Tradition dictates a yearly technical analyses of the Night of the Proms, which will end its' tour next week.
For many years now, the key players in terms of the entire set build have been Arf&Yes’ lighting designer Ignace D’haese, who was commissioned by tour promotor Jan Van Esbroeck and Jan Vereecke from the Antwerps Sportpaleis. Once again, these two parties turned to PRG Belgium for technical advice and new product development.
This year's rig was filled with motion:
2 x Video trusses with a built-in Unibeam Track (1 x 33m and 1 x 27m), allowing 4 video screens to move horizontally, driven by a Wahlberg Trackrunner and vertically using Kinesys Zerospeed motors.
4 x LX Truss of 27m.
3 x LX Truss with 2 x custom built Totems of 6m, each equipped with 6 x CP Alpha Beams 700 and 5 x SGMs Q7. The Totems were moved horizontally by a Wahlberg Trackrunner.
1 x LX truss with 6 x K20 B-eye, also directed by a Wahlberg Trackrunner. This entire LX truss was rigged onto a Kinesys motor allowing upwards and downwards motion.
9 x Sunpods, of which 5 hung on 2 Kinesys Varistars. Each Sunpod contained 12 Sharpy Wash and 1 x K20 B-eye.
PRG's internal technical team, directed by Christophe Reusen, developed a Unibeam Track Runner Slave Car, that could take a load of 450kg. All Kinesys motions were directed by a Kinesys K2 System. The team also developed a special truss to host the Unibeam Track Runner.
The Sound system was composed by a full Adamson set, configured by Patrick Demoustier.
The novelty this year was the move to a fully digital system. “One of the reasons for our further commitment to digital wireless is that Scala, the famous Belgian choir, brought their own wireless microphone system (Sennheiser 9000),” comments Demoustier, Sound Engineer at the Night of the Proms. “Last year, PRG invested in a 30 channels Sony DWX digital wireless.”
In regards to consoles, this year’s Night of the Proms saw PRG supplying a full DiGiCo console kit. One SD7, as main desk, and one SD10 (pre-mix for horns, woodwinds and percussion) were used as FOH consoles. On stage, a newly bought SD5 desk served as monitor for the orchestra and Scala choir – the artists’ and band’s monitor signals were controlled by an SD7 mixer. All Digicos operated in a redundant Optocore network. The PA operated in a fully redundant DANTE network.
“The big novelty is that we replaced the backstage Midas by a DiGiCo SD8 for the strings’ pre-mix,” stipulates Demoustier. “Switching from analogue to digital has a big advantage here: since we have a lot of changes in the orchestra and can rarely do soundchecks, we can make presets for each musician’s instrument, allowing our engineers to achieve the perfect balance between these acoustic sounds and the rock band on stage. In total, we used 42 individually assigned channels, routed in groups to the FOH’s SD7."
More pictures in our Slideshow