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086 VENUE


slim, high power subwoofers installed to provide the bass frequency. The system is powered by a K-array KA1-1 amplifi er, which was been specifi cally customised for the arena. The system picks up the sound from the part of the stage nearest to the speaker while recreating the atmosphere and acoustics without artifi cially increasing the sound pressure. At FOH there is a DigiDesign mixing desk (now known under the Avid brand) and processing is taken care of by three Lake LM 44 processors, two Yamaha DME64N processors, and an Optocore DD32E processor. “We tried to replicate what Roman architect, writer and engineer Vitruvius did but with today’s technology,” said Mario Di Cola, the the Designer and Sound Engineer involved in the engineering of the system. “The result is a sound system that you can hear, but not see. The sound reinforcement is not perceptible in terms of volume, only in terms of intelligibility, providing a transparent reinforcement of the acoustic sound coming from the stage.” With discreet K-array loudspeaker technology, which can be easily programmed thanks to DSP, the timber and direction of the sound remains faithful to the sound on-stage, adding only reinforcement and extended coverage, so that the sound quality is the same in all parts of the theatre. With the use of DSP, Mario is able to program each loudspeaker to send sound waves directly to a precise section of the audience, meaning every part of the arena now benefi ts from full, natural resonance straight from the stage.


“The system has been designed to naturally recreate, piece by piece, the area on the stage,” said Alex. “We have more than 500 channels of power amplifi ers and more than 120 channels of DSP. You can’t see any of the system unless you know it is there and are really look- ing for it. The microphone for example, is a 10cm wide, black line on the stage and the loudspeakers at the front of the stage look to be


“From the very beginning the objective has been to give Italian opera lovers immeasurable


pleasure from a lyrical and scenography stand point.”


one continuous black panel, that is just 60cm high.” At the beginning of this year 16 modules of K-array’s bendable Anakonda KAN200 loudspeaker, together with 10 K-array KK200 loudspeakers and fi ve K-array KA10 amplifi ers, were added to the system, along with 10 K-array KP102 loudspeakers, from the Python series, taking the PA system to the next level. The K-array Anakonda KAN200 is designed for use in situations where traditional loudspeaker boxes cannot be used, but where good intelligibility, ultra-reliability and a sleek design are required, making it the ideal solution for Arena Di Verona as Mario explained: “The Anakonda KAN200 quite literally offers a fl exible approach for getting sound into interesting places. Although the amphitheatre is over 2,000 years old, its customised PA system needs to continue to refl ect the coupling of art and avant-garde technology and the Anakonda KAN200 is the fi rst bendable loudspeaker to ever be produced.” The system is the only one of its kind in the world, designed with the Arena Di Verona specifi cally in mind and is completely different to most PA systems, as Francesco explained: “The Anakonda has increased the sensation of sound throughout the whole arena and has created an environment where the audio is so clear that you feel as though you could be listening to the performance in your own


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