dLive Manages Stadium Concert for Placido Domingo

dLive Manages Stadium Concert for Placido Domingo posted: 18/07/2016

Two Allen & Heath dLive systems were recently used at FOH and monitors for a special concert held at Santiago Bernab u stadium in Madrid by the famous tenor, Pl cido Domingo. With an audience of 70,000, the concert was a celebration of Pl cido Domingo's 75th birthday and also an important fundraising event for welfare projects in Latin America.

Performers comprised Pl cido Domingo with guest artists, including Italian tenor, Andrea Bocelli; Columbian musician, Juanes; Fehr, from Mexican rock band, Man ; Mexican singer, Alejandro Fern ndez; and Spanish musicians, Alejandro Sanz and David Bisbal. The artists were supported by a full band, symphonic orchestra, choir, mariachis band and flamenco band.

FOH engineer, Juan Vinader, with dLive during rehearsals

The technical production was managed by Production Resource Group (PRG) Spain, which selected a MADI-enabled dLive S7000 Control Surface and DM64 MixRack with two additional DX32 audio racks fitted with AES output cards, at FOH alongside DigiCo SD7 and SD10 consoles, to mix the orchestra, choir, band and vocals. A second S7000 and DM64 system with an SD10 was installed at monitor position.

Using dLive, Sergio Cianca, monitor engineer in charge of mixing the mariachis and flamenco bands, commented:

The learning curve of dLive is simply amazing. You can go straight to work after just a few minutes, even if you haven't used A&H systems before. Another nice thing is that if you go deeper into the system, you'll find lots of remarkable options and tricks. To summarise, dLive is a system that makes basic operation easy but offers lots of features to those that want to go beyond this and push the system.

The other engineer using dLive at the concert was FOH engineer, Juan Vinader, who mixed the symphonic strings, mariachis and flamenco bands. He said:

The high quality of the preamps in dLive is easily noticeable when you PAFL any of the input sources. The working parameters at this gig was something like several dozens of input channels, processed and mixed as stems, and passing through more than just one mixer before reaching the PA system. As a consequence, it was difficult to tell the true sounding character of each mixer but this situation changed every time that I used headphones to monitor any of the input sources connected directly to dLive, which allowed me to see that the dLive preamps are transparent, rich and have a great headroom.

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