Ed Sheeran’s ongoing international Mathematics Tour is being supported by a wide range of production technolgies, including an expansive Clear-Com communications platorm supplied by touring company Major Tom.
Mathematics plays out on five stages placed around the floor of the venue, usually a stadium: one center stage with a revolving rim allowing 360-degree visibility for (and of) Sheeran, and four platforms for members of his band who, in a first for Sheeran, occasionally accompany him, each at the bottom of six “masts” that act as counterweights in a sophisticated pulley rigging setup for a 42-ton halo above the main stage. Pyro also figures in heavily, with flame throwers used multiple times, culminating with a fireworks display as a finale.
Saying there are a lot of moving parts to the technical side of the production is putting it mildly. And that’s where Clear-Com comes in. To pull off this technological extravaganza show after show, city after city, every member of every department – lighting, audio, video, stage management, riggers, and automation – need to be in constant communication, not only from a health and safety perspective but to handle the massive infrastructure deployed for Mathematics.
Designed and implemented by David White, looper and RF tech for Sheeran as well as audio systems engineer Adam Wells, the intercom system consists of five 4-channel HelixNet Digital network partyline remote stations, a FreeSpeak II wireless intercom system, and LQ Series IP interfaces to distribute over the IP network. HelixNet beltpacks are distributed across six remote camera operators, and an antennae splitter distributes the IP network to three different transceivers across the show grounds. All the various departments utilize the same system on their own dedicated HelixNet channel.
Given the tour’s five separate stages, comms are even more critical because the production crew is spread out, with some beneath the stages, some at FOH, and others not even in the room; among them, follow spot operators controlling spots remotely and video crew working from outside the venue.
With a background in live theatre, Chris Marsh, manager for audio production with Major Tom and production manager for Sheeran, contributed to an artistic production style. Beneath the main stage during shows, cues are being given as if this were a theatre performance for lighting, video, sound, pyrotechnics, and operation of the moving halo above the main stage.
“All of that is standard to large theatrical productions, but this was the first time we’ve done something of this scale with comms,” says Wells. “It’s the first time we’ve had a show with this many bells and whistles and moving parts, and it’s so busy and loud everywhere, it’s an absolute necessity to have that level of clear communication. With HelixNet and FreeSpeak, it’s crystal clear. That’s a game-changer to have clear communications for everyone, particularly when dealing with elements like pyro and weather emergencies.”
While the team intends to move to a fully digital system in the future, they’ve maximized efficiency with their hybrid analog/digital system utilizing LQ Series IP interfaces. For example, each tech station on-site has a port labeled “comms.” Each tech has a HelixNet beltpack, and when they get to a station where they need to service or administer support, they can simply plug in and instantly connect to the network.
“They can sync in so quickly, and it just works,” White says. “It became a more efficient way of working and works quite well. We were even able to put outlier crew like the two techs who monitor the safety sensors for the halo rigging on comms. And that’s a critical safety issue.”
That proved helpful at one show where the safety sensors for the halo erred on the side of caution and overrode the command to lift the halo. Sheeran was onstage, but due to the crew’s quick communication, they dropped the video feed on the semi-transparent screen so the audience could still see him. “Fundamentally, it’s a live show,” Wells says. “And in those situations, without clear, bulletproof communications, we wouldn’t be able to deal with those situations and weather emergencies as quickly as we have been able to.”
Further, at Denver, CO’s Empower Field at Mile High (“Broncos Stadium”) in August, where 100-degree temperatures, rolling thunderstorms, and nearby lightning triggered three separate evacuations before Sheeran took the stage. “Clear-Com was essential in helping us to get back up and running quickly and seamlessly,” White notes. “If something does go wrong, we can solve it very quickly instead of suddenly having to go to a two-way radio to talk to another department. This is a very cohesive tour, where literally everyone and everything feeds off the other departments.”
Sheeran’s team decided to adopt FreeSpeak II for 2018’s ÷ (Divide) tour. Only the audio and lighting crews used Clear-Com, with the video crew integrated via another system. Autograph’s Ben Turnwell (who has since joined Clear-Com as the UK regional sales manager) visited the crew during the tour and presented the FreeSpeak II demo as an upgrade to their then-analog two-wire system from Autograph Sound. It was delivered two weeks later to finish the tour’s second half.
The introduction of FreeSpeak II to the tour was also based on a desire for the show to work more theatrically. In the interim, comms evolved substantially, with more people requiring comms overall, discreet channels, and additional automation, which led to replacing analog for HelixNet by using LQ Series to distribute comms entirely over IP on a network that has only increased in scope since that original tour.
“Clear-Com’s beltpacks are really rugged,” White adds. “In fact, when Ben first demoed [FreeSpeak II] for me, he literally threw my beltpack across the room. He said, ‘Look, isn’t that great?’ and I said, ‘Hey, I’ve just bought that!’” He adds, laughing, “But it didn’t break!”
