ProSoundWeb – May 24, 2021 – PSW Staff

L-Acoustics Is A First Round Pick For NFL Draft In Cleveland

The annual National Football League (NFL) Draft broadcast, held recently in downtown Cleveland, welcomed 50,000 fans a day for live events that included the NFL Draft Experience interactive football festival and nightly concerts from Black Pumas, Kings of Leon and Machine Gun Kelly, with Houston-based LD Systems deploying more than 70 L-Acoustics K2 enclosures and many others in support of the proceedings.

The NFL and promoter C3 Presents again chose LD Systems, an L-Acoustics Certified Provider, as the live sound vendor, with the primary system deployment at the Draft Theater, a 200-foot-wide by 220-foot-deep by 80-foot-tall half-moon structure created by Stage FX erected near FirstEnergy Stadium and the Rock & Roll Hall of Fame. The structure housed the NFL Draft Theater Stage, where NFL Commissioner Roger Goodell made draft pick announcements and where all concerts and other main events took place.

LD Systems deploys 70 K2 enclosures and much more for daily events plus nightly concerts by Kings of Leon, Black Pumas, and Machine Gun Kelly for 50,000 daily.

“We never had any doubt that an L-Acoustics sound system would be the best tool for the job, but as we experienced at both the 2019 Draft in Nashville and during the planning phases of the 2020 Draft in Las Vegas prior to that event being cancelled due to COVID, we knew to expect limitations on where and how high or low we could fly our arrays,” sayss LD Systems Audio Department Operations Manager Thomas Ruffner, who worked closely with 2021 Draft Theater Production Manager Shawn Worlow of The Production Collective and C3 Presents Director of Production Brandon Sossamon on the system’s design, implementation and operation.

“After all, the event is a live televised broadcast, so the spectacle of the set, the look of the stage with massive video walls and abundant lighting had to take priority over where our arrays could fly,” Ruffner continues. “And this year’s stage design featured a thrust with V-shaped runways extending over 50 feet from the main stage. We were facing challenges against both aesthetics and getting the coverage we needed at the SPL we wanted without spilling a ton of energy to the very spot where each pick would be announced! Fortunately, L-Acoustics gives users plenty of tools and rigging options that help the system designer and engineer fit into those really tight spaces and less desirable locations without sacrificing performance.”

For the main left and right arrays, LD Systems required full-range bandwidth, a very short throw and a bottom trim of at least 55 feet, making L-Acoustics K2 the choice. “We flew eight K2 per side, and our site angle on those arrays ended up at -46 degrees, so by the time we increased the angle between each box, the bottom of the array was facing nearly parallel to the floor,” Ruffner details. “Above those arrays, we flew a four-enclosure hang of KS28, in cardioid configuration, which made for a ton of impact out of the mains and also kept our rigging points concentrated in a very tight area.”

To round out the side coverage where the mains could not reach, the LD Systems team flew arrays of six K2 for out fills as high as they physically could, putting the bottom trim right around 50 feet. “The throw for the mains needed to be quite short because the NFL Network and ESPN had broadcast booths just ‘house left’ and ‘house right’ of the FOH mix position, but still within the structure of the Draft Theater,” says LD Systems Audio Crew Chief and Systems Engineer Bryan Woodall. “The live show was broadcast from these locations, so on those eight-foot-tall booths, they wanted as little energy from the main PA as possible. This meant that we couldn’t focus energy from the mains onto FOH, so we flew a center fill array of two L-Acoustics K1-SB over six K2 set to 70-degree horizontal dispersion, which let them cut through to the house mix position without compromising the network booths. This is where the Panflex technology of K2 really came in handy, as we were very effectively able to tailor the dispersion pattern to where it needed to be and away from where it shouldn’t.”

For general audience coverage, which was a 500-foot wide by 200-foot deep area just outside of the Stage FX structure, the sound company flew two main delay arrays of four K1 over four K2, plus two out fill delay arrays of eight K2 each from the very end of the structure. In an effort to keep from compromising sightlines, the arrays were taken up about as high as physically possible.