Undeniable Potential of VHD5.0 Proved in Bratislava

To date, there has not been a larger production in the history of Czech and Slovakia show business. Over 300 production personnel were employed for the show and involved in preparation over a year, with monumental scenes and an incredible Soundscape being created in the largest stadium in the Slovakian capital.

Producer and director of the show - Jeffo Minarik commented on his long term hunt for the best sound system that would have matched the highest criteria for the planned production: "We wanted the best sound system available, with crystal clear resolution and high dynamics, not only to reproduce Lucie's amazing voice, but also to cover the large, varied broad instrumental portfolio we planned to use.

Each part of the VHD5.0 system is proportional in size to the frequency wavelengths it reproduces. The radiated power of each bandwidth therefore remains consistent and balanced in relevance to the overall frequency response. This was one of the main benefits as the same consistent sound was delivered to every seat in the house. "I was literally shocked during the first test of this system. I have never heard both vocals and instruments so directly, but more importantly - naturally, directly in front of my face and what is more incredible, unlike other systems we used before, with the VHD5.0, the sound stays clear, fast, powerful and dynamic everywhere.", adds Jeffo. 

The concert's system setup consisted of 5x VHD5.0 (2x doubles per side including 4x SL412s as down-fill, 1x single in the middle) as main PA, a single VHD2.0 per side as side-fill and 10x VHD4.21 Active Passive Subwoofers uniquely flying alongside the VHD5.0s. For monitoring purposes of the orchestra, 4x ESM26 and 2x ESM12 were used. The whole audio chain was analog controlled throughout by two modified 48-channel Audient Aztec mixers.

"You can't actually localize the source of the sound since it stays balanced and goes from the stage wherever you move", say Alex Molcanov, main sound engineer of the concert. "When you look at the proportion of the system including all subs flying and at the same time have 110dB of crystal clear sound in 70 meters you don't believe it", says Alex.  

The VHD5.0 Constant Power Point Source Array system is going to hit the world stages later this year. First deployments will take place at several events in the US and the Czech Republic in forthcoming weeks. 

Main PA system:

• 5x VHD5.0
• 4x SL412 as downfills
• 10x VHD4.21 Active Passive Subwoofer
• 5x VHD5000 amplifiers, 5x VHD5000S amplifiers
• 4x SL3000 amplifiers

Sidefills:

• 2x VHD2.0
• 2x VHD3200 amplifiers

Monitoring:

• 4x ESM26
• 2x ESM12

Front-fill (VIP)

• 4x EX12
• 10x ESD5
• 1x ESP4000 amplifier

Mixing console (FOH):

• 2x mixconsole AUDIENT AZTEC 48ch, 48m+2st, 12 VCA, 8 Groups, 10xAUX (2xStereo), L/C/R master upgraded by George Krampera 

FX Rack1

• Bricasti design M7
• YAMAHA SPX 990
• TC Electronic 2290 (Delay)
• 8x DBX 560A 1-channel comp./limiter  
• 4x LINDELL audio 7X-500 1-channel FET comp./limiter  
• 2x IGS audio ONE LA 1-channel tube comp./limiter (classic L2A Teletronic sound)
• 5x Drawmer  DS201  2-channel gate   
• 2x EQ AUDIENT ASP231
• Millennia STT1 tube preamp

FX Rack2

• Lexicon PCM 81
• YAMAHA SPX 2000
• TC Electronic D-Two (TAP Delay)
• 6x DBX 560A 1-channel comp./limiter  
• 2x Drawmer DS201 2-channel gate    
• EQ AUDIENT ASP231

MASTER Rack1

• 2x KV2 LD4 four channel line driver
• 4x KV2 SDD3 delay line
• 3x EQ AUDIENT ASP231

MATRIX mixer

• Tascam M-35 upgraded by George Krampera 

STAGE Rack1

• 8x KV2 SD8 stage driver/ preamp eight channel
• STAGE BOX 
• 64-channels inputs
• splitting for monitor console 

Playback and synchronization:

• 2x Horus and Pyramix from Merging

In-Ear systems:

• Shure PSM 900
• Sennheiser 2000 iem series
• Shure earphones
• Rhines custom earphones

Wireless systems:

• Shure UHFR
• Sennheiser ew500

Microphones:

• Shure
• DPA
• AKG
• Beyerdynamic