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ENTERTAINMENT
The Secret Policeman's Ball, Royal Albert Hall – October 2006

Reviving an Amnesty International fundraiser that last took place 15 years ago, on 14th October The Secret Policeman's Ball comedy and music event was dusted down and given a 21st century airing at London's Royal Albert Hall.

Co-ordinated by comedian Eddie Izzard, comedy performers included Izzard himself, Richard E. Grant, Chevy Chase, Russell Brand, Jon Culshaw, Al Murray, Jo Brand and The Mighty Boosh. Music came from The Zutons, Natalie Imbruglia and The Magic Numbers. The show also featured animations highlighting global political issues, while actor Jeremy Irons spoke about the work of Amnesty International.

Sound By Design was responsible for fulfilling all in-house audio requirements.  The show featured bands and sketches on the main stage of the hall, which utilised Sound By Design’s Meyer Sound M2D/ M1D centre cluster, with stand-up on a satellite stage in the centre of the arena.  This was covered by an in-the-round system comprising of six hangs of Meyer Sound MSL-2s and UPA-1s.

The whole production was driven from a DiGiCo D1 at front-of-house, with another used for monitors.  Because of the show’s varied line-up and content, the FOH D1 was running 48 channels of band mics, 24 channels of wireless mics and eight stereo playbacks. The monitor console was running 48 channels.

“The big advantages of using the DiGiCo consoles at a show like this are the footprint and the audio processing capabilities,” says Sound By Design's Phil Wright. “96 channels in a loggia box seven feet wide - nothing else could even come close!”  He continues: “The snapshots feature was also vital, since once we started rehearsal we didn’t stop and there was a lot to do. Each act, whether it was a band or sketch had a snapshot, so I had a starting place with each act mapped out.”

The four-hour show was recorded for television and DVD, while there was also a series of ‘cinecasts’ with it being shown live in 17 major cinemas throughout the UK. The wireless microphone feeds were split via MADI so, for the cinecast, Phil provided a house mix of the bands, meaning that the outside broadcast truck just had to do a live mix of the wireless mics.
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