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

  • Genelec has expanded ‘The Ones’ series of ‘Ultimate Point Source Monitors’ to bring precision listening to a much wider range of room sizes, listening distances and SPL requirements. The announcement of the new 8351B and 8361A coaxial three-way monitors alongside the complementary W371A Adaptive Woofer System means that The Ones family now delivers reference monitoring […]
  • German microphone manufacturer Schoeps has introduced the CMC 1, a compact microphone amplifier, as the newest member of their legendary Colette series of modular, small-diaphragm condenser microphones. With a length of only 39mm (around 1½ inches), the CMC 1 is ideal for all applications in which the small size of the microphone plays a role. It […]
  • More than two years in development, the DNS 8D is a new 8-channel dialogue noise suppressor that has been requested by broadcasters and other DNS users worldwide. However, it’s not just a DNS 8 Live with modified I/O – CEDAR developed a new algorithm that marries the best of the DNS 8 Live and the […]
  • DirectOut’s PRODIGY.MP multifunction audio processor ensures maximum flexibility in both hardware and software. It combines the modular design of the PRODIGY Series with powerful FPGA-based DSP and SRC capabilities. The 2U-high compact mainframe can simultaneously host up to two Network Audio Modules supporting different network formats and allowing seamless interoperability between them. For example, direct […]
  • Two manufacturers of Microphone Windscreens Schultze-Brakel & Reinhardt Microphone Windscreens have joined forces, with Schulze-Brakel taking over the Danish company Reinhardt Microphone windscreens. Schultze-Brakel, who are the worlds largest manufacturer of decorated foam windscreens was established in 1949 and have been manufacturing microphone windscreens since 1967. Virtually every decorated foam windscreen seen on television screens […]
  • What’s better than power under the hood? Maximum Power! Lawo has announced Power Core Max, a new version of the Power Core AoIP mixing engine that can support multiple physical or virtual mixing surfaces — two, three, or even four mixing interfaces per engine, depending on mixing requirements. Lawo maintains Power Core Max may be the most […]
  • Arturia have recreated 2 of the most famous hardware analogue delays ever made, and in addition developed their own powerful, versatile digital to give you the best echo processing available: Delay TAPE-201 Modeled on the famous 70s “space” delay loved by guitarists and studios for half a century. This iconic delay has been reborn in […]
  • The 2028 has been designed to provide a similar aural signature to the brand’s flagship handheld mic, the 4018 VL. It has also been optimised, like the 4018, for the challenges of the live stage. “We have seen a need for an excellent vocal microphone that has the sonic qualities of our d:facto 4018 Series, […]
Translate »