Eurovision Song Contest 2022 – Audio

Thanks to last year’s victory of Måneskin, the Eurovision Song Contest 2022 was hosted by Italy, that chose as its venue the Pala Alpitour in the city of Turin, that was inaugurated in 2005 and known in the past as Pala Isozaki, named after the architect who designed it.

In all these months there was very little information available, but the expectations were great and also for this reason we strongly wanted to attend the show and see with our own eyes every technical aspect and tell you about it, even if, in a literally “armored” venue, it turned out to be anything but simple.

We spent a whole day inside the arena, collecting important testimonies mostly from technicians related to the audio world, not least because – at the time of publication – we have not received any comments and answers from the lighting compartment… Never say never, if someone would like to get in touch with us, we are available for a second article!


The event was organized by EBU (European Broadcast Union) and produced in its entirety by RAI (with EBU as co-producer), which used – for some technical areas and special tasks – external personnel and companies that moreover boast an enviable track record worldwide.
The materials and partner companies, as always, were chosen and decided on the basis of public tenders that saw the participation of many big international players, and many of them were Italian.
Among others – don’t blame us if we forget some – companys like Agorà, which basically took care of all the “live” parts at the venue, ArtechFX for the spectacular FX and Pyro, K-array, Calvini Light Equipment Service, Claypaky, Zalight, Event Management, STS and all the other companies that also contributed to the success of the show.

In the first instance, we had the opportunity to exchange a few words with Mauro Severoni, RAI audio coordinator, who briefly tells us about the confrontation with the delegations and the various roles of the RAI personnel involved.

LightSoundJournal: Welcome back Mauro, can you give us your feedback on the work done by RAI for this immense production?

Mauro Severoni: The RAI team, with Mauro Negro, Emanuele Moscardi, Silvano D’Alessandro and Luigi Acciarri in Music Broadcast Direction, with the matrix management by Alessandro Pistoni and technical control in the Arena by Alessandro Amendolara, worked to structure the system, as a whole and specifically the three direction positions, with the goal of redundancy and safety but with the need to always achieve the highest quality of music on air, also through the invaluable help of our Music Consultant Sandra Vanni.

LightSoundJournal: Can you summarize the production workflow for us?

Mauro Severoni: Our work began in Rome with the collection of technical information provided by the various delegations, regarding effects, processors, and the type of sound to be obtained. Also in Rome, we set up the three complete director positions, to test the whole system and to start jotting down the first memories. When we arrived for the set up in Turin, it was sufficient to interface with the patch room to be ready for a unique experience.


Before giving way to the technical interviews, we want to make a couple of statements about the show, which we saw both live and on TV.
Eurovision Song Contest 2022 was a success across the board, including the excellent stage organization that we were able to verify and appreciate live in Friday’s semifinal.

In the venue, the audio was perfect – considering the difficult coexistence of the live show and live TV – with even more pressure than other broadcasts seen in the past.
The visuals were elegant, varied, programmed to perfection and with effective and well-integrated video and lighting interaction.

The set and stage design was also elegant, with a nice touch given by the continuous waterfall that lapped the edge of the stage almost as if to recall the role of the coasts and the sea in the beautiful Italian country. For what we saw on TV, apart from some very tight and perhaps “forced” shots dictated by the type of show, the photography was impeccable, also according to a great part of many insiders.

The difference – besides the top-level definition – was made by skillful contrast and “warmth”, that restored the sense of depth that is often lacking on television. On stage then it was a true rock and roll show, engaging and spectacular. Notable, for example, were the beams in the stands and the varied and powerful FX.


In Turin, some technical solutions were adopted for this edition that had never been seen before and that allowed delegations and singers to rehearse, soundcheck and line check with speed and safety at a very high level.
Safety,” that’s another key word since the whole audio project – supervised by RAI’s Mauro Severoni and operationalized by external consultants Daniele Tramontani and Luca Giaroli with Luca Morson coordinating the Agora team – included no “single point of failure,” which means that whatever happened in a machine or a signal section would still not affect the audio stream, a step above the concept of “redundancy” in which we often speak in our pages.

The all-Italian ingenuity, however, was also applied in the organizational and logistical phase in what we jokingly renamed with Daniele Tramontani as the ““Via Crucis” (Way of the Cross), a path defined with colors and directions that served singers and delegations before arriving on stage, so they could put on stage clothes and microphones, check the latter, perform and then again pick up microphones and arrive in a room dedicated to listening to the performance that had just ended.

One of the “Via Crucis” stages

All arranged with personal microphone capsules for the singers that were sanitized each time, a software system with photo and a badge of the singer and any other expediency to simplify operations and timing for the participants. This procedure received recognition and appreciation from all the competing nations!

LightSoundJournal: Daniele, please explain your role precisely.

Daniele Tramontani: Like other colleagues here today, I was hired by RAI as an external consultant and together with Luca Giaroli and Mauro Severoni, we took care of the audio project. So my work as system designer is just one aspect of the whole project and in some ways it is not even the most complicated part. Let’s see the classic signal flow so we can start to understand what’s going on at the level of microphone channels, relays, and more.

Daniele Tramontani: All incoming channels basically arrive at the wireless microphone rack, placed in the monitor control room, which picks up all the signals and sends them back to a Radial passive splitter that has the job to duplicate exactly all the signals, so that we get two mirrored and identical “worlds,” which we can identify for simplicity as A and B and which will remain duplicated until the end.
From this point on, the analog signals will go to those departments that indeed need the signals in analog, while for everything in the digital domain and for us from the “live” part all signals are converted with two DiGiCo converters, again dual and identical.
At this point, two Optocore loops go to “ring” the two SD7 Quantum monitor consoles, the two SD7 Quantum FoH consoles, and two more DiGiCo Q225 consoles placed in the room under for the final check (IEM and Mic check) the moment before the performers enter the stage.
Finally, there is a seventh console, DiGiCo SD7 Quantum, untethered from the Optocore ring but connected via network to the stage consoles.
This was a key position where Alessio Comuzzi did the actual sound checks of the bands and then sent the saved files to the “twin” consoles located in the monitor control room.

Still talking about the Optocore ring, in order to then allow the consoles to reach the converters of the others, four Purple Boxes were provided to allow the cross-swap of the racks, to and from the other consoles; the two stage consoles, given the proximity to the “main rack” dialogue directly via MADI…
In addition to all this, and we already have a very good level of security, there is the so-called “patch rack” which raises the level of guard and security even further and is manned by Luca Giaroli and about which he himself will shortly tell in more detail….

LightSoundJournal: Let’s try to continue and conclude our “signal tour,” which this time seems a bit more articulate….

Daniele Tramontani: Well, out of the famous patch rack comes a huge set of MADI signals (I think at least about twenty) to the OBVans in the outside forecourt of RAI and NEP that do the mixing and airing. Specifically, RAI does the music mix and then sends it back to NEP which takes this mix and adds a number of contributions to it, including commentary and applause, with a beautiful job done by Simone Bocchino via filming with a 3D microphone head (interview to follow).
Finally the finished package is routed to the various broadcasters who in turn add their own contributions and the voices of their language commentators, but at this point our work is already distant and the result depends only on them…

LightSoundJournal: Let’s finally get to what is historically your main craft. Let’s talk about the sound system.

Daniele Tramontani: First rule, don’t bother the broadcasting. If there were an average of 5,000 people at the Pala Alpitour, at home, connected from various countries, we are talking about tens of millions of listeners. To tell the truth, thanks to what I think was a great job of mine along with that of all the sound engineers and technicians, we were able to maintain a powerful and engaging sound even for the live part, without ever bothering the broadcast sound engineers.
The system in fact is nothing different from what we usually do. The tender for the supply was won by Agora, which supplied L-Acoustics (among the brands listed as preferred by EBU), a system we are all very familiar with.
Let’s start with the stage, we have 12 L-Acoustics X12 coaxials in the tip + 4 in the forward stage as monitors, plus 75 X5, also L-Acoustics, embedded of the green zone tables, where there are delegations and guests.
We then move on to the system called “main,” which is a mixed system of L-Acoustics between K2 Kara, Kara II and SB28 for a total of 42 clusters that are all strictly hung, including subs, this is to keep the framing and the stage as clean as possible. Specifically, there were 22 clusters placed above the audience, 4 side monitors and 16 sub blocks distributed as follows: 4+4 Tribune Up, 4+4 Tribune Down, 2 Tribune Front, 2 Green Room, 2 Audience parterre side, 1+1 cluster Main Stage Side Monitor and 1+1 cluster on the Secondary Stage Side Monitor, and finally 3+3+3+2+2 clusters of hanging subs.

There is nothing particularly complicated here, but the only interesting note is that there is an additional Optocore ring dedicated exclusively to carrying signals to the L-Acoustics power amplifiers (about 110 LA12X amplifiers divided into five blocks distributed on the catwalks above the audience).
There are then five conversion nodes for the Optocore and AES/EBU signals on the roof to get to the various carts of amplifiers scattered above the stage. As if that were not enough, we also decided to lay analog copper cables as back-up, since the power amps are able to change the input completely transparently to the audience should they lose the digital input signal.
I want to point out that for security reasons during the shows we can only access a few areas of the roof and cannot in any way get to the power amps.

Back after our tour of the monitor control room, we meet Luca Giaroli – Signal Distribution Design and Manager – who created the project together with Danilo and Mauro Severoni, with a focus on redundancy and security. The big news is the automation of redundancy…

LightSoundJournal: Hello Luca, follow-up question. What do you do and what position do you hold at Eurovision Song Contest 2022?

Luca Giaroli: I am here by virtue of a RAI consulting contract and I have been in charge of managing the signal distribution project and, together with Daniele Tramontani who plays a role closer to the System Designer, we have, so to speak, designed and implemented the audio project, under the supervision of Mauro Severoni (RAI) who is our main contact person.
The first thing I would like to say, and which should make us all proud, is that we managed to create a design that also includes the first level of fully automated redundancy.
When RAI got the design specifications from EBU actually asked us to have maximum redundancy, the project leaders immediately thought of raising the bar even higher and creating an even more secure and high-performance design.
We have a design that has no “unique point of failure,” meaning there is no point and no device that can interrupt the audio flow of airing, monitoring and room broadcasting. This means that it is not enough to have “two of everything,” but you also have to have the signals that self-record the moment there is a failure somewhere in the chain.
I can assure you that in testing we have simulated a number of unbelievable “mishaps” resulting in nothing but perfect system operation every time.

LightSoundJournal: Next we have one of the most important racks in the system, which in fact is well protected and manned…

Luca Giaroli: Normally we would call it the “patch room”, but in this case it is better to say “patch rack”, since we were able to keep everything more collected. It is crucial because all the signals from the stage, services, downstairs room, RAI contributions, broadcast signals, communication signals from Riedel etc… Among the many tricks we used, for the first time all the incoming and outgoing signals are perfectly synchronous and operate under the same clock. Apparently this might seem to be a risk, given the huge amount of signals and structures involved, but we have again provided at the exchange points for the use of bidirectional sample rate converters that restore within one sample the perfect synchrony of the exchanged signals. So far, and as we always say let’s make all the appropriate averts, through our analysis tools we have verified perfect synchrony in 100 percent of the exchanged samples, thanks to a record number of DirectOut used for ESC, in particular the 14 Prodigy. MPs and the globcon software that ensured all the automatism.

LightSoundJournal:: Final balance?

Luca Giaroli: It was a great adventure, full of satisfactions and among them the pleasure of having had, for the part of my competence, two valiant “right arms”: Marco Galizia and Valerio Motta, whom I thank and publicly congratulate.

Also in the monitor director’s office, we met the radio frequency team, headed by Andrea Tesini, Ivan Omiciulo and Enrico Mambella. Ivan acted as spokesperson, and we asked him a few questions.

LightSoundJournal: Ivan, tell us about your role. We are talking about the radio frequency world right?

Ivan Omiciulo: Correct. The team consists of three people, me, Enrico Tesini who is in charge of the team, and Enrico Mabella. We take care of the radio frequencies related strictly to the live show. Paradoxically, our work was more articulated a few days ago, because basically the one working now is the main location but until a few days ago there was also a second smaller venue located downstairs where the delegations rehearsed and that actually reproduced in all respects the situation of the show.

LightSoundJournal: Equipment?

Ivan Omiciulo: As far as the wireless lavalier microphones we have Axient from Shure, and the IEMs are 2000 series from Sennheiser. Just to give you some numbers in our location alone, we have about 80 channels in receptions and 20 channels in transmissions, so 20 AD4V quad receivers and 12 transmitters.
For the handheld mics we dictated everything in frequency diversity, so each one transmits on two different carriers, whereas the bodypacks are on the single carrier and so that means we are at about 125 total frequencies. That’s as far as we are concerned, in addition to Dino Tedesco’s station at RAI, which coordinates the whole radio frequency division, with applications in many other areas and situations and which is under the control of precisely RAI. As far as I understand it, in general, we are at about 300 channels….
As if that were not enough, outside, in the OB Van and airing area, there is also Riedel which is in charge of handling the whole communications world and services and which uses, in turn, many other radio frequencies. So as you can understand, the project is very complex but in our case we just take care of the strictly “live” parts to be understood.


The F.O.H. were all doubled, with two technicians each, plus two others who served to “reinforce” the Agorà crew if needed. Adriano Brocca and Simone Di Pasquale at stage monitoring, Lorenzo Tommasini and Luca Morson for the hall while Alessio Comuzzi with a dedicated SD7 Quantum took care of doing the actual sound checks of the bands and then sending the saved files to the “twin” consoles placed in the monitor control room.
In such a long and tight event, two other sound engineers were also provided for support, Francesco Passeri and Giuseppe Porcelli, and operated as substitutes on some days.

As the sound engineers let us know, if everything worked well, the credit must also be shared with microphone operators, PA assistants, backliners etc. for a list of almost 40 people!

#Agoràcrew. Facebook profile of Luca Morson.

The following interview is with Luca Morson, who coordinated the Agorà team.

LightSoundJournal: Luca, can you tell us about your role and duties for Eurovision?

Luca Morson: Let’s just say that initially I was supposed to be at the mixer in F.O.H. but, given the needs, I adapted very quickly to filling other roles, more “coordinating” than operational. I acted a bit as a point of contact between the technical team of Agorà, RAI and EBU, so that I could combine everyone’s needs and make the various requests collide. Then since I need to touch a few faders, a trip to F.O.H. when I can I gladly do it!

LightSoundJournal: How did you coordinate with the various departments?

Luca Morson: Eurovision is a very complex show because there are 40 artists from 40 delegations rotating on stage, as you noticed during the show, with very tight and sustained rhythms so there are many departments involved in the production of the event.
Obviously there are those who take care of FOH and monitor control, in which case there are two sound engineers in each control room operating on two separate consoles, one main and one spare, but with the ability to share surfaces, as if it were a single console.
Then we have a department that is in charge of radio frequency coordination and monitoring, and another dedicated to ensuring the transport and exchange of signals between all the directorates involved. In addition to these are: two other consoles and then 2 sound engineers dedicated to checking radio microphones and in-ears of the artists before they go on stage, on-stage microphone operators to manage the microphones, and 2 other departments, one that takes care of the placement of bodypacks and headsets on the artists and the other that then retrieves them at the end of the performance and makes them available to the artists who will use them later.

LightSoundJournal: Tell us about the consoles placed downstairs, the ones dedicated to rehearsal.

Luca Morson: Probably the most complex part is that of the rehearsals and in particular that related to the monitoring of the artists. In this case a rehearsal room was created, in which we find a system set up exactly like the stage one with which Alessio Comuzzi defines the headphone listening of each artist. The session is then transferred to Adriano Brocca who loads it on the stage consoles so everyone finds in the main stage their own listening setting. We also took advantage of having the consoles mirrored to divide up the operators’ tasks a bit. In the hall, for example, the backup console is used for speech management, while the main prepares the next performance.

During the day the stage sound engineers were certainly very busy, but in spite of this, we were able to ask Adriana Brocca a few questions, and she told us about the work she did representing the others as well.

LightSoundJournal: Adriana can you tell us about stage directions?

Adriano Brocca: My job, together with Simone Di Pasquale, the colleague who is working alongside me at the other console here in the monitor control room, is to monitor the singers in the competition. You should know, however, that the actual rehearsals were held in the previous days in the room on the second floor, with another SD7 Quantum “set up” in the exact same way as these. It was in that room that Alessio Comuzzi did the bulk of the work, except then to do some “fine tuning” before the shows and so to send the final file to us over the net so that we could upload it for the performances.

LightSoundJournal: Moreover, this process allows bands to do line checks and tuning while there is a performance on stage, something never done before…

Andriano Brocca: Exactly, the other years, to my knowledge, there was only one console and 100 radio mics in iso frequency. This meant that when the console was “busy” you basically couldn’t do anything but let those waiting hear the sound program on stage. We did a real upgrade, and by using multiple consoles and the rotation system, we are able to use 18 radiomics that can work at the same time; therefore, when there is a band on stage two other delegations can do their independent line check and hear their own voices in IEM.

LightSoundJournal: Problems? Setbacks?

Andriano Brocca: The night before the final night there was a change in the lineup, which meant for us to completely change the whole thing and move almost all the inputs and outputs. In fact, we had arranged so that before one delegation there were always two in rehearsal, an A-B-C type pattern. This scheme was blown and so from 2 a.m. until the next morning we had to reprogram all the consoles and move every scene. Fortunately, the DiGiCo consoles are very versatile and powerful, and we were able to bring this job home as well….

We then met Lorenzo Tommasini, who was in charge of the music mix for the venue. Lorenzo tell us about the F.O.H. and your specific work…

Lorenzo Tommasini: The work done at the Eurovision Song Contest is slightly different from what is the “normal” work of the hall sound engineer. Here what is important is the broadcast and we have to do our job (also together with Tramontani who is in charge of the P.A.) basically without bothering the TV set up. This means trying to keep the volumes down in the venue even though to tell the truth we have been pushing quite a bit this round.

LightSoundJournal: the audio was powerful and engaging, I honestly found no difference from live shows without live TV. You tell us, who got your hands on the stand, if there was any difference?

Lorenzo Tommasini: only on the presenters’ speaking voices, in which case I had to be very careful not to create problems with the volume of the PA, otherwise I think it was actually engaging audio.

LightSoundJournal: the bases were pre-recorded on steams even though all and if the voices, by regulation, sang live and without any autotune. How did you approach the mix?

Lorenzo Tommasini: may seem like a simple job, in reality it can be more complicated than having the whole band live. We had 24 steams created in the studio and especially with arrangements that were certainly not designed to play in a live setting. We did some optimization work first on the tracks-as much as we could do-and then at the mix stage, trying to make room among the sounds just for the vocals, which were six and obviously had to feel good.

LightSoundJournal: what effects did you use?

Lorenzo Tommasini: we had both DiGigrid and UAD available with all the appropriate plug-ins. Actually the real difference was made by the dynamics of the SD7 in Qauntum version, which are very musical and effective, especially the multiband.
In the course of rehearsals I then inserted a few Waves plug-ins for those singers who needed an extra hand, but still a fairly standard signal chain

LightSoundJournal: You are also in dual console configuration, how did you divide the work?

Lorenzo Tommasini: I took care of the music part while the other sound engineers, who were in turn Luca Morson or Francesco Passeri, did the openings of the collars and the spoken word.
It’s a configuration we’ve been experimenting with for some time in which the two consoles each go with an “engine” and are completely mirrored, so that all the sound engineers always have everything in hand, as if we had, in fact, one big console.
That way you have complete reliability and redundancy but you can operate together on the surfaces without bothering each other since the DiGiCo layers and bays are independent.

We close this lengthy report with Simone Bocchino, host broadcast mix manager.

LightSoundJournal:Welcome back Simone, what was your role at ESC2022?

Simone Bocchino: I was in charge of the host broadcast part of the mix, which is that mix that those who produce the event-in this case EBU and RAI-deliver to all those who hold the rights to it so that they can then air it in their country on TV, digital platforms and radio. I was contacted by NEP Italy in January and from there I coordinated with them, RAI, EBU and Agora for the technical and practical needs of everything that was needed, from receiving and sending all the signals, to the needs and technical material that NEP had to field on the two OBvans for the production of this big event. Along with me for the broadcast part was my colleague Alesssandro Sdrigotti, with whom I shared experience at the previous Beijing Olympics.

LightSoundJournal: were you asked for anything in particular, did you get any guidance from EBU or production?

Simone Bocchino: having to deliver our program to the whole world, it was necessary to comply with all the guidelines with respect to loudness regulations, i.e., delivery at -23 db of lufs +/- 1 db and keeping as much as possible a fair consistency on the 5.1 mix and stereo mix for the technical part. Instead, for what concerned the artistic part, it was essential to have great involvement of the arena audience in the mix.

LightSoundJournal: Let’s talk a little bit about the mix and how you set up at the console. How did you “package” it up and then send it to the appropriate people?

Simone Bocchino: Alessandro and I, after several calls, arrived very prepared and with clear ideas on how to bring the whole production home. We had a 64-fader Lawo mc56 with 40 Madi input and output and many DSP cards that gave the possibility of splitting signals for different program needs. We were an integral part through Luca Giaroli’s audio patch, of the whole RAI system for music mixing and Agora’s Optocore rings, plus we were connected with other Madi to the t.o.c. that received and sent signals to the whole world and always through them we had the possibility to enter the Riedel ring to be able to distribute signals and intercoms throughout the village built for the Eurovision Song Contest. This is to tell you that whatever we wanted to receive or send we could do it from the comfort of our Lawo mixer.

As previously mentioned we had two OB vans (main and backup), where all the Audio Engine was identical both from a material and mixing point of view. This allowed us to be completely redundant, and to be able to work on a single surface, saving work on the backup OB van three times a day.
The native production mix was in 5.1, and internally at Lawo we calibrated the stereo downmix, with small adjustments for what concerned the balance in the downmix of the sources. A native 5.1 production forces you to have a large amount of channels and often the same sources to be compatible, even replicated with a different output routine. We had over 240 input channels and 96 output buses divided into sums, groups, and auxes, and to make sure we didn’t miss anything we also had a few direct outs sent out on intercoms and whatnot.
All the sources went through buses so that we could put everything into timing, and then go into program sum. Even, we had to create a bus to be able to send some musical cues to zero time where the three hosts would sometimes hint at singing, so we wouldn’t be out of timing then on our final pgm.

The music mix was provided to us on multiple formats always at the same level, for reasons of redundancy, by my former rai colleagues, where by tuning we had to work a lot on the final output level, because of criticalities we found on the averages we were getting at the end of the loudness tests. Let’s say that being a music event our intent in the mix was to give as much headroom as possible to the music, so that we could then work with the rest of the sources in a more capillary way respecting and bringing down the integrated average. This kind of processing helps listeners at home to not have to be constantly with the remote control in hand to adjust the output volume.

The timing of the production, that is, the sync between image and lip sync, was derived from one of the 36 ambient microphones we had in the arena, in addition to the two dpa 5.1 microphones. Once we measured with smaart 8 the pulse of the farthest microphone we asked to postpone the image to the audio by 4 frames, something that rarely happens in Italy for productions, but by doing so we had in addition to the sync on the lip sync also all the ambient spot microphones in sync with the sound system that sounded the whole arena. This allowed us to be able to serenely mix the ambient spot microphones with all the sources we had available, from the hosts’ microphones to the RAI music recording, without having any kind of alteration on the sum, both in phase and obviously in frequency response.
As for the finals with voting from all the participating states in satellite connection, we were receiving and sending through Madi with t.o.c. the signals, giving them a single n-1 signal for interaction with our hosts.

LightSoundJournal: We know that you used an effective 3D microphone camera system to add the applause and environments. Can you tell us more specifically?

Simone Bocchino: The mix was 5.1 native, with two dpa mics making it up, one main, one backup, aligned in terms of timing. Then the 26 spot mics on poles scattered around the arena would come into play, where there was a lot of positioning and alignment work, since I was very much looking for impact and not the total ambience that was built by the dpa instead. The 26 spot microphones, called spots precisely because they made portions of the audience, covered all the space outside the green room, i.e., first and second rings of the arena, many placed on poles at a distance of less than 5 meters with the audience and others for the 2 ring hanging from the arena walkways. At all points, the configuration used was stereo or l-r or x-y, so that consistency could be maintained should the cameras frame that area.
In addition to these, each radio-camera shoulder, steady and techno-train had its own microphone, so 10 others, but these were named as special cams, transiting through another very compressed bus and metered by a dca only in talk moments, in audio follow with the video mixer, as having only lip timing and not fixed positioning in the arena, should they be opened in musical moments I would have altered the signal I was getting from RAI, because not in step.
I will not hide from you that having had the possibility of all these sources of effects, we tried to simulate with reaper a mix in 5.1.4 immersive binaural, getting very good ratings, maybe for the next Eurovision Song Contest.

I would add that the success of a big event like this lies yes in the professionalism of all the people involved, but above all in the great synergy and union that was created between us at NEP Italia, RAI and Agora’, great cohesive team, ready to solve and collaborate for a magnificent success of theEurovision. Let me also publicly thank my colleagues Alessandro Sdrigotti, Marco Cordazzo, Davide Bosio, Lucio Pasquino and Ivan Bau.

With Simone our round of interviews for the mammoth work for ESC2022 comes to an end, and for that a due and heartfelt thank you we also give to those who supported us and put up with us, but we feel it is important to give due credit to the work of the technicians and it is incumbent on someone to continue to do so…

It doesn’t end there though, because you can read another article dedicated to the world of communications/intercoms managed by Riedel at the following  link.

Aldo Chiappini &
for LightSoundJournal
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