Adamson heats up the streets at the MMVA's

Clair Canada chooses Adamson kit for street-side event in Toronto.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.
Images courtesy of Mark BT and Gadjo Cardenas Sevilla.

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The annual Much Music Video Awards, which took place on June 19, promised to be bigger than ever, closing some of downtown Toronto's busy streets for an entire weekend. One of Toronto's biggest parties of the year kicked off with a performance by Lady Gaga, followed by Far East movement featuring Snoop Dogg, Bruno Mars, Avril Lavigne, Fefe Dobson and many others taking the stage. Canadian Justin Bieber showed up to support girlfriend and event host Disney-star Selena Gomez. Reportedly, 20,000 fans took up the streets to come see this live street event taking over the Much Music parking lot and bleeding to the adjacent Queen and John streets.

Clair Canada provided sound production on the Parking Lot and Intersection stages, with PA Plus taking care of Red Carpet and an additional stage inside the environment where The Black Keys and City and Colour performed. Other companies involved in lighting, staging and promotion of the event included J. Michael Elder Productions, Much Music Lighting Department/Christie Lights, Midnite Hour and Optex Staging. The sound design for the street awards was designed by Dave Donin of Clair Canada, using Clair's Adamson Y-Axis, SpekTrix and SX Subs inventory, paired with their proprietary P-2's.

"It was a tough environment for the main stage, as we had to fit (the system) in amongst a lot of hanging set pieces. The system was designed using the shooter software and drawing the PA system into Google Sketch-Up, as the stage and set already existed in a full drawing already. This allowed us to make sure the PA would both cover and fit in the way we needed it to." explained Donin.

The Adamson systems was chosen because of its tight coverage pattern, ease of flying with the many given obstacles, and the fact that if no tuning time was to be given: "We could turn it on and have a great sounding show right out of the box" Donin added. The main stage system design featured two hangs of 12 Y-10 at left and right of house, with a single centre hang of 6 Y-10's. 16 x SX Subs were placed on the ground (6 x left, 6 x right, 4 x centre), 8 x Clair P-2 were used as front fills, and a 6 x SpekTrix 15 degree enclosure hung as a delay. The system was processed with Clair Dolby Lake Processors with AES input and powered by Lab.gruppen fP3400, fP6400, 20000Q PLM, 10000Q's.

The design worked extremely well for the situation that they were in: "It is very often that we are put in a situation where we need to make a PA fit in around all the scenic elements of a show, the Adamson system did this extremely well and based on the design of the show the only real problem spot was at front of house, which was placed in a tower that was shadowed from the PA. We ended up using large near field monitors as a solution."

At FOH Mark Vreeken & Peter Stoynich took controls, at monitors they had Danny Thomas, Russ Wilson, and Stein Guitton, and Jon Halliwell was systems engineer for the event. The FOH and Monitor consoles were all chosen because of artist preference, with one PM-5D used as a Master Traffic console on the Parking Lot stages, because it connected to the MADI broadcast network, therefore it had a full copy of any input that was needed and it was not loading down any primary host microphones or inputs. The console list consisted of 5 x Avid Profile System (3 x 48 Channel, 2 x 96 Channel), 2 x Yamaha PM-5D, and 1 x Yamaha LS-9.

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