UFC 306: Noche at Sphere - Immersive Sound System Promises New World of Audio

UFC 306: Noche at Sphere - Immersive Sound System Promises New World of Audio Massive system has an aural granularity in which even spoken syllables are processed individually By Dan Daley, Audio Editor

Monday, October 7, 2024 - 1:04 pm

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The synergy of sports and entertainment is well on its way to becoming a singularity. With lavaliere microphones regularly worn by MLB outfielders, it might not be a stretch to see a left fielder strap on a Fender Stratocaster.

Less absurd, though, is how Sphere, the year-old futuristic event venue in Las Vegas, seems poised to become a sports stadium. Noche UFC (UFC 306 PPV) at Sphere - Suga Sean O'Malley vs. Merab The Machine Dvalishvili - held there on Sept. 14 and broadcast on ESPN sets the stage for that. The first sports event from the Madison Square Garden-owned, 18,600-seat spherical building off the Las Vegas Strip went out over multiple distribution channels: ESPN+ PPV (English and Spanish), with prelims available on ESPN+, ESPNEWS, ESPN Deportes, and SiriusXM Fight Nation 156.

How the UFC event came to be there reflects the ongoing integration of sports and entertainment. After attending a show during U2's 2023-24 residency at the venue, UFC President/CEO Dana White decided that he wanted to host an event there. That resulted in the mixed-martial-arts company's biggest production to date.

UFC 306: Noche was the first sports event at Las Vegas's Sphere.

The event's production credits also suggest that burgeoning synergy. Silent House Group, brought in to produce the in-venue show, was fresh off Taylor Swift's The Eras Tour. Audio Supervisor Michael Abbott, who has a four-decades-long association with the sound for the Grammy Awards telecast, was hired by Silent House to manage the 64-channel-audio playback of a series of purpose-produced 90-second video segments created to define the narrative around the marquee bout.

Complex Signal Path This audio was fed via MADI into Sphere's Holoplot sound system and to a pair of Lawo Powercores and into the Lawo router. The Lawo console used for front-of-house sound bused the audio tracks into the arrays of Sphere's Holoplot sound system, itself a technical beast. The world's largest concert-grade audio system, it consists of approximately 1,600 permanently installed and 300 movable Holoplot X1 matrix-array loudspeaker modules and comprises a total of 167,000 individually amplified speaker drivers. The system's 3D audio-beamforming and wavefield-synthesis technology delivers immersive sound and effects that can be highly localized throughout an entire audience area.

Not surprisingly for this first-of-its-type production, Abbott found that the audio strategy had to be built from the ground up. The project had multiple deliverables, he recalls. There was the broadcast that needed a stereo mix of the film content for the broadcast, a stereo downmix of that content, and an M&E [music & effects] stem without dialog for the international feed; and they added three languages - French, Spanish, and Portuguese - onto voiceovers of the [videos]. Then there was the added content for the world[-feed] transitions out of the interstitial films back into live, both for the broadcast and for the space, with a sound-design bed that would play out to transition into the fight sequence.

The Code In fact, the venue and the broadcast shared audio elements while producing completely separate shows (DJs in the house, sports announcers on-air) with shared music and effects (from both open mics and prerecords) across them, and audio mix had to follow direction from both the live and broadcast productions.

The way to manage that, says Abbott, who also supervised the audio for the NHL Draft held at Sphere in late June, was with SMPTE timecode. The emphasis on timecode-driven content, both audio and video, is growing and growing. It's the best way to manage a lot of content live.

The next element to be addressed was how the films' director, Glenn Weiss, and Fight Director Anthony Giordano managed the transitions out of the film/world-feed clips into the fighter-combo packages played out in the media plane. The videos of the fighter-combo packages had four EVS playout video channels sequenced into PiP Audio boxes on Sphere's 160,000-sq.-ft. LED media plane surrounding the audience. Both the audio and the multiple video clips had to be synchronized for these sequences.

The core audio for the fighter-combo packages from the EVS replay deck comprised eight key channels. Channels 1 and 2 would be the stereo for broadcast, 3 and 4 the international M&E tracks, 5 and 6 the M&E tracks for the live sound in the bowl, 7 the main dialog track, and 8 reserved for timecode.

Every triggered event was assigned a specific timecode address for the EVS fighter-combo package playout. Some actions shared an address; for instance, one triggered the music for two walk-ons as well as all the lighting cues and PixMob LED bracelets, like the ones Silent House deployed for Taylor Swift concerts.

The Venue as a Member of the Team Though kind of an arena on steroids, Sphere itself is its own technology proposition. What would also be the UFC's first show on ESPN broadcast in 1080p relied on UFC's typical truck, NEP NCP7 A and B units, the night before the fight as well as NEP EN3 A and B and Denali Summit A and B for production of the fight itself.

Abbott says that, over the past year, much of the time he has worked in the venue on various projects has been spent understanding just how different Sphere is as a production venue. For instance, achieving a high level of speech intelligibility - critical for noisy sports events - is no simple task when the number of transducers reaches national-debt level.

That's why we ended

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