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Solutions: Olimpiyskiy Stadium, Kiev


Contractor Precision Series, two HP switches and a Klark Technik DN100 DI box. Each rack has a redundant amplifier, connected to a spare channel on the local N8000. The speaker cabinets are connected in biamp mode: high frequencies are sent in 500W channels, low


The three types of Electro-Voice speaker mounted around the stadium roof: subwoofer, two-way horn-loaded speaker and two-way long-throw cabinet


“That’s why we came back to a horn-loaded system,” he says. There were, he adds, many conversations between his company, the client and the architect, before the final selection, arrangement and installation of speakers was made. Acoustic simulations were run, and the stadium audio experts at EVI Audio also contributed their expertise, both at the design stage and when tuning the installed system. Suspended around the stadium roof there are 80 Electro-Voice EVH 1152 horn-loaded speakers, 10 Electro-Voice Xi-2122MHA two-way long-throw cabinets and 80 Electro-Voice EVF-1181 subwoofers. The high proportion of subwoofers was at the behest of the client. “If you look at the master curve in our system, we reduce the low-frequency signal by approximately 6dB from 150Hz downwards,” he explains. The result is an average SPL in the bowl of not less than 102dB, and an average STI of 0.51.


In addition, there are 126 under-balcony speakers (Electro-Voice EVID 6.2T, 300W) for those seated further back in the lower tier.


The main control room and eight remote amplifier racks are interconnected via a redundant 1Gbit double-ring network – if a network connection breaks, the data can still travel around the ring in the other direction. Networking is via CobraNet (for audio) and Ethernet (for control).


Sound decisions


The audio is managed by EVI’s NetMax N8000 system controllers, running the company’s IRIS-Net software. The central control room contains a master N8000, which serves a Midas Venice F24 mixing console. Audio is transmitted from here via CobraNet to eight rack rooms around the stadium. Each amplifier rack contains a local N8000, Electro-Voice CPS4.5 and CPS4.10 power amplifiers from the company’s


Keeping track of 70,000 people


According to UEFA requirements, every person in the stadium must be capable of being seen on camera. To achieve this, 450 CCTV cameras have been installed – about 40 of which are movable. There are eight CCTV control rooms around the stadium. The stadium perimeter is


covered by 16 movable cameras, with another 16, which are vandal-proof, overlooking the bowl. Anti-vandal models – from the Bosch Extreme Series – are also used anywhere that cameras are within reach of the public. All stadium entrances and


exits are covered by the fixed cameras, and it is planned to add


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surveillance cameras at ticket- checking points at the main entrance. “This is to be able to identify each person entering the stadium and compare it to the person who has purchased the ticket,” comments Bosch’s Maksym Stoyko. To make such future extensions easily achievable, an IP-based system was chosen.


Another possible


development is the implementation of intelligent 16- parameter analysis of video data, enabling a fast search for particular faces, colours or


objects. Also planned is the ability to link CCTV and access control systems. All video information is


stored on SCSI arrays; the 300GB capacity is enough for three months’ worth of material.


frequencies in 1kW channels. With such a large and dispersed audio system, Sound House Pro has created a tool to simplify monitoring. “We have designed a special interface for this system in the IRIS-Net software,” explains Garkaviy. “This allows us to see and control all the parameters of the loudspeaker system in one window.”


The interface provides a schematic drawing of the whole stadium, and clicking on any of the sectors gives access to the parameters in the respective area. “You can see which loudspeakers are turned on, you can check the current mode of the power amplifiers, the signal levels, the temperature and protection mode,” he says.


Thanks to microphones hanging from the roof in each sector, overall SPLs in individual sectors can be measured and the speaker outputs adjusted accordingly. “We can control the volume in each sector, if the public are not evenly spread around the stadium,” he says. “We can monitor the signal that comes into every sector. As we have 24 inputs on the processor, we have made a virtual mixer. Each input has dynamic sound processing and


equalisation. So the N8000


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