Close ☰
Menu ☰

Waves plug-ins and eMotion LV1 mix Eurovision 2019

Posted on: Friday 31st of May 2019

Senior audio broadcast engineer Omer Barzilay and front-of-house engineer Eran Ben Zur (know for his work with Dweezil Zappa) – choose Waves plugins and the Waves eMotion LV1 to power the sound of the Eurovision Song Contest 2019, broadcast live to over 200 million viewers.
 
Held annually for the 64th year, Eurovision is the world’s longest-running international television music contest, and one of the most-watched broadcast events worldwide. Broadcast from Expo Tel Aviv, May 14-18, Eurovision 2019 featured three live shows – two semi-finals and a Grand Final – held over three days, with 41 competitors, four hosts on stage, and numerous guest performers, and featuring an exclusive two-song live show by guest star Madonna. To handle this combined high-end stage/broadcast production, Omer Barzilay and Eran Ben Zur turned to Waves tools for superior sound quality plus smooth operation and setup.

 

“The Heads of Sound of the local Eurovision production, Yair Goren and Yossi Edri, suggested that Pro Tools/LV1 engineer Jonathan Jacobi and myself mix the whole thing on the Waves eMotion LV1 mixer,” says broadcast mix engineer Omer Barzilay. “I was absolutely thrilled to be able to use Waves plugins in such an easy and flexible way, running the plug-ins directly within the software mixer. When it comes to broadcast, you are usually looking for system redundancy and backups; eMotion LV1 delivered just that. It is a clear advantage to have a software-based system: we were able to easily create two identical systems with two Waves SoundGrid servers each.” Barzilay continues, “One of the greatest advantages of using the LV1 is that I was able to mix most of the songs ahead of time. I was mixing about a month and a half in advance of the show, at my studio, by routing all the stems that I received ahead of time from Pro Tools to eMotion LV1, creating all the automations and effects so they were ready for the show. Time is crucial when mixing so many different songs for such an immense musical event, and if I hadn’t used a software base mixer, I would never have been able to be prepared this way.”

About his workflow, Barzilay adds: “During the show we routed all audio to the eMotion LV1 mixer and to a multi-track recording computer. We used the LV1 mixer’s A/B input to route the recorder back in, so we could continue mixing the show between takes. This was very fast, and as soon as a delegation finished their first take, we kept mixing it until the next one. We didn’t waste any time.”

He adds, about using Waves plugins, “My go-to’s are the Scheps Omni Channel – this was the only channel strip I used for all vocals, including de-essing, EQ, compression and saturation. On lead vocals, the Waves C6 Multiband Compressor was extremely valuable in controlling high and low frequencies and for controlling pops and hisses. We also used the Waves Dugan Automixer plug-in for all hosts’ and guests’ mics. The Waves H-Reverb Hybrid Reverb is my main and go-to reverb: we used six instances of it. Having said that, we also used the Waves IR1 Convolution Reverb and Renaissance Reverb. My main delay is the Waves H-Delay Hybrid Delay, which I used for around 90% of the delays in this production. In addition, I used the Manny Marroquin Delay for L/R separation. Finally, the Abbey Road TG Mastering Chain was on our master chain: All music was routing through it.”

“The biggest advantage of the Waves eMotion LV1,” Barzilay sums up, “is that you get to bring your studio with you to live events. Some of the plugins are effects I’ve been using for the last two decades!”

www.waves.com



Latest News & Blog articles

  • All Things Audio is the snappy description AES is offering for its schedule of events during the AES Europe Spring 2022 Convention. However, for those wanting more details, it’s worth noting that the full technical program details are now online for the event – which marks the return of in-person AES shows – happening on […]
  • Software company Soundparticles has released a free eBook entitled All You Need To Know About 3D Audio, designed to give readers a core understanding of Stereo & Surround (the foundations for 3D audio); Channel-Based Audio (e.g. 7.1.2, 12.0, 22.2); Object-Based Audio (e.g. Dolby Atmos); Ambisonics (and High Order Ambisonics) and Binaural (3D sound over headphones). […]
  • A long-time – and vociferous – sceptic regarding the technological shift to digital audio, and a performer who hit the headlines recently for removing his music from Spotify over its support of Joe Rogan and his podcast, there’s no doubt that Neil Young has always been a performer who stands up for what he believes […]
  • Riedel Communications has announced that the company has been named the official supplier of motorsports telecommunications for the Fédération Internationale de l’Automobile (FIA). After a two-decade relationship between the two organizations, Riedel will now supply the FIA with hardware and software technologies to enhance safety, sustainability, and innovation across all global FIA championship series. Peter […]
  • Renowned mastering engineer Darcy Proper has received her 12th Grammy Award nomination – for the Best Immersive Audio Album – in recognition of her work on artist Alain Mallet’s kaleidoscopic world jazz release Mutt Slang II – A Wake of Sorrows Engulfed in Rage. The album was mastered at Valhalla Studios, New York, using PMC […]
  • RØDE has announced its debut in the headphone market in the shape of the its NTH-100 over-ear headphones. Key features include custom-matched 40mm drivers, based around a custom voice coil with a four-layer ultra-high-tension aluminium alloy as its core,  coupled to a triple-layer Mylar®diaphragm; precision-engineered acoustic construction; Alcantara earcup and headband cushions, with an ergonomic […]
  • The International Federation of the Phonographic Industry (IFPI) has revealed that 2021 was a bumper year for recorded music. Its annual reported headline figures show a story of recovery and growth for the industry, not just from the pandemic but from a 20-year long trough that has marked the transition from physical media to online […]
  • In a move to strengthen the commitment to its North American customer base, Lawo has announced the relocation of Jamie Dunn, its Chief Commercial Officer, to the United States. This gives the company a team of over 40 experts in North America, and it sees Dunn’s move as “a logical step to support and steer […]
Translate »