With the help of Skyrock, Universal, Stade de France Prod. and, above all, thanks to the Stade de France production manager Olivier Matabon’s will and energy, we invite you to experience Urban Peace 3 from the inside – from the preparatory meetings to the progress made on site up to the four and a half hour show to be held September 28, 2013.

While the lineup is still evolving with the news of Maître Gims, a member of Sexion D’Assaut, coming solo alongside I Am, La Fouine, Orelsan Youssoupha and Psy4 de la Rime, we offer you an exclusive first glimpse of the event with a technical report detailing all of the project from sound to video and from structure to lighting. We also look forward to seeing you in September as we report the day to day developments with exclusive videos and photos

A co-production and a new economic model

SLU : How was the Urban Peace 3 event conceived ?

Olivier Matabon, (production manager at the Stade de France) : This is a co-production in which all three partners, Universal, Skyrock and Stade de France Productions, are equal, and each carries out the part of the production that is most relevant to its activity. Sky and Universal are thus in charge of the artistic lineup, while we take care of logistics, marketing and technology in general. In short, Stade de France Productions is essentially the executive producer. Stade de France Productions, in turn, relies on production manager Isabelle Trapon Leggett to coordinate the entire project through her service company, ITL Production. All three entities share promotional activities.

SLU : As part of this co-production, is everyone involved in determining what UP3 will be, artistically speaking?

Olivier Matabon : Yes, except that we are the ones who need to make sure that the event is economically and technically feasible and that the overall “look” of the stage and set does not miss the mark. Universal and Skyrock rely on us for that part of the project but they are still part of the decision-making process. We regularly show them the stage plans so that they can confirm them as quickly as possible so we can finalize their technical integration. For example, it is the co-production that requested Raphael Maitrat at the FoH to work on the sound specifications with me, and it was Julien Mairesse who suggested that Julien Martin be put in charge of monitors and of taking care of the artists on stage, which is crucial for all of us. They also collaborate in the development of the audio specifications.

For lighting and video we work with Concept K, in the person of Frédérick Fayard (aka Aldo, a regular at SdF, having done events including Nuits Créoles (Creole Nights) and Kassav’s 40 years – Editor’s Note). Scenography and set design are being done by Julien Mairesse, who already works with two of the groups that will be on stage, Sexion d’Assaut & Psy 4, and with whom we worked on Nuit Africaine (African Night), Urban Peace 2, Excalibur, Bigard, Aida, Unighted 2, Nuit Créoles (Creole Night)…

SLU : Backing up a little: why is SdF Prod. the initiator and co-producer of an event such as UP3?This goes far beyond what you normally do in terms of production.

Olivier Matabon : This is more of a question for Martin D’Argenlieu, who is responsible for leading the development and programming of SdF – and who can correct me if I’m wrong – but, overall, with our two partners Universal and Skyrock, we would like to build a business model combining the artistic side and the technical side that we could export to other stadiums.

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SLU : When did you start putting shows on the pitch?

Olivier Matabon : In 2001, with Aida. We were not co-producer at the time, We just bought a packaged show and took care of ticketing and local production. A multitude of tasks can hide behind this generic term, such as finding lots of sand because well, no, the production does not bring that along! I also think about Ben Hur, which earned us a month of rehearsals, half-way through which we were told about a France vs Italy football match right after unloading hundreds of tons of red soil from 120 40-cubic-meter trucks. It was just after the Zidane-Materazzi episode, so we had to win! We removed part of the soil, laid in a new pitch, removed the set that went all the way to the steps and won the game. 51 hours later rehearsals resumed as if nothing had happened.

Shows have become an integral part of the business of the SdF, which has no resident football club. They contribute to its commercial balance and to its appeal. Sport is not enough to satisfy advertisers and professionals who rent sky boxes annually. The SdF was a pioneer in this field. All the stadiums now think that their venues also need to be able to host events other than sports.

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The chosen suppliers
Melpomen, FL Structure, PRG et Digital Vision

SLU : In addition to FL-Structure, what other vendors have been selected by SdF Prod. for Urban Peace 3?

Olivier Matabon : There is Melpomen for sound, PRG for lighting and video screens, and Digital Vision for cameras and video.

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SLU : Why did you choose Melpomen?

Olivier Matabon : First, because we’ve known Thierry Tranchant for a long time and, in 13 years of shows at the SdF, we have never had the opportunity to work with them, despite the fact that they are internationally recognized professionals. Also because it gives us the opportunity to try a new system, the Nexo STM, and to deploy it for the first time in a stadium for 80,000 people …

François Deffarges (Nexo R&D Director) : Well, this is not entirely accurate. The STM is currently touring in the U.S. with Morris Light & Sound, doing stadiums for 100,000 people. And it’s going so well that, when I arrived, the tour manager opened the cellar in one of the buses and took out a 1989 Pauillac grand cru for us to enjoy in the heat. They expressed their satisfaction that way.

SLU : Is it nonetheless a risk to start with a system that has not yet been tested in France?

Olivier Matabon : Not really. Nexo is the company to whom the Stade de France entrusted the renewal of the resident sound system. So they know it very well. Hiring Melpomen to provide the material for this concert seemed the wisest thing to do. So we formed a technical partnership on our productions. Lets just say that it is the continuation of the installation.

SLU : I suppose that there was a tender and perhaps a system test anyway…

Olivier Matabon : Of course there was a tender, because we always compare several offers, play the competition and retain the vendor that seems to make the best bid in technical terms, in terms of personnel and in terms of current legislation. This step is essential, even if sometimes we have had attractive opportunities in terms of sharing equipment with other productions that were taking place before or after ours. There were five bids for sound, five for lighting, five for video, only three for the structure because there were not that many companies who were able to provide what we wanted, three quotes for catering, the bids for security and so on. Three months of work!

François Deffarges : Raphael Maitrat came from Nexo to evaluate the system. He then made an appointment in Angouleme with Sexion d’Assaut and the STM system, where he mixed them “flat”. He was very professional in his approach.

Olivier Matabon : As he is responsible for the system that will be installed for UP 3, I asked him to choose one of the five or six leading sound systems, including the STM. For me, all the major systems work, whether the L-Acoustics, the d&b or others.

What matters is how they are used. I’ve made no secret of needing to fit in a tight budget. He returned delighted with the STM, saying that, in his opinion, technically there was no problem. He will be responsible for its proper use by the sound engineers of the different groups and will help them, along with the technicians from Melpomen, to get the best sound!

SLU : Who will design the STM system?

Thierry Tranchant (CEO Melpomen) : That would be me. It is almost finished, just waiting for the final decisions in terms of scenography. I defined the mission this way: Melpomen will install the system, manage the coverage and sound pressure levels and deliver an equalized system; it will be up to Raphael Maitrat to operate it and manage the sound color. Ideally he could mix all the groups in addition to Sexion d’Assaut for whom he is the “house” sound engineer, especially since some of the groups will be performing together for the event and making original creations. This would bring a binding element and coherence to the whole show, but it may be not possible.

SLU : How can one make estimates and therefore choose a vendor before the list of gear and its implementation is completed?

Olivier Matabon : The number of boxes is defined, as is the number of lighting fixtures and screens. I have, for example, the equipment list of Concept K. If it fits into my budget, we do not touch anything, otherwise we work together to make the necessary changes or we ask the chosen vendor to propose alternatives.

SLU : Did you choose the suppliers based on price by the piece or “key in hand”?

Olivier Matabon : No, we do not operate like that. The equipment, whatever it is, can be found anywhere but, for us, 90% of success is the personnel, not only from the professional point of view but also on the human level. When we work with Laurent Boillot, who went from SPL, to Procon and now to PRG, we trust him and that changes everything. And this goes for all the others I mentioned before.

We do not choose the lowest bidder, but the vendor that ensures us impeccable service, while staying within budget and with a team that listens and is proactive. PRG and Melpomen, for example, are very familiar with the venue and the way things work within the stadium and, when they have a question, they ask. That alone is worth gold!

SLU : In your choice of suppliers, there is still compliance to an overall budget…

Olivier Matabon : Of course the supplier must comply with a global budget, say, around 3000 €, and we understand quite well when they respond that our venture is lovely, but their company is not able to respond favorably to our offer. This is a decision that only the supplier can make by looking at his own numbers.

SLU : How did you go about breaking down the estimates, such as those on the sound?

Olivier Matabon : We collected all the quotes, we put everything on the table and we went over them with Raphaël, who is responsible for ensuring that all the suppliers had responded correctly to the specifications and had submitted projects consistent with them.We then presented the selected vendors to co-production for confirmation.

SLU : Who will be the director of UP3?

Olivier Matabon : This will be Stéphane Convert (a regular for major events at SdF – editor’s note). He will take charge starting one month prior to the event . We’ve worked together often at the Stade over the last ten years, and he knows it as well as I do, because he was there before I was! We try to divide our work on site in order to meet our objectives while respecting the various current laws. In short, and coming right to the point, he will directly supervise the construction and installation. For my part, I will remain in “withdrawal”, dedicating myself specifically to dealing with the management of the stadium, the regulatory authorities, the problems of health and safety, logistics and, especially, to keeping an eye on things from a more external viewpoint, rather than just concentrating on the stage.

A preview of the sound system

SLU : The definition of the location of sound diffusion points is well underway?

Olivier Matabon : Yes, it has already evolved quite a bit but risks being changed back to what we had planned at the very beginning, depending on the size of the screens, the budget allocated to them and also to whether they will be oriented in “portrait” or “landscape” configuration. Aldo also has a say on what he will focus on, in terms of plans. These decisions will be made very soon (they are being made as you read these lines – editor’s note). The subs should be under the front of the stage. We also made sure that the contractual obligation of Melpomen’s results is limited to obtaining a uniform coverage in the stadium and to the playing of a CD to demonstrate proof of audio quality.

We can not put any possible misuse of the system or any artistic responsibility on the shoulders of the supplier. If, for example, a singer ends up with a white voice, the vendor cannot be held responsible. It is not only the tool that makes the results.
If you gave us an F1 it would probably not go too well; give Prost a Clio, and he could probably take better advantage of it than we could!

SLU : What will be the size of the stage?

Olivier Matabon : Fairly large, 23 meters wide. We don’t think it should be any bigger.
Skyrock, Universal and Julien Mairesse alerted us early on in the project. We attended a few concerts of this type and we noticed that the artists generally work on stages about 14 x 10 meters. Putting them on a 23 x 16 meter stage is already confronting them with an unusual space.

SLU : At what time will the doors open?

Olivier Matabon : At 5:00 pm, with the concert beginning at 6:30 and DJ Abdel to warm up the crowd. This part is not yet completely defined, but we know that they will play until 11:15 and the curfew is set at 11:30 by the Prefecture. It’s about a four and a half hour concert.

The concert première of the Nexo STM at Stade De France

SLU : Where are you with the STM? Is it out of the testing phase?

François Deffarges : Oh yes, quite! It has been in testing for a year, and Thierry (Tranchant) was one of the first to get his hands on it. It was launched in October 2012. We are therefore completely out of the testing phase. This year alone it has been used for, among others, the Solidays Festival, Elton John in Nantes and the Printemps de Bourges festival…

SLU : How are sales?

François Deffarges : We’re near the thousand mark in six months.

SLU : Of all enclosure models?

François Deffarges : Ahh no, of systems! We’re really proud to have already delivered 1000. Just to be clear, our system consists of a sub unit, a bass unit and a mid-high “main” module.

SLU : Ever since you have had it in the warehouse at Melpomen, what has gone out out less?

Thierry Tranchant (CEO Melpomen) TT : Not much! GeoT maybe goes out a little less, as it is aging, but, since we are growing, the STM is for our new markets

SLU : As a partner and the first to take delivery, has this allowed you to get good prices?

Thierry Tranchant : Not really but, risk-taking aside, if the product works – as is the case – you collect knowledge about the system and get one step ahead, which gives us a better image on the market.

SLU : But you’re not the only decision-maker: Melpomen is part of a group. How do you justify this choice?

Thierry Tranchant : I do what I want.

SLU : You discuss choices together anyway!

Thierry Tranchant : Of course we discuss them, especially something as strategic as a FoH system, but, as the group already has some L-Acoustics, Nexo, Meyer, d&b and Adamson, getting some STMs on was no problem. I’ve always had a trusting relationship with Nexo, for whom I worked, from the field, to the completion of a lot of systems before the STM. This is not a trial run with them.

SLU : Have you started to play with the modularity of the STM, which seems to be its strong point?

Thierry Tranchant : No, not yet. For the moment we respect the manufacturer’s recommendation, that is a “Main”, a “Bass” and “Sub”. We haven’t felt the need to do tests every day. However, we did split the two columns in two for the Printemps in Bourges at the convention center, a room that has a wide coverage area for its size and a wooden structure that does not allow heavy hangs. We flew a column of “Main” modules and, behind it, one of “Bass” modules, which would not have been possible with a larger, classic system. It will take some more time and understanding of the system before we begin to really use it in ways other than the standard one. We still need to gain some experience to understand how far we can go in terms of modularity.

SLU : In addition to modularity, what struck you about the STM?

Thierry Tranchant : Its power. To give you an idea, we are talking about power in the realm of K1, and also the composite material of the high-frequency diaphragms of the STM M46 provides very good results with a much higher “breaking mode”. The four midrange transducers with flat membranes generate very little diffraction in the highs, and this is something that we did indeed verify. Their placement in the first part of the high-frequency waveguide and their coupling with it makes them apparently less sensitive to wind. We used to suffer a lot during some shows, and we found significantly less loss in the midrange and upper midrange, where we find most of the useful signal. Only the extreme highs tend to fluctuate.

SLU : What kind of sound does the STM have, a Nexo sound with an aggressive high end?

Thierry Tranchant : Not at all. You will hear it for yourself, but I find it highly transparent in the highs. I decided this time around not to have any biased preconceptions and, instead, to listen to the users. I find it more interesting. What I am hearing so far comes down to: easy to work with, neutral and transparent

SLU : How many STM units did you put into stock at Melpomen?

Thierry Tranchant : We have what they refer to as 24 “systems” which includes 24 M46 “Main” modules, 24 B112 “Bass” modules and 24 S118 “Sub” modules. This is certainly not enough for our inventory, but I am giving myself until the end of the summer to reflect on the additional units we will require. As we will need to supply 78 M46 units for Urban Peace 3, I’ll have to ask some colleagues to complete the system.

SLU : Is Nexo coming with you to the event?

Thierry Tranchant : They will certainly help us and, if they want to come, Plailly is not far from St. Denis (laughs). That being said, when we are on a job, I like to have my independence because I do not like to spread my responsibility over several companies. I would still be glad for them to be there, if only for any real-time feedback that they have and, if necessary, we could talk about any particular problem on the spot.

The resident Geo S System
Used for reinforcement in the upper tribunes

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class=”sluItv”>SLU: As the designer of the system for UP3, can you give us some details and how far along you are?

Thierry Tranchant : The arrays might still be moved a few meters and the placement of the subs is not yet certain but, for the rest, we know the number of enclosures and the diffusion points. It has two main hangs on either side of the stage, each consisting of 15 STM M46 heads and 15 STM B112 bass units, two side arrays are hung at the same height with nine heads and nine bass units. Two delay systems are placed 10 meters behind the FoH – therefore at 60 meters – each of these also with nine heads and nine bass enclosures and, finally, there is a last pair of delays at 80 meters, each composed of six heads and six bass units. The stage itself will be reinforced with in-fills and lip-fills, and a number of S1210s and RS18s will be deployed to cover some small zones. The 72 STM S118 subs will be under the stage in 12 stacks of six units each.
A new characteristic this year is that we will use the resident reinforcement system to bring some clarity and brilliance to the upper tribunes throughout the south curve of the stadium, because the upper corners are the most difficult points to cover with a system installed on the field. We did it in June for Bruce Sprinsgsteen, just for the corners. This time we want to go further and cover the south curve and even the sides.

SLU : Are you planning to maintain the same levels there?

Thierry Tranchant : Yes, according to the simulations we get them to the same levels.

SLU : The sound of the two systems will not be too different there?

Thierry Tranchant : On Springsteen, we implemented only two clusters and the sound delivered in the coverage areas was significantly better than in zones without the clusters. It was more precise and “closer”. Although the sound is not exactly the same, we can manage to create a satisfactory coupling of tone.

SLU : Even in the infra bass?

Thierry Tranchant : Yes, because we can use either the subs that are installed in the stadium roof or the subs of the main system, so we should be able to achieve a fairly similar sound.
On the subs, though, with prediction software it is a little more difficult to be certain. Theoretically it works.

SLU : In addition to the design, are you also going to do the calibration of the system in the stadium?

Thierry Tranchant :Yes, absolutely. I will not be alone, however. There will Cédric Bernard (of Melpomen) and another system engineer, but his availability is not confirmed yet so I’ll give you the info later, it’s still early.

SLU : You still want to get your hands dirty and be a technician?

Thierry Tranchant : Yes, totally. I started as a technician, and when the choice came down to working freelance and living in Paris or moving out to the province and setting up my own shop, I made that choice. The STM is not complicated to set up, and the manufacturer’s NS-1 prediction software works perfectly.

SLU : It works either way, you tell it what you want and it tells you what to hang or vice-versa?

Thierry Tranchant : You place your elements, and it gives you the result. Nexo is against systems that are too automated, they prefer for the user to retain control. Just think that this software provides predictions from 30 Hz to 16 KHz and is more accurate than Ease. In fixed installations it has happened to me to work with this software, and then to have to do the same thing with Ease in order to provide the acoustic consultant with standard files!

SLU : Getting back to UP3, have the technical choices been made regarding the consoles?

Thierry Tranchant : This is still under way. There will most likely be two Midas Pro6s at FoH and a Yamaha PM1D for monitors. The audio transport will be on Ethersound.

Concept K’s Urban Design

SLU : Aldo, how were you chosen to take part in in this adventure?

Frédérick Fayard aka Aldo (Associate Designer for Concept K, head of the UP3 visual project) : It was the production manager, Isabelle Trapon-Leggett, and Olivier Matabon who submitted the proposal to the co-production, which is shared by Stade de France, Skyrock and Def Jam (a label of Universal).

Except for Skyrock program director Laurent Bouneau, whom I did not know, I had already worked with Benjamin Chulvanij, the director of Def Jam, and Stade de France’s Martin Argienlieu for the “Stade de France Live Event”. Benjamin Chulvanij and I had also worked together on the Jena Lee tour: a great experience.

SLU : What is the precise role of Concept K?

Aldo : We work with Julien Mairesse, the artistic director, set designer and director of the project. We were put in charge of the visual production in general. Julien designed the stage, the set and video concept. We have put this project in motion. We adjusted the plans with Olivier Matabon, who deals with the suppliers. We at Concept K do the field work. We integrate the video, we produce video content and we handle the lighting.

We are, in a way, like the director of photography, in the sense that we are responsible for the overall visual impact, including the set, images, lighting and artists.

SLU : Is it the screens that actually create the scenography?

Aldo : There is indeed a lot of video. This is a choice that has been officially decided by the co-production.
We will end up with close to 280 m2 of displays, if we consider both the low definition and HD. Two large 60 m2 side screens are for classic 16/9 format I-Mag; there is a screen in the center – a PRG 30 – a transparent screen with a 31.25 mm pixel pitch. It works well, it’s bright and highly transparent and therefore quite interesting. There is an elevated gangway, in the shape of a “V” with the two legs pointing out from upstage. This platform will be 2.5 m in height, 2 meters of which will be covered with the PRG 30 display. The goal is to integrate a long strip screen over the entire width of the stage, that is 50 m.

SLU : So the wings of the stage were finally dedicated to the visual aspect.

Aldo : It’s a trick at the Stade de France, all the artists know it. You have to occupy the space with the scenography. The artists stay in the middle, and you decorate around them. It is a structure that will support screens and sound. It has three or four meters of extra stage space on an apron thrusting outward in the center, for when the artists want to go and rally the audience, but that will not be their main stage space.

SLU : What fixtures have you chosen?

Aldo : As usual with the productions for which we work, we communicate a generic list to be adapted according to the vendor’s availability, in this case PRG.
When you are able to use the supplier’s stock, it is a real win-win situation. If you ask a vendor for specific fixtures and they don’t have them, they will be forced to sublet them. They will not be able to make the same financial commitment. When you go to PRG, you will of course specify the Bad Boy because you know it is effective. It is a no-compromise spotlight with an expensive hire rate, about twice as much as a 1200 W. It has a long throw. The first time I used it was for the festival of lights in Moscow. We projected on Red Square. We had to have a very long throw and Bad Boy worked really well.

SLU : Is there no equivalent?

Aldo : No, not when you want to open the zoom a lot (7°–56°).There are other 1500 watt projectors that open a lot, for example the Clay Paky Alpha 1500 (7°–57°) but, beyond a certain aperture, it runs out of steam faster than the Bad Boy.

SLU : What are the Bad Boy’s main defects?

Aldo : The downside is its weight (75 kg) and size, but here we are not so limited, therefore it is the right fixture.

SLU : Where are you going to place them?

Aldo : I put 20 on the ground, including 12 that follow the shape of the gangway to provide a general backlight for the stage. These will also be used as audience blinders.
But for the real blinding we will use the eight on the front truss, which, in turn, will either paint the stage with gobos to create a basic scene or produce effects in the audience or in the air.

SLU : Starting at the beginning of the project, what visual approach did you work on with Julien Mairesse?

Aldo : It was the kind of visual approach one needs to create an event that revolves around Rap. We needed an urban visual setting. This is why there are gangways that show scaffolding and metalwork. These will be black, and therefore discreet, but very present.
We have provided a vertical rig, therefore it’s urban and punchy.
The Sharpys will be positioned in two upstage vertical matrices of 24 units each. By default these are already very aggressive. And I added some Atomics as blinders to emphasize the rhythmic highlights. The Atomics and Sharpys are then repeated over the side screens on the wings, in order to complete the scene: two sets of nine units on each deck.
FL 650’s will be placed under both side screens, behind the matrices and the two 13-meter lateral, low-res screens for the punchy part, which will be backed up with 4-light Molefays on the front truss.

The idea was not to have a wide variety of types, but powerful and effective fixtures. All around the stage and the wings is underlined by TourKolors, and I chose MAC 2000 Beam XBs in two vertical lines for either side lighting or aerials. I also hung these on the front truss, alternating with Bad Boys.

This is a solution that I used for the Nuit Africaine and it works well. It can be re-adapted to any style. I double up my front truss with spots and washes and when the the spots are doing the key lighting, I use the washes to do designs and vice-versa. It allows me to create more varied scenes.
Behind the gangway, there is also a line of 14 MAC 2000 Beam XBs positioned at 1 meter in height and, finally, there are four Robert Juliat Lancelot follow spots.

SLU : Will each song by each artist have a specific program?

Aldo : Yes. We are not in “festival mode”, but it is not a tour, either. The approach is something like a television broadcast. This means that for every tune, you want a different visual scene. We have 10 days to program, which may seem like a lot on paper, except that 4-1/2 hours comes to 270 minutes, and that does not leave much time for each tune.
We will have one important parameter to manage: starting during the day at 6.30 pm and finishing during the night. The idea is to give a look to the scene from the start with DJ Abdel, who will do the warm up.

SLU : How many of you will be controlling lighting and video?

Aldo : There will be three, maybe four, of us.
There will be a lighting designer, a video director and a director of photography. And then there could be a coordinator – me.
The video director has a huge task because it is Concept K that will distribute the signal and control the production; in other words, the director and cameramen will operate according to our requests. Their signal will return to our media servers, that are Catalysts, and it is we who will route the signal to the screens.
And Julien Mairesse, who is the artistic director, is also directing the show. He is linked to the artists. We will develop specific entrances for each artist. Associated with him is stage director/show caller, Laurence Pelissier, who is No. 1 in France. It will be awfully hot on the sequences and, given the number of parameters to manage – inputs, outputs, sending jingles – without a stage director we could never pull it off.

SLU : How are you dealing with the lighting designers of the groups?

Aldo : Like I said, by the will of the co-producers, we will find ourselves halfway between a festival and a tour.
The artists come into the imagery of Urban Peace. There is a graphic signature for this concert and all groups will be inserted therein. It recalls the logos of each artist and they are asked to entrust us with the media they have. That media will be aired during the show, but we keep control of the visual scene. It would be inconceivable to operate like a festival. We have an Urban Peace format and artists perform within that.
But I’ve asked the LDs to send me information on the habits of their group and their color choices for each tune so that the artists will feel comfortable on stage.

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