Atlanta, GA (September 4, 2007)–A FiberPlex LightViper audio transport system was recently deployed for the live stage production of Primerica’s 2007 Convention in Atlanta, GA at the Georgia Dome. The fiber optic audio system was deployed by Syntonic Design Group, Inc., a Milan, NY-based production equipment and services company that provides audio and communications systems to corporate clients.
Tom Clark, Syntonic’s managing director and project manager, remarked, “We used the LightViper for the first time. I wanted to specifically replace the unwieldy copper snakes we usually take to big shows like this one. Not only did the system save us significant labor costs, set-up time and shipping expense, it performed perfectly. It really is a ‘plug n’ play’ copper snake replacement solution. For the Primerica show, we used it as a “drive snake” to handle the audio outputs from the FOH mixing console to the amp stacks located behind the large stage. We used most of the LightViper’s 32 inputs for a critical house audio run of about 750 feet. Normally, a copper snake run this long would have taken four men and about an hour to get just this part of the system hooked up. With the fiber optic LightViper, two of our crew had the main console-to-house audio ready in less than a half hour.”
For the two-day production, Syntonic teamed with Florida-based, Gerber Acoustic Systems, which provided the show’s audio production personnel as well as wireless mics, monitor consoles, stage effects racks and a Soundcraft Series 5 FOH console. Chas Gerber was also the client’s sound designer and main mixer. Syntonic Design Group provided the ‘racks n’ stacks’–Crown iTech 6000 amps and a formidable, 86 cabinet JBL 4889 VerTec system.
Chas Gerber offered other details about his use of fiber optics on the large job, noting, “In addition to the LightViper, we used another company’s fiber optic system for the stage-to-FOH audio, the video and a smaller copper snake for intercom. Unfortunately, the audio fiber system didn’t have the headroom we needed; we had to keep devising clunky analog pads to keep the signals under control. This was certainly disappointing and needless-to-say, a hassle. However, everything worked perfectly with the LightViper drive snake. There were no headroom issues whatsoever. When I was designing for this gig, I knew that I wanted a fiber optic link from the FOH console to the stacks that was as reliable as copper, didn’t require a dedicated guy with a computer to operate and would sound great. At no time whatsoever did we have any hum or buzzes, signal losses or distortion with the LightViper.”