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Gianni Morandi: RAI TV music shows

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Written by Mike Clark
Photo Courtesy of Gaeatano Castelli

Gianni Morandi is one of Italy's longest-lasting pop phenomena, having been a top name since the sixties. His pulling power was recently confirmed by a mini-series of prime time RAI TV music shows hosted by the artist: all chalked up over 9 million viewers and one exceeded 10 million. Guests included Whitney Houston, Eros Ramazzotti and Laura Pausini (Italy's top pop exports). Staged in Cinecittà's Studio 15, the show featured an impressive all-white set designed by Gaetano Castelli (also Lighting Designer). The sound rental company was Agorà of L'Aquila, who called in Daniele Tramontani as system designer, head of audio installation and SIM op for in-theater sound. Daniele explains "I chose Meyer enclosures partly because I've worked a lot with them and find them very precise; plus the fact that the artist has used Meyer on tour and on TV and always been happy with the results. In this sort of project, the tendency is to concentrate on what viewers hear and throw in a couple of boxes for the studio audience, but I think what goes on air depends a lot on how artists feel on-stage and studio audiences should react as if they were at a real concert. If everybody enjoy themselves, the whole thing's got a really spontaneous, warm feel."

All the enclosures were flown from the studio roof among the flies apart from eight HM-1, flush-mounted in the set along the front of audience seating (with a mix-down of the lavelier mikes used to introduce and chat to the guests), a UM1C floor-mounted on either side of the Morandi's platform and one more on the floor on either side of the guest stage. Guests also had an MSL3 flown at either side of their stage and Morandi had an MSL3 either side front of stage, plus two CQ1 and two CQ2 above the peninsular section connecting the stages. Four PSW2 subs were flown between the CQs and the audience was also served by three clusters of two MSL4 each and two single MSL4. Tramontani continued "Morandi doesn't like high spl, but total coverage for both artists and audience. He wanted to keep IEM to a minimum, for more direct contact, so monitor control was really important. A lot of work went into making the idea work to the max - such as aligning the sound from the mikes used to pick up crowd reaction. SIM II was used for all the shows, but was of fundamental importance during installation and sound checks - the sound stage was centered on Morandi's small platform, so the entire system had to be aligned with that - we had seven delayed feeds and five stereo EQ's!"

May, 1999

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