Venue's D-Show mixing console, manned by sound engineer Enrico Belli, was installed in the broadcast audio control room and used to mix the sound for the show's guest stage. Belli, who mixed broadcast sound for Santana, The Eurythmics and Italian headliners Subsonica and Negrita, received 96 input channels from an active splitter in the studio and, in addition to the on-air sound feed, sent four stereo pre-mixes to the studio's FOH desk, manned by Massimo Mannunzo.
The unique show, on which Celentano and some of his guests were backed by a hard-hitting 22-piece band, featured a large sound system, designed for Agorà by Daniele Tramontani. Belli said: "I was pleasantly surprised by the fact that the Venue system sounded so good and thanks to the fact that everybody knows how to use ProTools, which is the basis of the desk, was also easy to use."
Belli was one of the engineers invited to the Agorà HQ for a course on Venue, as the company's Vittorio DeAmicis explained. "With the support of Digidesign and the Italian Venue dealer, we staged a course for about 15 FOH and monitor engineers. It's of key importance for engineers to have the plug-ins offered by Venue at their disposal, so they don't have to worry about outboards and can get on with work on the desk." Veteran live sound engineer Ian Nelson conducted the course.
DeAmicis stated that the Digidesign brand was a guarantee for the firm thanks to its studio track record, and application of the system's technology - such as plug-ins; in the live event field this made the learning slope very easy. "The fact that engineers and artists know they're working with the same technology as used when recording, is also a point in its favour psychologically speaking." Using a desk purchased just a couple of months before, to mix broadcast sound for top level artists on such a high profile show, might have seemed rather risky, but DeAmicis said: "We were absolutely convinced of Venue's reliability and quality - there are several already on the road with big tours abroad."
Belli continued: "Although they'd never seen it before, all the engineers on the course really liked its sound and features - the key factor is that you're working with an industry standard - Pro Tools - so you know just what to expect. Another positive aspect is the user-friendly interface, not cluttered with dozens of tiny knobs and keys, but with channels well divided."
Coinciding with Rockpolitik, two of Agorà's Venues were out on the latest tour by Max Pezzali (on FOH and monitor duties) and the fourth was at work on a production in Rome's Ambra Jovinelli Theatre.
A review of Rockpolitik appears in the December issue of Lighting&Sound International magazine.
(Chris Henry)
