Case study
CLIP So Llum i Imatge | Pablo Alboran, Mad Cool festival or The Miserables…
Clip So Llum i Imatge
CLIP So Llum i Imatge is a Barcelona-based company specializing in the technical production of events both nationally and internationally. With over a decade of experience in the entertainment industry, CLIP offers comprehensive solutions encompassing the design and implementation of sound systems, lighting, and audiovisual equipment, ensuring that each event has the right technology and the necessary support to create memorable experiences. Their team of highly qualified professionals is dedicated to adapting to the specific needs of each client, guaranteeing a quality service that exceeds expectations.
The company has handled the technical production of Pablo Alborán’s concert in Barcelona, the sound and lighting infrastructure for the Red Hot Chili Peppers and Billie Eilish at MAD COOL, the lighting and sound for the iconic musical “Les Misérables” in Madrid, and the audiovisual show for a Rosalía album launch.
Pablo Alborán, Red Hot Chili Peppers and Billie Eilish at the Mad Cool festival, the musical “Les Misérables” or Rosalía’s album launch, among others…
Photo: GAR PTRS9418 stage box installed in a customer’s rack. Courtesy of Albert Pujol of CLIP.
STAGE BOX GAR 64 sends/10 returns, for 3 consoles and with several special modules.
For microphone/line signals in professional live sound applications requiring 64 sends/10 returns into 3 outputs. This GAR unit includes signal patching, return channels, and a link section. Groups are color-coded: red, yellow, white, and blue.
It consists of:
- 1 Balanced input with 64 XLR-F connectors
- 3 Balanced outputs per channel using 6 LK multi-connectors (32 channels per multi-connector) for MONITORS, PA, and AUX.
- 4 LINK sections with 2 XLR-F + 2 XLR-M connectors
- 2 XLR-M RETURNS (in the red, yellow, and white groups) and 4 XLR-M RETURNS (in the blue group)
- 62 XLR-M and 10 XLR-F patch cables for patching remote boxes.
- AR format for 19” rack mounting.
A unified 64 sends/10 returns system was needed, capable of accessing all channels on 3 different receivers.
Based on our client’s specifications, Pinanson designed and custom-manufactured the following:
- 1 GAR 64-channel PTRS9418 stage box in a rack mount AR box for 19″ speakers, using LK connectors for quick access to all 64 sends/10 returns and reception on 3 different consoles.
- 8 Remote boxes of 18 channel in CAT-format: 16 sends-2 returns (x6) and 14 sends-4 returns (x2).
- 8 multicores with LK-LK connectors for connecting the remote boxes to the stage box.
- 4 fanouts with LK connectors on one end and a Tidy system with XLR-M-H cables on the other.
Image of the complete team designed for CLIP So Llum i Imatge.
CAT Remote Boxes: up to 18 channels in a single box.
As part of the equipment designed for CLIP, 8 remote stage boxes CAT format were manufactured.
These CAT-format remote boxes have the following features:
- Supports up to 18 channels
- Connectors are arranged in a 2 rows, saving space for disposable sticker labels
- XLR connections are perpendicular to the surface
- Made of extruded aluminum with direct printing. Features rubber feet and an aluminum handle with a plastic coating.
- Dimensions: Width depends on the number of channels, Height: 115 mm, Depth: 74 mm
- Includes a protective fabric cover with Velcro closure
More about Audio Distribution for Touring
The Swedish company Ljudjohan covers both small events and concerts in the country up to the largest European tours. It is responsible for always offering professional sound and lighting technical solutions, although it also works as a rental company for its equipment. Being the largest supplier in the Jönköping area (province in the south of Sweden), they carry out work for all of Sweden.
The iconic building of the Sydney Opera House has five theaters: Concert Hall, Opera Theatre, Drama Theatre, Music Room and Studio Theatre. Rooms designed and built with the highest technical and architectural rigor.
Continuing with this technical rigor, Pinanson’s distribution equipment was used for the microphone signals that are transmitted in the grand opera.
When requesting a quote for a signal distribution equipment, clients are normally clear about its characteristics in terms of functionality: the number of channels they handle at their events, how many consoles they are going to take the signals to, if they want patching, remote boxes, the order of the signals, colors to classify them, the format of the equipment (if they want it portable or to be racked…).
But there is a general doubt when you ask them if they want to isolate the outputs by transformer or not.
As can be seen in the previous diagram, when we want to have our Digital Stage Box in the same rack as our stage distributor, we will opt for the DIGI RACK BOX.
It is a passive interface where all the audio signals converge from the stage to the digital stage boxes of the digital consoles: FOH, Monitors and Recording.
