Wembley Stadium - MONDO | STADIA Supplement

WEMBLEY STADIUM

Cover Image: Wembley Stadium

Editorial Director

Sam Hughes s.hughes@mondiale.co.uk

Commercial Director Jamie Dixon j.dixon@mondiale.co.uk

Design & Production

Dan Seaton d.seaton@mondiale.co.uk

Dave Bell d.bell@mondiale.co.uk

Finance Director Amanda Giles a.giles@mondiale.co.uk

Credit Control ar@mondiale.co.uk

Group Chairman Damian Walsh

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INSIDE…

Stadium

WELCOME

elcome to our special supplement on the iconic Wembley Stadium.

WAs the venue celebrates its 100th anniversary, we take a deep dive into the state-of-the-art technology that makes it one of the most advanced and innovative stadiums in the world.

From the top-of-the-line audio system, spectacular lighting setup and high-definition video displays, we explore how technology enhances the spectator experience and makes Wembley the go-to venue for sports, concerts and events. We also delve into the history of the stadium, highlighting some of the most memorable, era-defining moments in sport and music that have taken place over the past century. Take a look through as we celebrate the past, present and future of Wembley Stadium.

Sam Hughes Editorial Director

WEMBLEY STADIUM

London, England

d&b audiotechnik

fter two lost years for sports and music en-masse, German audio technology and solutions company, d&b audiotechnik, is delighted to report that London’s iconic Wembley Stadium is now preparing for its longest concert season yet – with a permanently installed d&b sound solution.

Since hosting its first FA Cup Final in 1923, Wembley has become synonymous with English football. Today the stadium’s sporting calendar invites a global audience with events as prominent as the UEFA EURO 2020 Final and the 2012 Olympic Games. Then there are the A-list artists, from Beyonce to Coldplay, whose legendary concerts have made Wembley a mecca for musicians. Despite its historic stature, Wembley is not resting on its laurels. Driven by the need to remain world-class the stadium is continuously evolving, benchmarking itself against the competition. “One area that we knew would add value to our guests and clients was upgrading the bowl audio,” explained Liam Boylan, Stadium Director at Wembley. “The previous system was not specifically

designed to be used for the delivery of music and that was becoming increasingly apparent; we wanted to offer our clients a state-of-the-art system that they would never consider not using!

“d&b offered a solution that would elevate the audio experience for our fans - for all of our events - and thus keep our standards as high as possible.”

In simple terms the brief was straightforward: ensure the person sitting in row one, level one, experiences the same quality of sound as the person in row forty-eight, level five. Additionally, the system needed to be lightweight to stay within roof loading limits, appeal to both the music industry and sports organisations, and integrate with the existing network as part of the stadium’s life safety system.

Mervyn Nock, Audiovisual Manager for The FA, added: “With the d&b system, PAVA compliance was a given, so instead of thinking about baseline intelligibility we could focus on performance quality expectations. Before the installation, we rigged an array of d&b loudspeakers to give Wembley’s senior leadership team and various

More than a match.

A great lineup of sound reinforcement technology. A customized look. The renown d&b Workfl ow. All this and world-class support from start to finish. d&b Stadium solutions are designed so that everyone wins. (We like to play fair.)

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The art of creative engineering.

Puskás Aréna, Budapest, Hungary

stakeholders an A/B comparison. The difference surpassed everyone’s expectations; not only was music much clearer, cleaner and brighter, but speech was so much more intelligible, more authoritative.”

Steve Jones, Head of d&b Education and Application Support EMEA, was tasked with the system design. “Because the Wembley bowl is so high and so steep we needed to propose a single system that was up to the task of properly covering the large vertical geometry from front row to the back of the upper tiers, provide horizontal consistency and be suitable for both sports events and augmenting concert productions.

“I’d be asking what would the system do when it was in sports mode,” Steve continued. “And what did that full coverage need to be; and then with, in effect, a smaller array formed from the top cabinets, check that we still had a system that could deliver concert sound levels into the top tier. My next consideration was informed by our observations of concert productions at Wembley; the best results involved the deployment of a ring delay system.”

Steve set about honing his design, moving between the venue’s two principal modes of operation - and started asking a different set of questions: “This was the light bulb moment when I realised that for optimum

performance from a single system, I needed to talk to Wembley’s technology consultants, Vanguardia, about the possibility to rotate the arrays and deploy them at an overall lower height, in the North and South stands. Eventually, after lots of toing and froing, we were able to define the arrays’ optimal height and position to do both sports and concerts really, really well.”

The main loudspeaker system, including corner fills, comprises Special Version Stadium (SVS) V-Series and Y-Series line arrays. SVS models are acoustically identical to their standard versions, with extra protection for use in harsh environments and full consideration of wind loads and seismic activity. The complete system integrates with Wembley’s existing control infrastructure via MediaMatrix. A critical advantage of the d&b system is the ability to rotate the arrays. During sports events the arrays are in their default position, on axis with the spectators’ seating position. In concert mode they are rotated to optimize the acoustic path between the stage and the audience in the upper tiers, enhancing the listening experience. Installation specific 30D amplifiers are housed on two fifty metre high gantries running along the length of the pitch, alongside floodlights, control networks and power distribution, broadcast technology and IT infrastructure.

Mervyn added: “Obviously with a new installation there is very little maintenance, but with the amplifiers’ system diagnostics functionality, the status of the system is relayed to the main PAVA maintenance graphical user interface and also onto the stadium’s building management system, instantly flagging any issues should they appear.

“With so many different types of events at Wembley, d&b’s R1 software enables us to quickly configure the system and cater for any event specific PA requirements, for example reducing the sound levels in temporary press/ broadcast locations.”

Ultimately, what Steve, in collaboration with Vanguardia, structural engineers OPS and integrator RG Jones, has achieved is more than a two-for-one solution. “Thanks to ArrayProcessing it’s now possible for Wembley to create upper and lower zones, and to easily offer multiple performance layouts,” explained Steve. “And switch from sports mode to concert mode without any compromise in quality.”

As any venue knows, flexibility is essential to owning a truly multipurpose reputation, and Mervyn is in no doubt about the scope afforded by ArrayProcessing: “There’s always been a strong, valued partnership between UEFA

and Wembley over the years, and they were pleased to see the d&b system installed and available to use for UEFA EURO 2020.

“During the championship, a twenty metre long temporary press area was built over 6-8 seating rows and UEFA requested a lower sound level in this area; this was achieved by a reduction of as much as 12 dB with spectators in front, behind and to the sides still experiencing the full sound level. It’s been invaluable.” The sound system installation took place during winter 2019 – and was completed by RG Jones. Just three months were allocated to design, fabricate, and install the new system with several large projects taking place simultaneously including relaying the pitch and installing an LED floodlighting system. Due to the tight timescales and number of interfaces, the programme was planned to the highest level of detail. The project teams met daily to collaboratively resolve risks, address technical uncertainties, and to monitor safety, progress and quality. Commissioning of the audio system was completed in time for the EFL Carabao Cup Final in February 2020, just weeks before the first Covid-19 lockdown.

Laurence Young, Project Manager, Wembley Stadium, said: “The programme was delivered safely and to very

tight timescales. Coordination between contractors and the added risk of working at height were the biggest challenges but the installers and project teams, including d&b, were fantastic at working together and resolving any issues that we were faced with.

“For me, the moment that truly encapsulated what has been achieved was at the UEFA EURO 2020 Final and experiencing the d&b system, together with the new LED lighting system, in front of a capacity crowd.”

“I think the highlight of the project, as is usually the case, is when good content is being played through the system and the resulting audio experience leaves you feeling, ‘wow’ this is something special,” said Jon Berry, Sales and Installations Director, RG Jones.

“Of course, overcoming the engineering difficulties to deliver the UK’s first rotatable stadium loudspeaker system suspended from wire ropes - and in our national stadium, the iconic home of football - makes you feel pretty good, too.”

Following the Carabao Cup Final in 2020, football at Wembley was audience-free or at significantly reduced capacity until UEFA EURO 2020 in June 2021 - at which point resident DJ Tony Perry put the new audio system through its paces: “The sound at Wembley during EURO 2020 was incredible. I received messages from so

many fans saying it was the ‘best atmosphere they’ve ever experienced at a football match’. This level of fan interaction would not have been possible without such an incredibly enhanced sound in the stadium.

“I’ve been fortunate to play at many stadiums. At Wembley this summer, there was a notable difference in clarity and depth. Whether the stadium was at its lowest 20,000 capacity audience, or during the epic closing ceremony, the sound was remarkably well balanced. Perhaps what stood out most, was how the sound maintained clarity both at low level, and when being pushed to its loudest. It’s something I hadn’t experienced in a stadium environment before.”

As sports fans and music lovers make their way back to the bowl, there’s an uncompromising audio experience waiting in the stands, in all 90,000 seats. Add the prospect of a significantly bigger concert season this summer and 2022 at Wembley looks set to give next year’s centenary year a run for its money.

“We must be a stadium that artists want to use and fans want to go to,“ concluded Liam. “And, to do that, you have to remain ahead of the curve and not rely on history alone. The d&b audio system is a huge part of that and I am delighted to say that the sound in our stadium now matches our iconic name.”

AUDIO Q&A:

MERVYN NOCK, EVENT TECHNICAL MANAGER, WEMBLEY STADIUM

Was there a particular brief in terms of what you wanted for the new audio system?

The brief was very simple - ensure the person sitting on row one of level one had the same audio experience as the person sitting on row 48 of level five.

It had to be a system that any production team would be happy to use and that they could easily patch their touring system into. Essentially, we wanted to offer our clients a state-of-the-art system that they would never consider not using.

How does the system improve the fan experience and atmosphere on game days?

Pre-match entertainment has become an integral part of sporting events now. You cannot have that special ‘Neil Diamond’ or national anthem moment with a poor PA system. The level of intelligibility of the PA for things like team lists has also been hugely improved.

One big advantage with the new system is that the loudspeaker arrays can be rotated. During a sports event, the arrays are in their default position, on axis with the spectators seating position. For a concert, they can then be rotated between the stage and the spectator - giving them a better experience.

It’s a huge, complex project - were there any difficulties in particular?

The audio system was part of the stadium’s 2019/20 winter works upgrade, which also included a new floodlighting system and pitch install. Having three major projects taking place in the bowl at the same time had its challenges, but the programme was delivered safely and to very tight timescales.

The team had just three months to remove the old infrastructure and install the new systems. It had to be ready for the first event in February 2020. Coordination between contractors and the added risk of working at height were the biggest challenges, but the installers and project teams, including d&b, were fantastic at working together and resolving any issues we faced.

Has d&b delivered what you wanted from a new audio system?

Yes, and more. During a very busy 2022, with concerts and sporting events in close proximity,

the system exceeded all of the performance criteria initially agreed.

What has the feedback been like from fans / visitors on matchdays and concerts?

Fans are noticeably more engaged during the prematch entertainment and team announcements due to the clarity of the system. The feedback from visiting concert companies and promoters has also been very positive.

What made Wembley choose d&b?

There were a number of factors. We spoke to a lot of touring sound companies and the d&b name consistently cropped up as a preferred system that had real quality.

The combined weight loading of the amplifiers and loudspeaker arrays was also crucial. They were within the parameters specified by the roof structural engineers and the amplifiers had the necessary connections and functionality to integrate to the stadium’s life safety system.

STEPHEN HOGG & STEVE JONES

d&b audiotechnik

ow did the project at Wembley Stadium begin d&b?

Stephen Hogg: We were delighted to be asked to respond to a tender from Vanguardia Consulting with a system design for Wembley in late 2016. We’ve always had a good relationship with Vanguardia, and one of their audio consultancy contracts was with Wembley for its concert season noise monitoring, going right back to the old stadium. Once the project team at the venue were in the market for updating the audio inside the bowl - from a speech and playback system to a more performance-based or production audio quality system - they took the route of consulting Vanguardia, and that’s pretty much how our involvement with the project began.

Can you give us some insight into the audio system design?

Steve Jones: In simple terms the initial brief was straightforward: ensure the

person sitting in row one, level one, experiences the same quality of sound as the person in row forty-eight, level five. Additionally, the system needed to be lightweight to stay within roof loading limits, appeal to both the music industry and sport’s governing bodies, by meeting FIFA, the NFL and UEFA specifications, and integrate with the existing network as part of the stadium’s life safety system. We had lots of discussions around the differing needs for sports mode versus concert mode in terms of coverage, headroom, tonality, intelligibility and imaging and the practicalities of offering the best solution. Wembley is so high, and so steep, designing a single system that was up to the task of properly covering the large vertical geometry - from the front row to the back of the upper tiers - provide horizontal consistency, and be suitable for both sports events and augmenting concert productions was certainly a challenge.

I have to say I relished it. I started by marrying the knowledge we have at d&b from completing many stadia installs around the world, with our experience supporting the world’s best touring system designers for concerts - and in particular large concerts previously at Wembley.

As I moved between the venue’s two principal modes of operation – I found myself asking different sets of questions for each and realised to optimise both operational modes we needed two different loudspeaker orientations and setups.

As two separate systems were never going to gain traction, it led us to consider installing a rotating rigging solution, at a lower height than we had considered previously, as the basis for our design. Essentially a two for one configuration with zero compromise in audio quality.

Thankfully, we’d had the experience of installing rotating arrays in Amsterdam Arena, and even though

it’s a slightly smaller stadium, and benefiting from a gantry structure that was easy to work with, we looked at what we’d done there and were confident this was the exact solution for Wembley Stadium to sound greatfor everyone - whatever the event. We took the idea into discussion with Vanguardia, and it was agreed to pursue the possibility of mechanically rotating each loudspeaker array as well as deploying them at the lowest possible height. If we could get these decisions correct, we would vastly increase the ability for Wembley to offer an acceptable solution to visiting concert productions, one that visiting engineers could look up, see what’s in the roof, and be happy to use it. Finally, having designed the arrays to match the geometry of the audience in front of them the next part of the puzzle was the minute you take an array and rotate it, you completely change the target geometry, so that system is now not designed to cover the new audience area.

However, switching settings in d&b’s ArrayProcessing enables the output

of the array to change and precisely match the new audience’s geometry and thus achieve the best performance in both scenarios, without being restricted by the physical limitations of the mechanical array setup.

You were, of course, chosen on your tender return - what were the next steps?

SJ: The next major hurdle was the roof at Wembley, which proved quite difficult to work with, as it’s not symmetrical from one side to the other. Having honed our design, the team now had the challenge of finding practical solutions for deploying the arrays. There was a lot of back and forth with OPS, Wembley’s structural engineers, who are based ten miles down the road from us, which proved fortunate as I was frequently in their office looking at CAD and trying to correlate my ideas with their knowledge of the venue. I was often pushing them to quarter of a metre distances, but, despite the challenges, they were very collaborative and keen to help make it work.

How did the loudspeaker rigging work with regards to the roof at Wembley?

SJ: Initially, we were looking at a single arm concept, dropping down to hold the loudspeaker arrays which would also allow for servicing and maintenance. But, when we went to the East and West stands, especially where the roof opens, there was nothing but air above our heads.

So, we had to push for the optimal solution, which was loudspeakers that were positioned between the high gantries and cross beams. With the project team scratching their heads, eventually a proposal for suspension via steel wires was put forward. A prototype custom frame was manufactured then a test and verification process advocated to spread the weight through eight steel wires around the roof structure. With the collaboration of Wembley and the structural engineers, we managed to find positions that worked for both sports and concert modes, the latter also allowing for system designers having differing stage positions. It was really hard work, with everyone

pushing the boundaries of what’s possible. However, we were again able to point to what the likes of Coldplay and Muse had brought in with them over the years, and we wanted to be certain we could provide coverage that was at least the same, ideally better, than existing rock ‘n’ roll touring shows had brought in.

And did you demonstrate the system?

SJ: Yes, there was always a plan to demonstrate the system to allow the FA stakeholders to hear the proposed solution before moving on to the physical installation. This happened over two consecutive days in February 2018, where one loudspeaker array was deployed and proved that the vertical coverage, audio consistency and frequency response was perfect. We chose an array position for the demo where we could also give the FA confidence that other considerations had been met. For instance, other stadia bowl operations remained unaffected - visibility to the LED screens, which are part of the life

safety system, was maintained; NAVIS predictions to ensure sightlines to 17m high footballs were preserved for UEFA regulations, and, of course, tournament trophies being presented to the winning captains were visible to all.

On the other hand, we also had to consider that differing events hang varying sized banners in the roof and that these would not affect the audio performance!

How does the system improve the fan experience and atmosphere on game days?

SH: Heightened emotions in stadia generate a unique atmosphere, created by the audience, a communal experience of shared hopes and lasting dreams, reverberates throughout the venue.

The crowd noise is incredibly important in creating an enhanced environment and can lift an athletes or teams performance to new heights.

The famous Wembley roar from the old stadium was something that

was imperative to preserve in the architectural design for the new. When you have that kind of atmosphere, that noise level, it’s important for the sound system to sit within it, being part of the experience, teasing and amplifying emotions. This is where quality counts.

Reinforcing speech or music at a level where everyone in every seat can hear, belong, and take part ownership can only be achieved with a natural sound quality that is unquestioned by every listener.

Once we eventually arrived at the rescheduled EURO 2020, we were fortunate to be there, and in that moment of euphoria when Tony Perry, the DJ, chose to play ‘Sweet Caroline’, it was immediately obvious that everyone could hear every word, sing along with every word, jump to the same beat; a jubilant mix that made for a great party.

Everything, and not just the sound system, felt perfectly timed and it was just incredible for d&b to be part of that joyous nature of football.

SJ: In fact, the whole BBC commentary team were saying we have never been in this kind of atmosphere before. Now, what they were experiencing was all about the result of the game, the experience, being part of a crowd singing and being passionate. But we believe, fundamentally, that they were able to do that because they could feel and hear the music in a way that moved them emotionally. They could hear the words they could get the timing of the music, which is hard to achieve in large venues. I was blown away when the DJ was adamant that the sound system played its part, and he loved every minute of working with it.

The fact that there were still fans in the stadium singing along 20 minutes, after the game had finished, says it all.

What creative capabilities does the audio system provide for moments like that?

SJ: The sheer scale of Wembley Stadium and the vertical height and geometry of the stands meant our design would be based on line array loudspeakers. This gave us our building blocks, but, we knew we also had to address compromises that are common to every line array system and meet or exceed the Vanguardia specifications to deliver a uniform frequency response to every seat. Deploying our ArrayProcessing technology, allowed us to optimize the sonic performance over the entire listening area.

It also gave us the toolbox to play little tricks that were needed to cater to the needs in different parts of the stadium. In the seating areas, there are different things going on - some areas are fan zones, but in others, you have media, some of whom, and at the Euros there are a lot, are on live commentary and don’t want interference from a loud sound system blaring at them.

ArrayProcessing allows us to designate specific areas as level reduction zones, within which the entire frequency band is reduced. This means that we’re reducing the sound level enough, so that those guys can comfortably do their job, but it still retains the overall sound quality.

The result is media representatives can enjoy themselves as part of the crowd, hear themselves think, and the spill of the sound system into their broadcast feeds, retaining that natural quality, is just right. This way, you’re listening at home and you can hear

the commentator clearly, but you can also experience that environment and atmosphere with a good sound system clearly audible, but not intrusive, in the background.

As we mentioned, the atmosphere impressed the pundits massively, but they would have experienced a slightly quieter listening environment compared to the rest of the crowd. However, the sound system still provided a high-quality experience for them.

What has the feedback been like since the installation of the audio system?

The concert industry is a primary source of direct feedback for us, particularly from the touring engineers and technicians. The first concert held at Wembley with the new system in place was challenging due to postCOVID limitations and a shortage of crew.

Despite these obstacles, the event ultimately succeeded thanks to the efforts of everyone on the team. The feedback we received from the Head of Audio, Andy ‘Baggy’ Robinson who had previously worked with us on George Michael, was extremely positive. Our R1 software made tuning the delays quick and easy, and the result was acknowledged as better than ever before. The production team were walking around the Wembley top tiers commenting on how brilliant it sounded, which, from our perspective, was also great to hear.

On-going success will be measured by the sound quality and consistency for the audience – and the Wembley concert system has been well received, with no complaints or issues with EQ or coverage. Overall, it’s been

really positive, and we anticipate this feedback to continue as the production crews have time to reflect on the ease and consistency our system provides. Next concert season, we look forward to the system continuing to make lives easier for sound technicians that come into the stadium, while delivering that ease of use and high-quality experience.

SH: We are really fortunate to have been a part of a team that believed in our system and gave us the opportunity to prove ourselves, alongside Wembley’s project managers, structural engineers and consultants who were absolutely essential in making this project a success. Due to multiple factors the installation window was incredibly short, and the pressure was high due to multiple projects within the stadium bowl being delivered simultaneously, however, the determination of all involved, latterly including the installation and integration teams of RG Jones Sound Engineering, delivered the system in time for the 2020 Carabao Cup Final. An incredible accomplishment that we are all exceptionally proud of.

SJ: Exactly – the team was so important, especially when you consider the custom metal work, the riggers putting all the points in the roof and all that process being managed to daily milestones and deadlines.

It was an impressive, complex project with plenty of challenges, but I think we can look back and proudly say ‘we did it well’.

dbaudio.com

100 YEARS OF WEMBLEY STADIUM

Wembley Stadium is 100 years old this year. Since it first opened its doors on April 28, 1923, the venue has been home to some of the most historic and memorable moments of the last century.

From the famous white horse of the 1923 FA Cup Final to Bobby Moore lifting the World Cup in 1966, Freddie Mercury at Live Aid in 1985, through to Chloe Kelly’s extra time winner in 2022 – Wembley has been at the centre of it all.

Stadium Director Liam Boylan said: “Wembley holds a space in people’s hearts for many different reasons. It is the place where heroes perform and idols are worshipped. The place where big things happen, and history is made.

“It is also about those special, personal moments, too. Seeing your side win or lose, a child’s first game or

witnessing a favourite band or artist perform.”

Although synonymous with football, Wembley has hosted a variety of sports throughout its history. Everything from the Olympics (1948 and 2012) to world title boxing fights, NFL clashes, speedway, show-jumping, Gaelic football, hurling, motorsport and greyhound racing. It has also held rugby matches of both codes and was a venue for the 2015 Rugby (Union) World Cup finals’ tournament.

Wembley hosted its first music event in 1969 and since then has gone on to be recognised as a world-renowned concert venue. Madonna, Beyoncé, Elton John, Bruce Springsteen, Pink Floyd, Take That and U2 have all graced the stage at Wembley. In more recent times Adele, The Killers, Foo Fighters, BST, Eminem and Ed Sheeran have also performed there.

Perhaps its most famous musical moment though was

the Live Aid concert in 1985, which was broadcast live to more than one billion people across 110 countries.

More than 75 artists performed on stage that day with Queen, led by Freddie Mercury, putting on a memorable performance which to this day is still considered the greatest stadium show by a band ever.

The stadium itself has undergone huge change throughout its history. In 2001, the original building, with its famous twin towers, was knocked down to make way for a more modern structure, fit for the future.

The new Wembley took almost six years to build. When it did reopen for the 2007 FA Cup Final the contemporary, 90,000 all-seater stadium, capped with a 315-metre arch, was deemed one of the grandest stadiums in the world. A new era dawned and the historic moments continued.

Wembley hosted the 2011 and 2013 Champions League

finals and in 2024 it will hold a record eighth final. It was also home to the men’s EURO final in 2021 and the Lionesses famous victory at EURO 2022.

Last year more than 2.6 million people visited the stadium for a record-breaking number of events including multiple nights from musicians Ed Sheeran, Coldplay and Harry Styles.

Liam added: “Wembley is an iconic landmark that defines English culture and history. It holds a position in the national psyche as much as places like Buckingham Palace, Stonehenge and the Houses of Parliament.

“Over the next 12 months, we want to celebrate that fact and look forward to another 100 years of fantastic, history making defining moments.”

Musco Lighting | S tadium FX

ow did the project at Wembley Stadium begin for Musco Lighting?

In fact, we initially discussed the potential for an LED upgrade of the stadium floodlights back in 2014 after we had won the contract for Twickenham, which was the first stadium in Europe to change to LED. The timing wasn’t right just yet for Wembley, but, by late 2017, they were ready to move the project forward and began the tender process. Following our successful bid, Musco was appointed to upgrade the Wembley floodlights to LED in early 2018.

Was there a particular brief from the venue in terms of what they wanted for the lighting system?

As one of the world’s most iconic and globally-recognised stadiums, it was critical that we delivered a solution that achieved the highest standards for sports broadcast lighting, while also aesthetically integrating into the stadium’s architectural features.

Wembley was preparing to host the final for EURO 2020, so upgrading the lights to comply with the most current requirements of UEFA and FIFA was critical, in addition to NFL, which was regularly hosted at the stadium. In addition, with the advanced control capability that LED offers, we were able to introduce a new level of entertainment to the stadium with colour-changing accent lighting and dynamic light show capability. These features have been utilised, not only for football matches, but also for touring concerts and other events that Wembley hosts year round.

Can you give us some insight into the lighting system design?

As mentioned earlier, the system was required to exceed the requirements of UEFA, FIFA, and the NFL. We also worked with the project team to design a more architecturallyattractive look to the mounting of the lights - changing to a linear design that followed the arch of the

gantries and better integrated into the stadium’s overall design.

The colour-changing lighting was included as a replacement to a redundant bowl accent lighting system, which was no longer fit for purpose. With the installation of the Musco RGBW colour accent lights to illuminate the underside of the stadium roof, we added a dynamic effect that could be used for matchday or non-matchday to enhance the experience of the fans and interact with the community.

What technology is used for the floodlights, back-of-bowl and upper bowl lights – and why does it work so well for Wembley Stadium?

The field of play is illuminated with a total of 368 Musco TLC 1400 luminaires, with 38 Musco TLC 600 luminaires utilised for the seating bowl, while the back of bowl roof accent lighting is designed with 52 Musco TLC RGBW luminaires.

As far as why it works so well for

Wembley, it really comes down to the unique ability the Musco system has to control light and minimise glare. We see a sporting venue like Wembley as a theatre, and the focus should be on the pitch. Intense glare can negatively impact the broadcast, the spectator experience, and the players, thus taking away from that theatre look and feel… that was a key factor in the success of the Musco installation at Wembley.

What lighting control system is used and why?

When we started work on this, it became clear that, while Wembley knew what they wanted, they were open to suggestions as to the best way to achieve the control goals. We worked closely with the project team to design and then implement a fully diverse and redundant system for both day-to-day control and entertainment control.

The heart is a Stadium FX Apollo system, which controls a pair of Pharos LPC controllers and a pair of

Cueserver Pros, as well as integrating seamlessly with the Stadium BMS system. We also supplied a full Luminex Gigacore fibre network and a Stadium FX Guest Input Box to facilitate instant control of all elements by incoming productions.

Is the lighting control used for the iconic Wembley arch, too?

A year or so after commissioning, Wembley asked us to take over control of the orphaned Wembley Arch control. As it’s driven from a Pharos LPC, too, it was a straightforward task to add it into the Apollo system. What was also scoped was that it should also be available via the Guest Input Box.

What creative capabilities does the Musco Lighting system provide for the venue?

There are many scenes and effects programmed in at all times for each element of the lighting system that can be called on at any time, but the

most used part is the guest input box, which has allowed many productions, from The FA to Ed Sheeran, to have complete creative control of the entire system.

How does the system improve the fan experience and atmosphere on game days?

Fan engagement and entertainment has been a key new growth area in the past few years. Wembley have been ahead of the curve with this system and we’ve been proud to be involved with many events there, helping event owners maximise the possibilities. From a simple lighting dimmed state for a minutes silence to the full system being utilised throughout concerts, it’s impossible not to notice the impact this system has in improving the atmosphere and experience.

How is the system used as part of concerts, shows and other events?

With the Guest Input Box, we provide an instant, safe, connection from the incoming show to the Wembley

system. It allows them to merge their signal into the stadiums for control of these elements. The artist’s lighting director then ‘clones’ colour and effect information from their show to specific lights in the Wembley system. When the stage goes blue, so does the arch and back of bowl. When the stage flashes white, they can now have the entire stadium floodlights flash in sync! Also, the BMS integration of the system, while not as exciting as the entertainment side, is equally important to Wembley. They needed to keep an existing user interface and functionality, including their scheduling system, as so many staff would have needed retraining if we came in with something completely new. We worked with their BMS team, More Solutions, to provide a fully bi-directional network message system that not only met, but exceeded the brief. This was also expanded to include the Arch when that came online for us.

What has the feedback been like from Wembley Stadium since the installation of the lighting system?

Universally superb, with many discussions about what we can assist with elsewhere, and plans for future improvements and expansion.

LIGHTING Q&A:

MERVYN NOCK, EVENT TECHNICAL MANAGER, WEMBLEY STADIUM

Was there a particular brief in terms of what you wanted for the new audio system?

The brief was very simple - ensure the person sitting on row one of level one had the same audio experience as the person sitting on row 48 of level five.

It had to be a system that any production team would be happy to use and that they could easily patch their touring system into. Essentially, we wanted to offer our clients a state-of-the-art system that they would never consider not using.

What was the brief for the lighting system at Wembley Stadium?

To develop a new, modern lighting system that put Wembley at the forefront of stadia across the world. It also had to be sustainable.

The field of play lighting was replaced with the latest technology. The LED system means we have lights with a long fixture life, which operate with reduced power consumption. The audience lighting and RGBW ‘back of bowl’ effect lighting has also been replaced with LED fixtures.

Does the system have a big impact on the atmosphere for matches, concerts and events?

The nature of LED lighting being instant on, instant off has made a big impact on evening sporting events and concerts. The lighting can now be used as part of the show, flashing and chasing in time with the music via remote production interface.

Did Musco Lighting deliver what you wanted from the lighting system?

Yes, Musco Lighting delivered exactly what we needed from the lighting system and we continue to engage with them for any future lighting upgrades.

What made Wembley choose Musco Lighting?

Musco Lighting has good experience of stadia lighting with numerous installs around the UK. They also had good recommendations from other venues, so they seemed to be the obvious choice.

Experience Matters

Whether it’s an iconic venue like Wembley Stadium, training academy grounds, or a grassroots pitch, Musco’s sports lighting systems continue to be the solution of choice around the world. Our superior project management expertise, light control technology, system reliability and warranty, and special e ects capabilities create unforgettable experiences for players and fans alike.

SC AN HERE t o learn more about the Wembley S tadium projec t or visit promo.musc o .com/mondo2023

LG E lectronics

Fans of UEFA Euro 2020 in London were the first to experience LG Electronics’ LED High Brightness digital signage installed in time for the eagerly awaited games. Visible above the main entrance of Wembley Stadium connected by EE, one of the most iconic sporting and entertainment venues in the world, LG’s advanced digital signage was the stadium’s most significant upgrade in decades as it welcomed sports fans back as a host of key matches and the FA Community Shield, the traditional curtain-raiser to the English football season.

Stuart Reay, European LED Solution Architect, LG Electronics said: “As part of this new facelift to the stadium, the FA are replacing all the access routes at the front. So, this gave them opportunity to increase the digital signage and add in some wayfinding and some LED screens, but, as well as that, they’re looking to replace an existing LED screen that was used for information on the front of the stadium.”

The new signage at Wembley includes a 424.5 square metre LED façade erected at the venue’s Great Hall and two accompanying 207.9 square meter units flanking the larger LED. LG’s LED High Brightness are ideal for announcements – whether they be in the form of video, image or text – through the day and night. The system boasts a structure and cabinet design that still allows people inside the Great Hall to enjoy the vista outside, even when content is being displayed. Moreover, due to their size, brightness and picture quality, LG’s

digital signage provide venues such as Wembley with an effective as well as attention-grabbing means of communicating with guests as well as the general public. Other outdoor LED signage solutions to debut this sports season at Wembley include LG’s signage with various formats and different types as well as one indoor LED signage. Strategically positioned on the parapet, letterbox, gantry, and within two of the lift shafts, LG’s solutions will not only provide information and entertainment but seating directions as well.

Scott Maitland, Systems Integrator, SSUK explained further: “We had to design a product that didn’t stop light coming into the building. A lot of people using it during the day within atrium areas and banqueting halls. We couldn’t block the light, so we had to provide a product that looked aesthetically pleasing internally, but equally externally in the LED element. We had to design it in such a way that we could see it from 20 metres and see from 120 metres without interfering with the quality.”

LG’s advanced signage solutions are ideal for showing live footage, replays, announcements and more, expanding and adding value to the spectator’s overall entertainment experience. By leveraging its expertise in display technology and know-how in providing versatile solutions suitable for a wide range of sectors, LG is strengthening its status as a key player in the commercial signage sector.

Nigel Roberts, ID Sales Director, LG Electronics added: “It feels great to have our products here. Innovation

is the heartbeat of LG - it’s within our DNA, so to get the chance to have our products in a stadium like this is great.”

Paik Ki-mun, Senior Vice President and Head of the Information Display Business Unit of LG Electronics Business Solutions Company furthered:“It’s an honour to have our LED High Brightness greet visitors to London’s Wembley Stadium. By showcasing our solutions at international landmarks, we’re able to demonstrate the advantages of our advanced LED technology to a global audience.”

“Wembley Stadium is an iconic venue which plays host to some of the world’s biggest sporting events and entertainment acts,” said Liam Boylan, Wembley Stadium Director. “We’re always looking to improve the audience experience and that’s why we’re excited to add LG’s LED High Brightness signage to our facility.”

VIDEO Q&A:

CHRIS FREEMAN, IT DIGITAL DISPLAY MANAGER, WEMBLEY STADIUM

Was there a brief in terms of what you wanted on the visual side, both inside and outside the stadium?

The brief was to expand and extend the fan experience for all of our guests visiting Wembley. So that could be guests having a tour of the stadium, watching England play, or witnessing their favourite music act perform. We needed assets that would enhance the experience regardless of which event you came to see. The correct solution also needed to be world class, low latency, dynamic, centrally controlled, and resilient.

How does the system improve the fan experience and atmosphere on game days?

Each event is different and our solution allows us to provide unique and relevant information associated with that bespoke event. The flexibility of zoning of content shown on single screens or groups of screens allows us to engage with fans more effectively. We can tailor important stadium messages to specific areas or we can even alter the way the whole stadium is configured to show content with just a click of a button.

Has LG delivered what was needed in terms of visuals and digital signage?

Yes, most definitely. We have everything from 32-inch screens for food and beverage menus, to our 840 sq metre LED façade at the front of the stadium. With every other sized screen in between. We also have multiple, bespoke shaped screens. LG have met all our requirements and delivered a best in class service, too.

What has the feedback been like from fans / visitors on matchdays and concerts?

The feedback has been very positive. The system now allows us to share social media posts instantly on the TVs across the concourses as people leave. So, immediate, real-time feedback. Last year, we also had the whole of Wembley Way singing Ed Sheeran songs as we displayed the song lyrics on the large external screen as they left.

Directional signage has also massively helped provide fans with updated information about any delays in transport. We are able to offer alternative ways to leave, easing their journey safely back home.

What made Wembley choose LG?

We are always looking to improve our customer experience and LG’s digital signage provided us with an effective solution to doing this. It is also a wellknown and respected brand in the digital market.

More than a match.

A great lineup of sound reinforcement technology. A customized look. The renowned d&b Workflow. All this and world-class support from start to finish. d&b Stadium solutions are designed so that everyone wins. (We like to play fair.)

Discover more: dbaudio.com/sports-venues

The art of creative engineering.