092 VENUE
Image by Arno de la Chapelle © Helsinki Music Centre
TECHNICAL INFORMATION
MAIN HALL SOUND: 1 x DiGiCo SD8 console with MaDiRack; 46 x L-Acoustics KIVA speaker; 2 x L-Acoustics SB18i subwoofer; 8 x L-Acoustics 12XTi passive cabinet; 10 x L-Acoustics LA8/LA/AES3 processor; 2 x Renkus-Heinz ICL-R speaker; 2 x Yamaha DME24N digital mixing engine; 4 x Yamaha DME64N digital mixing engine; 2 x Yamaha ICP1 control panel; Sennheiser microphones and wirless systems; DPA, Neumann, AKG, Schoeps, Shure, Radial and Beyerdynamic microphones; Tascam recording
LIGHTING: 3 x MA Lighting grandMA2 light desk with MA NPU and DMX booster; ETC Paradigm controllers; Compulite CompuDim dimming system; 24 x ADB Warp motorised with scroller; 18 x Vari-Lite VL1100 AS; 40 x James Thomas Engineering PAR64 Long Nose; 20 x James Thomas Engineering PAR64 Short Nose; 30 x ETC Source 4 PAR EA; 4 x Lighting Innovation Super Beam 1200; 30 x Philips Selecon Arena fresnel; 8 x Philips Selecon Pacific 5° fixed beam; 30 x Altman Lighting APZ211; 4 x Altman Lighting AUZ2506; 23 x Chroma-Q Color Force 48; 6 x Chroma- Q Color Force 12; 40 x Multiform Lighting LS1310 MultiSpot
RIGGING: 10 x Prolyte H30V-L300; 10 x Prolyte H30V-L200; 4 x Prolyte H30V-C003 90° corner
SIBELIUS HALLS SOUND: 1 x DiGiCo SD8 console; 3 x DiGiCo SD9 console; 2 x DiGiCo D-Rack; 2 x DiGiCo MaDiRack; 10 x d&b audiotechnik D6 amp; 2 x d&b audiotechnik D12 amp; 4 x d&b audiotechnik R70 speaker; 38 x d&b audiotechnik T10 speaker; 2 x d&b audiotechnik Q7 speaker; 2 x d&b audiotechnik J-SUB; 2 x d&b audiotechnik T-SUB; 2 x d&b audiotechnik Q-SUB; 4 x d&b audiotechnik M6; 4 x HHB UDP-89 player; 3 x Lexicon PCM 92; 1 x Lexicon PCM 96; 3 x Yamaha DME64N digital mixing engine; 1 x Yamaha DME24N digital mixing engine; 5 x Yamaha ICP1 control panel
LIGHTING: 3 x MA Lighting grandMA2 light desk with DMX booster; ETC Paradigm controllers; Compulite CompuDim dimming; 18 x Robe Robin 600 LED Wash; 16 x Robe Robin MMX Spot; 107 x ETC Source 4 PAR EA; 30 x Philips Selecon Arena fresnel; 60 x Philips Selecon SPX Zoomspot; 2 Philips Selecon Pacific Followspot; 20 x Philips Selecon Rama high performance PC; 16 x Chroma-Q Color Force 12; 18 x Chroma- Q Color Force 48
RIGGING: 16 x Prolyte H30L-L200; 24 x Prolyte H30L-L300
www.musiikkitalo.fi
The range includes James Thomas PAR64’s, ETC Source 4 PAR EAs, Lighting Innovation Super Beam 1200’s, Altman Lighting fixtures, Chroma-Q Color Force 48 and 12 LED fixtures and Multiform Lighting LS1310 MultiSpots. Lighting control comes in various forms. Dimming is built around seven Compulite CompuDim 2000 plug-in dimmer cabinets, while an ETC Unison Paradigm configuration handles the relays, which means that only the equipment that is in use is powered. This helps to minimise equipment noise. For show control, a host of MA Lighting equipment has been selected. Three grandMA2 light consoles, enhanced with MA NPU network processing capabilities and DMX boosting, service the main hall. Aural discretion was, again, an important factor. Antti said: “MA Lighting’s grandMA2 was chosen as the lighting desk, and everyone who has worked with a grandMA series one or early series two desk will know that the desk has a substantial fan noise. Not anymore. MA Lighting found a way to reduce the sound and they provided all the consoles as silent versions. In the main hall the fan noise from the lighting board is lower than from the sound board.” The Sibelius Halls use a similar range of lighting manufacturers. Differences include the 34 Robe fixtures – 18 Robin 600 LED Wash units and 16 Robin MMX Spots – included in the Sibelius Halls’ package. Prolyte trussing has been used throughout. Products deployed in the main hall include the H30-L300 and H30V-L200 square truss. The Sibelius Halls utilise 40 pieces of H30L-L200 and H30L-L300 ladder truss. The extensive equipment list also includes a Barco FLM HD20 high power projector, four Barco RLM-W6 and three RLM-W8 projectors. Ari reflected: “One of the most demanding challenges was to reconcile different types of AV production, so that one set of equipment fulfills all needs. The same audio and video systems are used by three organisations. Each has its own workflow, formats and distribution channels.” Despite this challenge and countless challenges that the different design teams must have faced over the last 19 years, Helsinki Music Centre has been completed with both finesse and coherence. The entertainment technology stage of the project, in fact, only took real prominence during the final two years, which provides a measure of the complexities that are involved in creating such monumental venues. The equipment specification process, in adherence with competition laws, must provide an interesting perspective for manufacturers. Their equipment has been chosen for its capabilities to fulfill a particular function, rather than because it is favoured - with sense or emotion - by the specifier. One thing that everybody who has been involved in the creation of Helsinki Music Centre will have in common is a feeling of pride. This is a Finnish achievement, which has brought many different parties together under a unified goal. Though the concluding comment is from Akukon’s Ari Lepoluoto, it is probably fair to say that it will be echoed by many. “Helsinki Music Centre is an incredibly versatile and polymorphous home for all kinds of good music. For me, personally, Helsinki Music Centre was a ‘once in the lifetime’ project that took almost six years of my life. I am very proud of the final result and my team,” said Ari.
www.mondodr.com
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