The London Philharmonic Orchestra neatly rounded off the summer with an outdoor performance at the Royal Academy at the beginning of September. The weather, unkind as it had been all year, held off for once and some great music was heard for the first time in the courtyard of the RA. Richard Mallett produced the event from a technical point of view and was kind enough to contact us after the event: Thank you to one and all for a great sounding concert last Saturday at RA. As ever, it was a pleasure working with you and the RNSS team. I particularly enjoyed the violin piece, which was beautifully played and sounded amazing through the system.
The work kept coming through the summer, easily the busiest we have ever had. One hinge point was certainly BT’s River of Music. We’d been talking to Serious Ltd about the project for a while and Amy Pearce had put together a production team to support the six major stages up and down the Thames. We handled Battersea Park, Trafalgar Square, The Tower of London, Greenwich and London Pleasure Gardens. For a project so long in the making it needed to remain flexible as artistes who had not previously worked together were brought into collaborations. This meant information coming through right up to performance time but produced an event the like of which we have certainly never seen before. It was a privilege to be involved in such a huge event and a delight to be part of its delivery.
The Barbican Hall hasn’t been idle either. In addition to the annual maintenance of the in house PA system we supplied monitor systems for a huge range of artistes. Rokia Traore (without wishing to single anyone out) effectively set up residency in July with a trio of works performed both in the Hall and at Wiltons Music Hall. Truly remarkable performances with enough emotional force to take your breath away.
Of course 2012 has been a remarkable year in London and by February we had been in discussion with the Queen’s Diamond Jubillee Flotilla team for some time. We’d spent a happy day on the river mimicking a belfry to check that on the day the real bells would be audible without deafening anyone and that had certainly proved successful.
SURVIVOR got this year off to a great start. Having successfully delivered Political Mother, Choreographer’s Cut in 2011 we found ourselves at the beginning of January standing with Hofesh Shechter, Ian Dierden (Sound Intermedia) and Steve Mayo (Technical Manager-sound) in the Barbican Theatre working out exactly what was needed to fulfil Hofesh and Anthony Gormley’s vision for the project. Calls were made to the warehouse and six hours later the relevant equipment was loading into the theatre. The result was breath taking and well worth the extra effort and creative delivery.
Investments have ranged from another Yamaha PM5D RH to the replacement of our entire radio mic stock with Shure UHF-R+. The latest Yamaha console went straight to work at Canada Square, handling FOH duties for a wide a range of artistes from the LSO to Mongolan singers. And we were pleased to take delivery of yet another Soundcraft Vi1, this one complete with remote stagebox and digital multicore.
We have increased our stock of DPA mics with more 4060s and 4061s to increase our orchestral capacity. Although somewhat sceptical about the 4099 - it seemed too large to be accepted readily by musicians. Our in-house testing with a group of friendly string players proved us wrong and inevitably DPA lived up to their reputation. Yet more DPAs have arrived including a dozen more 4011s and they have been hard at work ever since they were unpacked.
Our recycling bin is still groaning with Shure cardboard thanks to 60 channels of radio mics arriving as part of the switch to Channel 38. It seems this investment opened the flood gates and we also acquired 16 ways of PSM 1000 IEM transmitters and 20 receivers. Finally, yet more hardwired IEMs have been added to the inventory and we are well on the way to meeting our radio mic and IEM system targets.
Want to find out what we've been up to in the past - click on the years below for more info:
I am the Pet Shop Boys FOH engineer (for want of a better term!!!). and obviously as such was one of the three engineers involved in the recent show at the Barbican.
I just wanted to write and say how delighted and happy we were with all aspects of the service we received from your company and crew who were efiicient, friendly and all round good blokes and bloke-ess!!!!
Looking forward to working with you again in the future.
Thanks SO much for making last night's event such as successful one! Dennis was phenomenal on the desk, very calm and thorough throughout, and the whole sound and lighting crew were just brilliant. All the artists were bowled over by the level of technical support and expertise that we injected into the show, and it seemed to go down very well with audiences and other colleagues here too.
I felt privileged to be a part of such a professional and creative team, so thanks again.
Neill Quinton EAR
Can you please pass my thanks on to Richard, James and Roland for last night. The boat looked fantastic and the event went without a hitch. I always enjoy working with the RNSS team and will surely be in touch for more jobs ion the future.