Riedel's new Theatre & Event Intercom-System premieres at Eurovision Song Contest

On May 20, 2006, Athens hosted the 51st Eurovision Song Contest. With 38 participating countries, 14,000 spectators, and a TV audience of over 100 million viewers throughout Europe, the competition was a production of superlatives. Musical presentations spanned the gamut from the lesser-successful German cowboys, to the Lithuanian fun birds, to the superior Zombi Rockers “Lordi” from Finland, who handily won the competition.

The event’s stunning visual presentation set benchmarks as well: German light design icon Manfred "Ollie" Olma used more than 500 MAC 2000 Moving Lights, 14 Synchrolights, 40 Space Canons, 8 Beam Splitters, and over 900 PAR lights for the show. In addition countless Ilight 6 video walls transformed the stair elements of the stage into video walls for spectacular visual effects. Trouble free communication is critical to ensure the perfect operational sequences necessary for a production of this size and is neglected all too often. "Without proper communications technologies in the background modern productions like this Song Contest are inconceivable. This was the first time I worked with digital Riedel technology and the communication infrastructure made an enormous difference in the live-situation that I experienced at this event," said Olma.

New Intercom system in the practical application
The Eurovision Song Contest served as the maiden voyage for Riedel Communications’, new, cost-effective intercom system. The digital intercom matrix Performer 32 supplements Riedels’ Performer line and is particularly designed to meet the requirements of opera houses and theatres as well as sporting and cultural events. "Our experiences in the event rental business as well as in numerous theatre projects has confirmed that the advantages of networked systems like our premium-matrix Artist are often not utilized. The Performer 32 intercom system was developed as a cost-effective alternative, without dropping important features like modular structure, digital audio quality and redundant power supplies", explained Thomas Riedel, managing director of Riedel Communications, a German manufacturer and rental service provider for radio and intercom solutions.

Perfect interaction with digital party-line
The new intercom system can realize matrix sizes up to 32x32. Beyond that the 2 RU Performer 32+16 system provides 16 relay open collector outputs and TTL level inputs to control interval signals, light signals, special effects or curtains. The larger Performer 32+80 occupies 3 RU and provides up to 80 relay open collector outputs. Performer 32 intercom systems are compatible with all Riedel Artist control key panels. In combination with the Performer C3 digital beltpack, the Performer system offers a completely integrated solution for the combination of matrix systems and conventional partyline applications for the first time.

Heart of the Eurovision Communications Infrastructure
The Eurovision Song Contest configuration consisted of a central Performer 32 matrix, which comprised the heart of the communication infrastructure. Eight control key panels of Riedel’s Artist 1000 Premium series were attached to the matrix via digital connection over Coax, CAT5 and LWL for optimal audio quality. The dynamic labeling of the LED keys ensured a clear overview for stressful live-situations. In order to ensure optimal communications in the high noise environment of a live-event, Riedel’s MAX Headsets with excellent attenuation abilities were attached to each panel. These provided optimal hearing and hassle-free communications for Manfred "Ollie" Olma and his colleagues at the FOH. The personnel of the four rear Follow-Spots as well as the four Follow-Spots in the Rig were integrated into the communication infrastructure over Riedel’s digital beltpack system. In addition, communication with the four light technicians in the Dimmer City and in the Green Room (where the artists endured until the winners of the evening were announced) was made possible by the digital Performer C3 Beltpacks in combination with MAX of Headsets.

Seamless Integration of Matrix and Partyline-Intercom
The digital Performer C3 beltpacks were connected by daisy-chain over standard microphone cables, just like their analogue counterparts. The connection to the matrix was made by a Performer C44 system interface. The interface supplied the beltpack-lines with voltage and allowed for the smooth integration of the party-line system into the matrix environment. The configuration of the party-line mirrored the matrix system via drag-and-drop in the configuration software Director. The familiar Windows application provided for central programming and monitoring of the entire communication system. The "Live” view option of all control key-panels allowed for fast recognition of operator errors. The remote control capability for all functions of the control panels provided fast and efficient solutions. For example, the "Mic Kill" function created a fast remedy if one of the users forgot to close his/her microphone.
"The superior audio quality of the digital beltpacks in combination with Riedel’s sound-absorbing MAX Headsets provided a crystal clear speech quality I have never experienced before. The missing noise and humming, which were always so natural for me, made the work clearly less arduous", stated Olma. "I was really surprised by the flexibility that is offered by an integrated system of matrix and party-line intercom. Live productions always include unforeseeable changes. With an integrated system of this calibre, one can react with just a few mouse clicks instead of the usual re-cabeling. In my opinion the use of digital matrix intercoms in combination with digital beltpacks is the future of communications in event applications", he added.

Professional Mobile Radios from Motorola
The wireless solution for the installation was supported by the proven quality of professional radios from Motorola. Riedel Communications, also one of the largest rental companies for professional radio equipment, provided approximately 160 radios – all equipped with the motorsports-proven MAX headsets. The radio installation provided four radio channels for mobile communication and was connected with the matrix installation by two Riedel RiFace radio interfaces. The connection of the Performer matrix system to the OB van was realized by conventional 4-wire connections. Taking all this into account, the Eurovision Song Contest featured a completely integrated communication system, which was flexible and could react quickly to the needs of the event from one central control centre.