Rock in Rio ranks among the largest music festivals in the world
Attracting 1.5 million people to its first event in 1985, Rock in Rio ranks among the largest music festivals in the world. Having begun in Rio de Janeiro, Brazil, it has since visited Lisbon, Madrid and Las Vegas. Its growing live audience is supplemented by TV broadcasts on Globosat – this year, supported by the first use of a Lawo mc²96 Grand Production Console at a large-scale music festival.
With an audience of 45 million viewers in 15 million households across Brazil, Globosat is the largest pay TV operator in Latin America. Its use of the mc²96 console was part of a rental package of equipment, support and training provided by Lawo for the event. The first mc²96 sale had been made prior to Rock in Rio, with two consoles having been purchased by Viacom Media Networks (USA).
Through Latin American system integrator and Lawo partner LineUp Broadcast Systems, Lawo provided Globosat with a 40-fader mc²96 fitted with Ravenna, AES and MADI Cards, along with a Sample-Rate Converter and a Compact Core for the console. The console was integrated with a Lawo Nova73 Router using RAVENNA. The setup was able to take advantage of a legacy Globosat structure resulting from the company’s involvement in the Summer Olympics broadcast from the Barra Olympic Park last year.
“For the Rock in Rio festival, we developed a specific workflow with a remote mixing room at our headquarters, 14km away,” explains Gabriel Thomazini, Co-ordinator of Audio at Globosat. “We received 128 input channels from the Mundo stage and 64 from the Sunset stage – we chose which stage we wanted to mix just by changing productions. For transport, we used Lawo V_link [video-over-IP transporters] and RAVENNA-based streams.”
Lawo’s V_pro8 8-channel video processor was used to provide HD SDI to a Blackmagic Design HyperDeck Shuttle SSD recorder and the system’s embedder.
“Rock in Rio gave us our first opportunity to mix with the new mc²96 Grand Production Console,” Thomazini enthuses. “It is based on the same system as mc²36 and mc²56 MkII, but adds interesting possibilities to work with immersive audio formats, like Dolby Atmos. We are mixing in 9.1 (5.1.4) to deliver for the Dolby encoder the immersive content and this console has the necessary flexibility to configure specific monitoring paths from the encoder outputs, for example. We can check the results after encoding in 5.1.4, 5.1 and stereo, just configuring a user button. The mc²96 has several improvements with a dedicated monitoring section and Up/ Down control of 3D panning.”
“To help with our mixes, the console’s Waves integration is a must,” he adds. “We can use the plugins to provide our engineers with different sonic possibilities, improving their mixing arsenal. With automatic routing and recall of rack configurations and parameters, we are able to create specific setups for each production.”