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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