Professional Sound - June 2022 - Page 28

PREPARATION AT TURIN ’ S PALAOLIMPICO , THE LARGEST INDOOR ARENA IN ITALY
can be different and each of the two souls are completely redundant , so the matrixes are doubled . So , there ’ s going to be two DirectOut M1K2 MADI routers , 16-port each , main and backup for broadcast and main and backup for live . And then in the middle of those two matrixes , there are two Prodigy . MPs , which are guaranteeing the exchange of signals between broadcasts and live with redundancy and with sample rate conversion , if needed .
Plus , media conversion , because at any point someone from the patch room can ask me for an AES feed of that signal or an analog feed or say , “ I want to give you an analog feed to be distributed towards live and broadcast .” So , the patch room is another central node of the entire architecture , which is made by four MADI routers , because the main portion of the signals are exchanged via MADI , both with the live environment and the broadcast environment . But yet , with the possibility to exchange Dante signals and then the conversion , in that case , is provided by the two Prodigy . MPs in the patch room , or analog and AES . And once again , the two Prodigy . MPs in the patch room – one attached to the live environment one attached to the broadcast environment , and exchanging signals among each other – are representing the patch room solution . Once again , fully redundant , ready to be divided in terms of clock , while perfectly synchronous if everything goes in the right direction .
So , I explained the roles of two Prodigy . MPs for the playbook rig and two Prodigy . MPs for the patch room . Now , there are another couple Prodigy . MPs connected to the front-of-house console . There are two FOH consoles sitting on two different DiGiCo loops , completely independent . DiGiCo loops are made by two stage boxes each , one monitor console , one RF-check console where the artists are going just before getting to the stage in order to test their mics and in-ear monitors , and then one front-of-house console — everything is doubled . So , imagine two different DiGiCo loops , two stage racks each for 56 channels of input , two monitor consoles , two RF-check consoles , and two front-of-house consoles .
The two FOH consoles are then connected to two Prodigy . MPs . Console One is feeding Prodigy . MPs One and Two , and Console Two is feeding Prodigy . MP One and Two , both with MADI and analog backup .
The two Prodigy . MPs in front of house are then creating all the stems for a large number of clusters of L-Acoustics rigs hanging from the ceiling of the arena . The Prodigy . MPs in front of house are detecting which is the running consoles , automatically and seamlessly selecting from the first , or the second in case of problems with the first console , without losing a single sample .
Those two Prodigy . MPs , main and mirror , are taking care about of the alignment and EQ of the PA system . That ’ s the typical frontof-house management system . Then those two Prodigy . MPs are connected via MADI to two Optocore MADI devices , which are then picking up the signals from front the house and distributing it through a redundant Optocore loop , all the signals towards the L-Acoustics amplifiers . The main distribution is made with the digital Optocore infrastructure , getting on the ceiling AES outputs to feed AES inputs of the several L-Acoustics amplifiers .
Then , from the two Prodigy . MPs in front of house , there is also a completely redundant analog distribution from the two Prodigy . MPs to every single cluster of the L-Acoustics . So , if everything goes really wrong and you lose main and redundant of the Optocore system for distribution , you still have the analog backup plan . And note that we are distributing 28 different feeds for 28 different clusters from the ceilings and all of them are fully backed up on analog . So , the analog is not just a disaster recovery distributing the mono , but they are discrete , fullyprogrammed , EQ ’ d , and delayed signals as the copy of the main digital design . Both Prodigy . MPs in FOH are feeding 28 analog channels to Radial switchers , which thanks to GPI , would react to the sudden death of the main Prodigy . MP , immediately selecting the analog out of the second .
So , there ’ s a third Prodigy . MP in front of house used as a watchdog , because one Prodigy . MP can fail and the other one will take over . But that would require a re-patch of the Optocore AES outputs . The same if the Main Optocore should fail . So , the watchdog Prodigy . MP is double checking the availability of the several MADI signals coming back , as a test , from the Optocore devices and depending upon the status of which MADI connection is the one that should be used to distribute the signal , thanks to the Automator , it sends a MIDI program change to the Optocore controller software in order to change the patch .
So , even if one of the Optocore device should fail , or one of the feeds to the Optocore device should fail , the watchdog Prodigy . MP is detecting that situation and automatically triggers a Macro inside of the Optocore system in order to have an automatic switch between the main , the backup , the back to the backup , and the backup to the backup to the backup connection .
So far , I ’ ve told you about two Prodigy . MPs for the playback rig , two Prodigy . MPs for the patch room , three Prodigy . MPs in front of house , plus a third Prodigy . MP for the watchdog ( plus Automix ) in front of house . Then we have another six Prodigy . MPs ; two of them are for the monitor rig . So , the problem is , in-ear monitor transmitters can only be fed with analog signals . While the digital output of the consoles are the ones that we can backup . So , we have two independent DiGiCo SD7 consoles
28 PROFESSIONAL SOUND