displaying a virtual crowd on a screen has become fairly common in livestreaming situations , early on in the pandemic , those shows were rarely presented live because of the latency . “ They ’ d mix it so it looked and sounded live ,” Moro says , “ but the audience and artist couldn ’ t interact in real-time .”
“ Obviously , latency is a big deal when it comes to streaming this sort of show ,” he adds . “ It ’ s the biggest thing – if you want to have
real-time interaction , it ’ s all about [ low ] latency . And with Yoop , the artist or presenter can pick people in the audience from the screens and say , ‘ I want to speak to [ this person ] on the top right ,’ send that to the centre screen , and have a conversation . And the [ lack ] of latency is fantastic .”
In all three spaces , Solotech supports Yoop with their expertise in production , a massive inventory of equipment , and intimate knowledge of how live and broadcast environments intersect – essentially providing the immediacy of a live show with the pristine capture of video and audio of a broadcast setting . While livestreaming has become even more commonplace over the past year , Yoop ’ s offering is miles beyond what platforms like Facebook , Instagram , and Zoom provide .
“ You know what they say about audio ,” Fredette puts in , “ it ’ s 5 % of the bandwidth and 95 % of the challenge . As I told you , we ’ re a combination of three environments , and with the equipment it ’ s also three components : the house equipment , everything that Solotech supplements that with – ranging from the LED walls to the console to providing the artist with what they ’ re used to , and , thirdly , our interactive , software-based , proprietary platform .”
Using basic conferencing tools , as you add people / devices , you start to get a lag . It may not be huge , but it ’ s perceptible enough to interfere with the experience . Fredette cites the value of zero lag in live comedy as an example : “ If a comedian cracks a joke and gets the laughter three seconds after , it ’ s pretty awkward . In music ,” he continues , “ it ’ s also distracting . Fans want to sing along – it ’ s crazy because they ’ re as far as they ’ ve ever been from the stage versus an in-person event , but they ’ re closer to the artist than they ’ ve ever been ; closer than the first row . And in the intimacy of their own home , they ’ re in direct connection with the artist . It ’ s all real-time and because there ’ s no delay , the artist isn ’ t distracted and you end up with a more natural feeling show .”
Kevin Young is a Toronto-based musician and freelance writer .
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