Materials Distribution Services

SOUND SERVICES & USE OF EQUIPMENT  FOR ENTERTAINMENT STAGING PRODUCTION-UW VARSITY BAND

SPECIFICATIONS

LOCATION
Performances are held at the Kohl Center Arena located on the University of Wisconsin-Madison campus, 601 West Dayton Street in Madison, Wisconsin.

The Event is best described as a large pep rally and concert with high production values, with literally hundreds of musicians onstage performing simultaneously. The quality of the sound for the Event is considered by the University to be an essential component to the success of the event. Contractors are encouraged to supply the finest available professional sound reinforcement equipment, packaged to work as a coherent system. It is assumed that proposals include all cabling, chain motors, rigging, motor control, amplification, processing, power distribution, and any and all other equipment, regardless of if it is specifically called for below, required to comprise a complete and operating system that meets the requirements of the Event.

The Contractor must supply equipment within their company-owned inventory. No sub-hire, rented, or cross-rental equipment may be used to satisfy the equipment lists detailed below.

The University will supply a sound designer who will serve as the supervisor to the Contractor's staff.

House mixing facilities capable of adequately mixing 112 mic/line level inputs are required.  It is the desire of the University for the mixing platform to be digital, with onboard digital signal processing to include equalization, compression limiting, and noise gating on each input and have the capability to process all 120 channels simultaneously. A minimum of 16 audio subgroups and complete output matrix are required.

Mixing console shall be a DiGiCo SD7 @96k, with 2x 56x24 DiGiCo SD racks in fiber loop
House mixing facilities will include the following additional equipment:
X       Dolby Lake system EQ with full integration with Smaart.
1       Focusrite ISA430 producer pack w/ AES
1       Crane Song HEDD
1       Waves MAXX BCL
1       DBX 120xp sub harmonic synth
1       Polyfusion 755 MKII
2       CD-RW recorder
1       Compact Disk Player
1       MAC Computer audio cueing system (i.e. QLab, QCart)
1       SMAART Acoustic Measurement System

The house loudspeaker system must be of the line array or horn-loaded type. AlI loudspeaker systems must provide a smooth and natural musical response and high vocal intelligibility throughout the entire listening area. All proposed systems must provide a frequency response of 40Hz to 16kHz +/- 3dB, and be capable of achieving a maximum SPL of 110dB throughout the listening area.  A preferred house loudspeaker system is d&b J series line arrays with d&b B2 subs.

Acceptable substitutions are in order as listed:
1-L’Acoustics K1, 2-Martin MLA, 3-Meyer Milo with 700 Subs. (No 600 or 650 subs)

Front fill enclosures will be the same make as main system and located along the front edge of the stage to cover the first 5 rows of seating in the listening area.

A full and comprehensive stage monitor mixing facility is required. Monitor mixing is accomplished through a combination of wireless in-ear, floor wedge, and hanging side fill techniques. A total of 24 - 36 discreet monitor mixes will be required (with in-ears setup as stereo mixes). 112 mic/line level inputs are required.

Monitor mixing console shall be a DiGiCo SD7 @96k with 2x 56x24 DiGiCo SD racks in fiber loop.
System will include sufficient equalization, compression limiting, and digital reverbs to accomplish a polished, professional mix.

Monitor facilities will include a minimum of 16 Sennheiser G3 wireless in-ear channels in 3 frequency ranges with full band planning, 8 floor wedges, and hanging side fills. Wedges to be bi-amplified and include one 12" bass driver and one 2" exit high frequency driver. Hanging side fills to be a small format line array such as dV-DOSC or equivalent. No interface between the stage monitor system and existing venue audio facilities is permitted.

Broadcast mixing facilities capable of adequately mixing 112 mic/line level inputs are required.  It is the desire of the University for the mixing platform to be digital, with onboard digital signal processing to include equalization, compression limiting, and noise gating on each input and have the capability to process all 120 channels simultaneously.

Broadcast mixing console shall be a DiGiCo SD7 @96k with 2x 56x24 DiGiCo SD racks in fiber loop.

System will include sufficient equalization, compression limiting, and digital reverbs to accomplish a polished, professional mix.

A fiber optic based MADI digital system distribution (preferred) fitted to the DiGiCo D7 consoles or a 120-channel transformer isolated microphone splitter system to feed mic signals to the house, monitor and broadcast mixing consoles.

16 to 20 channels with full band planning of frequency-tunable Shure UR or Sennheiser 3000 Series UHF wireless microphones are required with a combination of both handheld transmitters and body pack transmitters. Include up to   6 extensions for mounting on trumpets or trombones and up to 4 instrument direct cables.  A combination of Lavalier and headset type microphones as required for specific micing needs determined prior to shipping may include up to 6 each DPA 4066 series headset mics, Countryman E6 headset mics, Shure WB98/C horn mics, and Shure WL184 SC lav mics.

A Rhodes & Schwarz FSH3 Spectrum Scanner is required for frequency tuning.

A full complement of wired microphones is required. The package, an assortment of dynamic and condenser, and specialty mics, should be prepared to handle a variety of micing duties including: two full trap drum kits, percussion, tubas, horns, strings, and soloists. Depending on program demands, as many as 120 microphones and DI’s may be required.

Provide a three-station production intercom to support audio staff only.

Provide seven (7) professional walkie-talkies to be used by Contractor’s staff, event sound designer, and local crews.

Pricing includes all equipment, operational staff, transportation, travel, and per diems. University will supply and pay for four (4) single room hotel accommodations for the run of the Event.

Staff required for Event are as follows:

A. FRONT OF HOUSE MIX ENGINEER

The front of house (FOH) engineer will have 15 years of professional sound reinforcement experience, with a minimum of 7 years professional experience operating large sound reinforcement systems in arena venues. The proposed candidate would be comfortable mixing FOH for a complicated show with little or no rehearsal opportunity, and 10 years of live house mixing experience is required. The proposed candidate will be competent in the operation of digital and analog mixing consoles, digital and analog signal processing, system tuning and operation, SIA SMAART software analysis, and troubleshooting.

The monitor mix engineer will have 15 years of professional sound reinforcement experience, with a minimum of 7 years professional experience operating comprehensive monitor systems in arena venues. The proposed candidate would be comfortable mixing both in-ear and conventional monitor mixes for  a complicated show with little or no rehearsal opportunity, and 10 years of live monitor mixing experience is required. The proposed candidate will be competent in the operation of digital and analog mixing consoles, digital and analog signal processing, wireless microphones and in-ear monitoring, and troubleshooting.

The wireless systems technician will have 10 years of professional sound reinforcement experienced, with a demonstrated expertise in the operation of multi-channel wireless systems for entertainment in crowded RF environments. Knowledge of entertainment rigging, and sound system hookup and operation, and mixing is considered valuable in this position.

Revision History