Clair

Clair Broadcast Services Scores Big for NBA All-Star Events

For the NBA, the 2011 All-Star Game was one of its most successful on TV and the Web, with action on and off the court, and top name entertainment creating a Hollywood look and feel in and around the Los Angeles Staples Center.

For Clair’s new Broadcast Services Division, it was a milestone, according to Wireless First’s Kevin Sanford. “Clair/Wireless First teams managed more than 200 channels of wireless, Clair provided all the audio networking and sound reinforcement, and Clair Backline supplied all the backline gear during the three-day event leading up to the big game,” says Sanford. “We were everywhere.

“You’ve got the equivalent of two halftime shows that are on par with the Super Bowl in the confines of an arena,” he says. “To that mix, add up to seven broadcast trucks, multiple media outlets, a huge number of announcers, entertainment elements during every commercial break, live performances with full band setups, a red carpet area, and scores of on-stage and off-stage communication. Oh, yeah—and it’s live-to-air.”

The 2011 production was Sanford’s tenth, having previously handled wireless communications. Now with a combination of resources from Wireless First and Clair, he successfully approached audio producer Tom Nicks with a comprehensive bid package.

Sanford and the team used multiple channels of Shure UR2 handheld transmitters with KSM9 and SM58 capsules as well as Sennheiser SKM 5200 handheld transmitters, Sennheiser 2000 Series wireless systems paired with 5235, KK 105S and MMK 965-1 capsules for a lineup that included Rihanna, Bruno Mars, Cee-Lo Green, Josh Groban and Far East Movement. Receivers included Shure UR4D and Sennheiser EM 3732-II, while fourteen channels of Sennheiser SR 2050-XP IEM and four Sennheiser G2(special artist request) wireless provided personal in-ear monitors for the performers.

“Essentially, you’re doing three different shows,” says Sanford. “We had events going on Friday, Saturday and Sunday, with different networks airing the events each day. But the biggest challenge for a production of this size is the sheer number of people needing wireless communications. We had positions at the red carpet, onstage, in the seating areas and behind the scenes, all in one of the most active wireless environments in the world. We were fitting into 500 frequencies, minimum, due to our gear, multiple press outlets, and around five other vendors handling player mics and interviews.”

The massive setup and potential for last-minute changes required six antenna locations, a combination of Wireless First proprietary technology and Sennheiser model A 5000-CP. A proprietary optical fiber relay provided consistent performance, regardless of the coverage zones, which, according to Sanford, were “in some exotic, far-flung locations.” Telex BTR wireless intercom systems provided internal communications.

“On the hardwire side, we built a centralized network instead of running separate networks for on- and off-camera. We had six Riedel digital intercom frames linked via fiber, inside and outside. The inside would want to talk to the red carpet, the building, or another location. In addition to our six frames, we also interfaced into the Staples system so everyone could talk to everyone else. Needless to say the Riedel communications system as a whole was complex and extensive.

Sanford notes that not only was the production one of the largest that he has ever personally handled, but it was also the first large-scale package for Broadcast Services.

“This was a major undertaking for Clair in the TV world. That synergy presented by using Clair to provide all three packages – sound reinforcement, communications and backline – allowed for us to hit a tight production schedule.

“Collectively we were able to make this event, technically demanding as it was, ultimately successful. We not only proved that can we do it, but can do it better.”

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