Entec worked alongside Show Producer, Des Murphy, and Production Manager, Julie Chennells (of Ginger Owl) to stage the 20th anniversary of Teenage Cancer Trust.
Once again, the experienced Entec crew, under freelance Project Manager, Matt Grounds, were equal to the challenges thrown up by the venue’s acoustic quirks, and varied line-up.
Reflecting on the event Grounds, who took on PM duties back in 2016, having earlier mixed monitors on the show, stated: “We constantly review our spec to ensure it best fulfils the production’s needs, and this was the first year we’ve done the event with KSL.”
d&b audiotechnik’s new line array, aimed at superior directivity control, fully justified Entec’s investment. The main PA hangs comprised 16 KSL a side with 14 d&b V series side arrays, and Y-series enclosures providing front and balcony fills. “It’s a natural continuation of the J-series,” said the project manager.
However, the big step forward this year, he said, was with the 14 SL subs which replaced the previous J-subs. “SL is a cardioid box by nature and a punchier sub than the J,” he assessed. “We opted for a centre column to maximise vertical coverage, with an additional horizontal array on the ground to give energy in the stalls. With the two working together we could achieve even coverage across the majority of the arena, with significant rear cancellation.
“System-wise, what tended to change on a daily basis was sub levels. We could tailor the pattern to fit everyone’s needs, for more energy at the front, or more even coverage, or to reduce levels on stage.”
In this set-up desks were able to flip flop, as Matt Grounds explained. “We had a [DiGiCo] SD10 out front and Madness and Paul Weller’s engineers plugged their show files into that as well as the support acts. That was linked to an SD11 so we could patch in both guest and our console, and have two people working at the same time.”
Julie Chennells confirmed that production had worked alongside all artists to ensure they could bring in their own elements of production like pyro, kabuki or video screens. “I work closely with Des Murphy who is the producer of the show and organises all artist booking alongside patron Roger Daltrey CBE and promoter SJM Concerts,” she noted.
“The only thing that was a concern for me this year was the possibility of having to cancel a show because of COVID-19. We implemented a sterile backstage for the entire week, everybody was extremely cooperative and thankfully this didn’t happen.
“Entec have worked on the shows since the beginning and always offer a fantastic level of services,” Chennells observed. “Our crew chief Matt Grounds is brilliant with amazing attention to detail. The system they provide is high spec so all the artists are happy to use our house rig.
“From a production perspective we have got it to where it needs to be although we are always exploring new products, as technology changes. Our technical team is absolutely top notch and all are completely invested in the charity and what they do.”
