Adlib are long-term Sennheiser users, exclusively using the company's in-ear monitor systems, plus an extensive inventory of microphones and radio wireless systems.
"The RF is rock solid, Sennheiser UK offers really good support and works with us post-sale, as opposed to just leaving us to it," says Adlib director Dave Kay. "Having a company with a UK-base which really knows how to get the most from the product is great.
"They really get involved in educating users. Every year we hold a two-day training session with them. They provide excellent training and, in return, we provide the beer."
As well as the education and training, Kay is also appreciative of the way Sennheiser UK's team of Mark Saunders, Tim Sherratt and Andy Lillywhite are prepared to, as he puts it, "hand hold people through large events."
Featuring 15 acts including The Wanted, Nicole Scherzinger, Enrique Iglesias, and Jennifer Lopez, the event featured over 70 channels of radio frequencies and very tight turnaround times between artists. Kay was the main RF co-ordinator, aided by Laura Davies, while Mark and Tim from Sennheiser were in close attendance.
"It was a technically complex event, with over 70 channels in use from 564.00 kHz to 835.150 kHz, from TV channels 21-40, although 12 were not available due to digital and analogue television in use around the area," says Sherratt.
"We co-ordinated closely with Dave to ensure we had an accurate picture of exactly what was required. Due to the complex nature of the show, all inter-modulation calculations were performed on site, to ensure accuracy."
All in-ear monitors were Sennheiser, either Adlib's newly-purchased 2000 series or ew 300s, while a number of artists used their Sennheiser microphones of choice.
Meanwhile Johnny Vaughan, Lisa Snowdon, Rich Clarke and Kat Shoob, the show's Capital Radio presenters, used SKM 5200 handhelds with MD 5235 heads and EM 3732-II dual receivers for between act and introduction sections of the show.
"Some artists brought their own microphones and had specific frequency requirements," says Kay. "We had to accommodate those, as well as work round the backline video comms and television transmissions. But it went very smoothly with a clear frequency plan and checking that what people said was in use was actually in use - which isn't always the case!
"Mark and Tim's assistance was invaluable, really helping to make sure that the Summertime ball was as successful as its predecessor, the Jingle Bell Ball, which Sennheiser also worked alongised Adlib on in December 2010."
(Jim Evans)
