An Engineering Perspective on the Preparation and Implementation of Andrea Bocelli’s Concert in Samarkand

System design to L-Acoustics and DiGiCo standards

The sound reinforcement system was designed by system engineer Alessandro Cestaro in collaboration with Andrea Bocelli’s FOH engineer Davide Lombardi.
The entire setup was built on L-Acoustics and DiGiCo equipment—benchmark solutions for international tours and classical productions. Based on a pre-modeled acoustic design and the project’s technical requirements, all equipment was supplied and deployed by the Uzbek company YASTREB-Sound. Importantly, the presence of certified local specialists (L-Acoustics Certified Rental Agent status) demonstrates that world-class projects can be delivered entirely with regional resources.

Electroacoustic modeling and system configuration

System design began well before the production team arrived on site. A full 3D electroacoustic model was developed in L-Acoustics Soundvision, enabling accurate simulation of sound propagation and optimal placement of line arrays, subwoofers, and delay towers. Additional architectural considerations of the UNESCO site were integrated into Vectorworks.

The final system was built around a classical distributed configuration, carefully adapted to the long and multi-zonal layout of Registan Square. The main arrays were composed of L-Acoustics K1 modules with K2 downfills, providing both the required coverage and throw across the central audience area. Low-frequency extension was delivered by KS28 subwoofers, ensuring powerful and controlled bass support.

To maintain uniform sound pressure across the more distant audience zones, delay towers were deployed with L2D systems reinforced by KS21 subs. The frontfill section relied on Kara II loudspeakers paired with SB21 subs to cover the near-stage area, while infill was provided by A15 arrays. Coverage of the side sectors was handled by X15 coaxial systems, maintaining tonal consistency throughout the venue.

On stage, performers relied on X8 and 5XT coaxial monitors, giving them accurate reference and control during the performance.

Signal distribution was handled via AES protocol for guaranteed digital transmission. Delay systems were synchronized through AVB with analog backup, ensuring redundancy and uninterrupted performance.
System installation required four days, with final tuning carried out at night in the two days leading up to the concert. During rehearsals, engineers performed daily refinements using Network Manager (M1), P1, and Smaart. “We did a lot of checking, but on the concert day everything ran flawlessly,” noted Eduard Asadov, system engineer at YASTREB-Sound.

Mixing system and processing

FOH engineer Davide Lombardi, who regularly works with Andrea Bocelli on international tours, mixed the concert on a DiGiCo Quantum 338 console.

Lombardi highlighted the neutrality of the L-Acoustics system even under high SPL conditions: “Most systems behave differently at different levels, but L-Acoustics remains consistent.”

For reverb processing, a Fourier Audio system was employed, allowing a natural sense of space to be recreated in the open-air setting without natural reflections. According to Lombardi: “The reverb seamlessly blended with the mix, uniting voice, choir, and orchestra into a single acoustic canvas.”

Microphones and input channels

The orchestra and choir were captured with Schoeps MK4/MK21 and DPA 4061/4099 microphones, totaling more than 120 input channels.

 The main challenge lay in preserving clarity in the midrange, where the energy of the orchestra, choir, and solo voice converge. “Even a 1 dB adjustment in this area can radically change the perception,” Lombardi explained.

Particular attention was also paid to low frequencies: “It’s important to preserve warmth without overloading the mix. The process starts with system design and EQ, followed by mic placement, further equalization, and finally the balance itself. It’s one continuous workflow.”

Regional impact

The concert was not only a remarkable artistic event but also a demonstration of Uzbekistan’s technical capacity. YASTREB-Sound delivered a world-class project entirely with local resources—from equipment inventory to a highly qualified engineering team.

For Central Asia, this represents a milestone: the region now has the professional infrastructure to meet international production standards for events of the highest level.

Sound reinforcement system list

Main system:
16 × L-Acoustics K1
8 × L-Acoustics K2
16 × L-Acoustics KS28

Infill:
4 × L-Acoustics A15 Focus

Frontfill:
7 × L-Acoustics Kara II
6 × L-Acoustics SB21

Outfill:
4 × L-Acoustics X15

Delay system:
2 × L2D
4 × KS21

Mixing system:
DiGiCo Quantum 338 (FOH)
DiGiCo Quantum 338 (MON)