EMEA - Production Resource Group (PRG) and VER have completed their merger in Europe and the Middle East, becoming the largest entertainment and equipment and services provider.
The entities will be controlled by The Jordan Company, GSO Capital Partners and PRG Management.Jere Harris will serve as chairman and CEO of PRG and VER, and Stephan Paridaen will be president and COO.
Harris comments: “For more than 20 years PRG has been diligent in offering its clients the best production service and equipment in the entertainment industry. Growth across disciplines, markets and geographies has always been a key part of our strategy. Now, our ability to support all types of entertainment productions globally will take on new meaning, raising an already high bar to an unprecedented level.”
According to a statement, combining PRG and VER’s strength will now offer “a complete suite of services for tours, festivals, and events”. PRG can “enhance its long history in television production and expand its work in the film industry as VER brings world-class expertise in the video camera market, lighting, display and a robust suite of cameras”.
VER customers will benefit from PRG’s staging and automation expertise, vast lighting inventory and its position as the exclusive rental house for PRG’s patented proprietary lighting and video products.
“We believe that this approach will bring about innovation, an exciting level of service, and even more transformative collaboration with our partners. It feels historic, not only for PRG and
Music & Politics - Lana Del Rey has hit back at critics defending her decision to perform at Meteor festival in Israel. She tweeted: “I believe music is universal and should be used to bring us together. Performing in Tel Aviv is not a political statement or a commitment to the politics there, just like singing here in California doesn’t mean my views are in alignment [with] my current government’s opinions or sometimes inhuman actions.”
In response, The Palestine Campaign for the Academic and Cultural Boycott of Israel issued a statement urging the singer "to reconsider". The debate about artists performing in Israel is still very politicised. Roger Waters, Lauryn Hill and Elvis Costello have boycotted Israel in recent years. But there are also plenty of artists who have played Tel Aviv, including Justin Bieber, Radiohead, Elton John, Guns N' Roses and Lady Gaga.
Radiohead went ahead with their performance there in 2017. Frontman Thom Yorke argued that "playing in a country isn’t the same as endorsing its government. We don’t endorse Netanyahu any more than Trump, but we still play in America. Music, art and academia is about crossing borders, not building them; about open minds not closed ones, about shared humanity, dialogue and freedom of expression.”
Storm Warning - At least 14 Backstreet Boys fans were injured after a metal structure at an outdoor concert venue collapsed in a storm in the US state of Oklahoma. Staff were evacuating fans when rain and winds of 70-80mph (113-128 km/h) knocked over the concert entrance tr
Australia - Chameleon Touring Systems has re-designed its website as it marks 30 years in business this year.
The new website, www.chameleon-touring.com.au, features a comprehensive inventory list as well as a news section and gallery. Various 30th anniversary celebrations are in the pipeline, according to the company.
Europe - Laser module development company Atenlaser has joined the Laserworld Group at the beginning of August. Barcelona’s Atenlaser will remain based in Spain, but will form a laser specialists team with Munich-based Ray Technologies (RTI), where Laserworld Group’s core product development department for laser systems is located.
Jordi Luque, CEO of Atenlaser, comments: “Atenlaser has many years of experience in developing high precision laser modules with a special focus on optical components. I am very happy about getting the opportunity to join the expert team at RTI and to participate in the future development of their excellent products. It will be very exciting.”
Australia - Central Audio Visual are headquartered in Thebarton, a stone’s throw from Adelaide’s CBD. A family owned and operated AV company, they work in many major venues in SA, and pride themselves on providing the best gear, technicians and customer service to the corporate, events, exhibitions, broadcast, and sporting markets.
Being the in-house AV providers at prestigious venues like Adelaide Oval, Central AV needed lighting control that’s fast, flexible, robust, and reliable, which is why they’ve added a High End Systems Full Boar 4 to their existing Hog 4 inventory.
Central’s in-house lighting tech Benny Sigal is a long-term Hog user, harking back to the days of the Full Boar 3. “The Hog platform is all about the ease of patching,” observes Benny. “It’s really quick and easy to repatch from one show to the next. I love the Hog’s speed and flexibility in repatching a show; jig a few user numbers around, get up and running, and make changes very quickly. ‘The power is in the patching’ is what I’ve always said, and I find some of the other lighting control systems are a bit long-winded when it comes to that task.”
Already running two Road Hogs regularly, the Full Boar 4 has been added to not only handle the bigger gigs but expand Central AV’s offerings to its clients. “We needed something with the capabilities of the Full Boar 4 to expand outputs, and increase our processing power,” explains Benny.
“Central AV are running a lot of LED screens, so the eye-candy and onboard pixel mapping was a big factor
UK - Audio specialists tube uk followed their sense of adventure, love for the unusual and challenging site-specific installations to Cammell Laird Shipyard in Birkenhead, Merseyside, where, working for live event production company Mills Media Creative, they supplied a sound system for the launch of the RRS Sir David Attenborough.
The 128.9m-long vessel which has a 24m beam and a draft of 7m, is owned by the Natural Environment Research Council and will be operated by the British Antarctic Survey (BAS).
It replaces two existing ships and will be engaged in essential research and logistical support for the Survey.
The event at Cammell Laird saw the distinctive red hull (number 1390) launched following an impassioned speech by Sir David Attenborough himself, who focussed on the importance and centrality of the work undertaken by the BAS for the benefit and the long-term survival of our planet.
The RRS Sir David Attenborough’s impressive hull was assembled on a slipway from which it descended and hit the water. The presentation platform from which Sir David gave his speech was set up directly in front of the bow, and close to the left and right of this were two VIP grandstand seating areas
On the starboard side of the bow (stage left) was a larger public area where around 3000 people assembled to share the special moment.
tube’s Melvyn Coote explained, “We were hugely excited to be involved! Apart from the unusual location and the sonic challenges which needed to be overcome, it was the nature and profile of the event and the
South Africa - The team at the University of Johannesburg Arts Centre and DWR Distribution invited students to explore the world of a backstage technician with a lighting design workshop two-day class hosted earlier this year. It was aimed at UJ students who follow subjects other than theatre, with the hope that they would develop a love for the arts and possibly sign up as crew for the many festivals and productions the theatre is involved with.
“The first evening was testing the boundaries of their awareness of the industry,” said Michael Broderick from DWR who presented the course. “I think the students were a bit overwhelmed by the theory and expected to be playing with lights from the outset. To be honest, without the background and without the theory you can’t actually do anything.
“On the second night, they were a lot more prepared and their minds were tuned to listening so we were able to explore some of the practical aspects of lighting. At the close of the second evening the students were far more engaged and it was extremely rewarding to have been able to stimulate some curious minds, the question and answer session was clear proof of this. Overall, it was a good experience for me and I like to think the students would agree it was the same for them.”
The group consisted of a variety of students studying for B-Comm, law and even Civil Engineering. “I was curious as to why they were there to start with, but their interest was explained as it became clearer how their curiosity and exposure to lighting had come about. With some
USA - Platinum recording artists AJR got their start over a decade ago busking covers of hits by Simon and Garfunkel, Imagine Dragons and other artists in Central Park. The freewheeling band got to rekindle those improvisational skills in mid-July at the Orange County New York Fair, when the power suddenly went out during their performance. Not missing a beat, they broke into an acoustic version of their set to keep the crowd entertained.
“Dynamic Productions, the producers of the event, did a great job responding fast and restoring power quickly,” said Jason Blends, the festival’s lighting designer. “But you had to be impressed by AJR’s quick thinking.” Also impressive was the nimbleness and responsiveness of Blend’s lighting rig, which was anchored by 12 Chauvet Professional Maverick MK2 Profiles.
The county fair’s main stage hosted a mix of performers that, in addition to AJR, covered a wide range of artists, from electric pop mavens Big Data, to classic rockers Night Ranger and Vince Neil. Whether used by Blends or one of the visiting LDs, the festival rig supported the varied mix of music with a dizzying array of gobo patterns, colours and beam effects.
“Given the proximity of this fair to New York City, it draws a very diverse crowd that includes urban, rural and suburban fans,” said Blends, owner of Jason Blends Designs. “This was reflected in the mix of entertainment. You always want your rig at a fair or festival to be versatile, because you have so many different artists on stage and various LDs running the lightshow
USA - Adamson Systems Engineering has confirmed Livella Brand Group as the latest U.S. addition to the Adamson Network. Headquartered in Lenexa, KS, Livella is now Adamson’s manufacturer’s representative covering Missouri, Kansas, Nebraska, Iowa, and Southern Illinois.
"Adamson is committed to continuing our strong year-over-year growth in the Americas, and by welcoming Livella Brand Group to the Adamson Network, we’ve further strengthened our U.S. sales force with an elite partner,” says Marc Bertrand, managing director, Americas for Adamson Systems Engineering.
“Adam’s team has a wealth of experience and a strong market position when you combine their individual strengths and their impressive line card,” adds Adamson’s U.S. sales director, Lin Buck. “I’ve been close with Adam Livella and his family for over 20 years and have never been surprised by what he has accomplished. Adam and his team boast a stellar reputation based on trust and an unwavering commitment to their customers, and we are thrilled to enter into a partnership with such a great firm.”
Livella Brand Group currently represents a portfolio of premium brands from the pro audio, lighting, and production industries throughout much of the U.S. Midwest. The company aims to serve reseller partners in a way that fosters mutual growth and development.
“Considering their legacy and unparalleled reputation in the U.S. and international marketplace, we’re extremely proud to begin representing Adamson in our Midwest region,” adds Adam Livella, president of Live
USA - The Howard Hughes Corporation (HHC) recently opened the doors on a new development located in the South Street Seaport district. Pier 17 offers dining, retail and entertainment options along with a large 1.5-acre rooftop concert space that can hold 3,400 for its standing general admission shows, or 2,400 seated, with the Brooklyn Bridge as the stage’s backdrop.
HHC brought in SIA Acoustics to identify and design a system that would deliver pristine audio quality while keeping the sound contained to the listening area. After reviewing multiple products, it was determined that an Eastern Acoustic Works (EAW) Adaptive sound reinforcement system was the only solution. It would not only reduce the amount of audio that would impact the adjacent neighbourhoods – Wall Street to the west and Brooklyn to the east – but also produce sonic clarity beyond expectations.
In turn, SIA Acoustics worked closely with Harrisburg, Pennsylvania-based Anderson Audio and TMG Systems, who teamed up for installation of the system. Left-right Anya arrays were hung in single columns of 12 Anya modules, approximately 35 feet from the ground, along with 24 Otto subwoofers laid out in pairs, to blanket the rooftop.
“In my opinion, there isn’t another system out there that could do this,” adds Chris Anderson, owner of Anderson Audio. “Each Anya enclosure has 22 channels of digital signal processing and amplification driving 22 transducers. Multiply that by 12 modules in each array, and you have the control to really dial it in, so it delivers exactly what is
UK - Theatres Trust Conference 18: Adapt & Thrive will take place on Tuesday 16 October at the Lyric Hammersmith, London, exploring how changing artistic, business and operating models in the theatre sector are impacting on how we build, adapt and run theatres.
Through a mixture of inspiring plenaries and lively breakout sessions, the conference will look at how we can ensure our theatres remain viable in challenging economic times and how we can continue to invest in renewal of our theatre infrastructure.
Joining Michael Ellis MP, Parliamentary Under Secretary of State for Arts, Heritage and Tourism and Cameron Mackintosh, producer and theatre owner will be speakers from Bristol Old Vic, arguably the country’s oldest continuously operating theatre and Manchester’s Factory, probably the newest, discussing how they are adapting to new artistic and business models.
Emma Stenning, chief executive, Bristol Old Vic and Jack Tilbury, director at consultancy Plann will share their experiences of working together to increase the viability and revenue at Bristol Old Vic. John McGrath, CEO & artistic director Manchester International Festival / Factory will talk about creating the UK’s most flexible performance venue at Manchester’s Factory.
They will be joined by an impressive line-up of contributors from the worlds of theatre, architecture and design, politics, local government and the wider cultural sector including: Gavin Barlow, CEO & artistic director, The Albany Deptford; Julien Boast, CEO & creative director, Hall
The Netherlands - BOD Events from Dordrecht wanted to create an impression with the 10th edition of its annual music extravaganza, Breda Live, so they asked production specialist Unlimited Productions (also Breda based) to add an extra level of ‘experience’ to this year’s event, including spectacular lighting for the main stage.
Bert Kelchtermans led the lighting element of the Unlimited Productions team consisting of Bart Roelen as main technical producer and Gijs Mulder as the B-stage producer.
They looked at the diverse line-up and the fact that most of the acts over the two-day event would be playing in daylight and took these facts as two main parameters for the design, for which they specified over 100 Robe moving lights - 40 X MegaPointes, 56 x LEDBeam 150s and eight BMFL WashBeams.
Unlimited Productions has actually been involved in the festival since the first year, and the organisers trust them implicitly to produce great lighting and visual designs each year which will work for all the performers in daylight and darkness.
Another criteria is having a ready-to-operate rig for the many guest LD’s and operators who rock-up with their artists.
The main stage roof – supplied by Gigant – is relatively low so there are less opportunities for creative rigging, and instead, Bert tries to incorporate new and different fixtures each year.
He’s particularly interested in smaller fixtures which fit the space well, and this year he was delighted to be able to use two of Robe’s newest luminaires - MegaPointes an
USA - This summer, the Audio Engineering Society (AES) held its third International Conference on Music Induced Hearing Disorders at Columbia College Chicago. Its focus was on strategies and technologies for safer long-term hearing outcomes resulting from exposure to loud music.
In keeping with the theme of technology to preserve hearing, Bob Schulein, conference co-chair, engineering producer and ImmersAV Technology’s founding partner, organised a demonstration of a new entertainment experience as a part of the conference banquet on Thursday evening. He arranged for Glass Mountain, a Chicago American folk trio, to perform for the guests and to assist in the demonstration of “a unique, binaural audio ‘you-are-there’ experience”.
The band gladly accepted the opportunity and participated in creating and rehearsing for the musical production. For the performance, each attendee was provided with a set of Sennheiser supra-aural wireless headphones and remained in their seat from dinner for the performance. The group performed in front of a single large diaphragm condenser microphone as well as ImmersAV’s binaural mannequin, named Dexter.
As the performance progressed guests were able to compare the headphone reproduction versus that from a two-speaker loudspeaker sound system feeding the output of the single microphone over Dexter’s head. As the trio played a number of folk classics and originals, each attendee heard the audio with natural binaural spatial rendering no matter where they were seated.
The listening experience mimicked
Colombia – The 2018 Central American and Caribbean Games (CACG) kicked off with a spectacular opening ceremony at Barranquilla’s Roberto Meléndez Stadium, featuring projection mapped visuals to the stadium pitch and huge LED screens using Avolites Ai RX8 servers.
The opening ceremony’s most famous performer was Latin superstar Shakira, who was born in the Games’ host city.
During the ceremony, the 47,000-capacity crowd experienced a video concept based on a story of time travel from the future to the present, offering a perspective of Barranquilla, which highlighted local culture, folklore and its vibrant music scene. The ceremony was produced by Victor Ariza from Performa SAS. Miguel Carrillo from Foro IQ designed the stages.
The main stage was backed by video-mapped content, displayed on a 664sqm LED screen.
“We needed to manage a lot of pixels for this project, six outputs for mapping and six outputs for LED screens, DMX and SMPTE control, and direct SDI outputs,” says Ariza. “We needed a server that had all of these things, and features like the option to quickly warp the geometry of the outputs – and be robust and trustworthy.
“But perhaps most importantly, we were looking for customer service and support. Machines are machines – it’s the people that define a brand’s success.”
Fernando Albanés served as technical director for Performa: “We could find all the technical specifications we required in the Ai RX8 and SDI output card. The RX8 was the heart of the video system - a machine that you can tr
USA - Boston Calling celebrated its fifth year (and ninth outing) the weekend of 25-27 May with a slew of performers, including Eminem, The Killers, Jack White, Queens of the Stone Age, Paramore, and St. Vincent. However, the event, which music portal Consequence of Sound has declared one of the top 10 music festivals in the country, almost didn’t happen this year.
The previous year’s event, held in a new location at the Harvard Athletic Complex, drew not only raves from the attendees but also a wave of protests from residents of the surrounding Cambridge area who complained about noise levels, a situation a number of area media outlets reported in depth.
This year, though, Boston-based production company Crash Line Productions found the solution: an L-Acoustics K1/K2 system, provided by Clearwing Productions, with a system design created using L-Acoustics’ Soundvision modelling software, that kept the sound on the audience and out of the surrounding neighbourhoods.
“After Boston Calling 2017, there were complaints from the surrounding area that the noise levels were too high, so we tasked Scott Sugden at L-Acoustics to help us design a PA deployment that would mitigate perimeter noise as effectively as possible while still maintaining acceptable levels and coverage for the world’s best acts and a demanding paying public,” explains Clearwing key accounts executive Stephen Harvey.
He, in turn, recommended Marcus Ross, co-owner with associate Sara Even of audio consultancy Crest Factor, who would bring a battery of sound-mea
USA - Counting Crows’ current 25 Years and Counting tour is supported by an upbeat Mike Zielinski-designed lightshow that features STRIKE 1 fixtures supplied by Upstaging, Inc.
“With 25 years and seven albums of music, we have a very large catalogue of songs that can be played on any given night,” said Zielinski. “This creates a need for a diverse, flexible rig. I like to have a lot of colour palettes and video content to keep up. I also need versatile fixtures, which is why I like the STRIKE 1s for this rig. They fill a wide range of roles for me, like accent lighting, backlighting and blinders.”
At times Zielinski uses his STRIKE 1 fixtures with amber shift to create different moods for more reflective songs or for those moments when frontman Adam Duritz reflects on the band’s history. Zielinski also calls on the 230W LED fixtures for audience lighting. “There are many fans who have turned out for Counting Crows concerts every year for the past two decades, so the connection with the audience is important,” he said. “The band feeds off the energy of the crowd.”
In addition to having designed the show, Zielinski is running the boards for the 48-city tour, which began 27 June at Taco Bell Arena and ends with a 22 September appearance at Nashville’s Pilgrimage Festival. Although he turns the STRIKE 1 fixtures up full blast for ballyhoo moments, he is doing little busking, given the size of the show, which has 60 songs programmed.
The warm white glow created by the STRIKE 1 and its emulated red shift, which mimics th
UK - Sounds and Sorcery is unlike any other show you’re likely to see this summer. Held in the distinctly quirky venue of The Vaults, a maze of disused railway arches underneath London’s Waterloo station, Sounds and Sorcery is an immersive audio-visual extravaganza inspired by Disney’s Fantasia.
On arrival, audience members are given a pair of headphones and an iPod and then invited to wander at their leisure through a series of installations created using a combination of 3D projections, elaborate set designs and spectacular lighting effects, all set to a specially recorded score from the City of Prague Symphony orchestra. As audience members move from one scene to the next, all entirely in their own time, so the music changes accordingly thanks to an elaborate and technically challenging sound design built around Williams Sound Hearing Hotspot technology supplied by CUK Audio and installed by Direct Audio Visual.
The man behind the sound design is independent sound designer, David Gregory. “No-one else would be crazy enough to tackle a project like this, but I like a challenge, so I said yes!” he says.
“Hearing Hotspot is the only product on the market capable of doing what we required,” explains Gregory. “Essentially it allows any venue to stream real-time audio via Wi-Fi from pretty much any source to an individual’s personal device – in this case, an iPod. The sound quality and stereo imaging capabilities (which we tested thoroughly) were good enough to allow me to create the immersive experience that I
South Africa - Earlier this year, L-Acoustics announced that DWR Distribution has officially been appointed as L-Acoustics certified provider distributor for South Africa. DWR solidified their position as an L-Acoustics distribution partner with a series of product launch events.
DWR invited industry representatives, together with their families, for an evening at their offices in Johannesburg on 16 July. DWR managing director, Duncan Riley and his team transformed the parking lot at Kimbult Industrial Park into a fairground for the evening.
Central to the event was the full-scale stage, complete with a new-to-market lighting technology from IVL Lighting by French company, Minuit Une. Guests were given an opportunity to play with the new grandMA3 lighting console and the new DiGiCo S21 sound desk.
Central to the event, was the opportunity for the industry to hear the K2 Line Source Array from L-Acoustics in action. DWR invited one of South Africa’s leading rock bands, Prime Circle, to take the system through its paces. Much to the delight of all who attended, Prime Circle delivered a stellar performance, complemented by the clarity of the L-Acoustics K2 Line Source Array and impressive light show.
“The partnership between DWR and L-Acoustics is a great step forward for the DWR family, and we wanted to do something different to celebrate the moment,” explains Riley. “Rather than taking moms and dads away from their families to attend another event, we wanted people to feel free to bring the kids and have some quality family time while e
Europe - Before making its high-profile debut on this year’s Eurovision Song Contest in Lisbon, GLP’s new KNV went out on a ‘field test’ tour with German band Scooter. This gave production designer Jerry Appelt and his lighting director, programmer and board operator Marc Brunkhardt the opportunity to evaluate the new modular design with the upcoming ESC in mind.
The design team deployed 14 KNV fixtures as a massive centre effect in the middle of the Scooter stage set. Supporting these were 90 GLP X4 Bar 10, which handled the washes, and 22 impression X4 L for key and side lights. All the tour lighting was provided by PRG.
“We were very happy to get hold of the KNV - what act is better for testing such a hyper bright fixture than Scooter? They were a real eye catche,” reports Marc, who had seen the fixture for the first time at production rehearsals in Bottrop. “I immediately liked the brightness and the fact that it was very compact,” he said. “Also the RGB rings around the powerful white LED were extremely impressive.”
Underhung in the middle of the set, beneath the decks, the KNVs were fully visible for all to see. “We had spaces between every fixture to cover the complete width of the set - and in this configuration we were able to produce some great effects over the whole cluster.”
The lighting director also praised the versatility of the KNV. “You can use it just for flooding the entire stage with colour or to produce nice random strobe sparkle effects.”
USA - The festival season continued this summer with more than 430,000 people attending the Lollapalooza Music and Arts Festival over four days.
Bandit Lites worked with C3 Presents and provided three trucks with nearly 600 fixtures and 1500ft of truss to light spaces across Grant Park. Areas included Kidsapalooza, the Merch Palace, cocktail lounges, a beer garden, VIP areas off the stage and the stunning Buckingham fountain. Bandit also supplied lighting for all areas with foot traffic, navigating the way from stage to stage.
“Our biggest challenge is always power distribution on such a large festival,” said C3 Presents production manager Tyler Crain. “A solid plan of areas to light and power necessary to accomplish this ahead of time is a necessity.”
In order to craft that solid plan, Bandit Lites began working with Crain about seven weeks ahead of load in to organise and map out the logistics for truss towers, specialty lighting and landscape needs.
Thirty-two Elation Paladins spaced evenly around the fountain in eight groups of four turned the waters into vivid colors throughout the night. “The Paladins really brought the fountain to life,” shared Aaron Swetland who programmed Buckingham Fountain. “They worked great as we didn’t have to bag them. Even on the sunniest days, there is going to be mist, so having a water proof light is super important.”
Bandit Lites team arrived early to set up the site lighting, using their knowledge and expertise to fashion spaces that gave artistic and colourful looks, whi
Singapore - Singaporean theatre company Pangdemonium! recently staged Fun Home, the multiple Tony Award-winning production renowned for being the first Broadway musical with a lesbian protagonist.
Alcons Audio RR12 point source array modules and VR12 mid-sized versatile monitors ensured that every line of dialogue and lyrics was clearly heard by the enthusiastic audiences.
Staged at Singapore’s 615-seat Drama Centre Theatre, sound design for the production was by Jeffrey Yue of audio design company Ctrl Fre@k, with technical production by The Production People. The Alcons speakers were supplied by Alcons Pro-Ribbon Network Partner Creator’s Solutions.
Being a musical, where every song lyric is as important to the narrative as every line of dialogue, Jeffrey needed to ensure that both the spoken and sung vocals were extremely clear for every member of the audience. The Drama Centre Theatre is a compact venue, with two balconies, so accurate and controlled dispersion of sound was crucial to achieving this.
In his design, Jeffrey chose four Alcons RR12s as a centre vocal cluster. These were complemented by four VR12s per side, covering the two circles with a band and vocal mix.
"Accurate reinforcement of voices and instrumentation was crucial," he says. "The RR12 vocal centre cluster provided the best performance in terms of accurate horizontal coverage, thanks to the asymmetric vertical horn which meant there were less potential ceiling reflections. With the style and design approach of the musical, it was also a great opportun
Belgium - During Bruges’ tenure as European Capital of Culture in 2002, the Concertgebouw Brugge - a concert venue and multicultural centre accommodating more than 1500 visitors - was built to provide the city’s inhabitants and many tourists with a home for some of the best classical music orchestras in the world. Taking centre stage in a recent refurbishment of the concert hall were 20 Chauvet Professional Ovation F-265WW fixtures, specified by local install specialists Sotesa.
With the main hall regularly receiving high-profile symphonic orchestras such as the Anima Eterna Brugge (artist in residence), Brussels Philharmonic, Swedish Chamber Orchestra, Budapest Festival Orchestra and the BBC Scottish Symphony Orchestra, the venue required a practical solution to provide general illumination for the musicians on stage. With their incredibly soft and even flat field of warm white illumination, the Ovation Fresnel-style LED fixtures were chosen to replace the outdated and unreliable incandescent house lights.
“Aside from the fact that the old incandescents used a lot of electricity, it could be uncomfortable at times for the musicians because of the heat they generated,” commented Geerolf Jacques, coordinator of stage technology at Concertgebouw Brugge. “One of the key advantages of the Ovation fixtures is that we don’t have to worry about leaving the lights switched on for longer periods of time for rehearsals and shows.”
Given the practical issues of the 12m high roof in the concert hall itself, finding a suitable lighting fixture to
UK - Rental and installation specialists LED Creative worked with the crew at Version 2 to help illuminate the annual charity concert held in the grounds of hosts Sue and David Formosa’s Chorleywood home.
Now in its sixteenth year, Music by Twilight features a broad mix of talent, including local acts. The concerts have raised over £400,000 for the charity and this year’s show was another resounding success with all proceeds going towards the funding of TCT units in NHS hospitals.
Providing their Sigma Pulse Wands and Fairground fixtures plus Byte Controllers, the LED Creative team were able to help add colour, shape and movement to the lighting design for the event. With limited access to the site, the ‘plug and play’ Sigma fixtures were an ideal creative solution, quick and easy to incorporate into the custom-built stage with no compromise on versatility.
Commenting on the show, LED Creative project manager Tim Rees says, “It’s an absolute pleasure to be working alongside V2’s Nick Edwards and his crew in support of such a worthy cause. The entire team have done a stunning job in staging a fantastic looking show - everyone has pitched in to create a true spectacle, all in aid of a wonderful charity. We’re proud to have played a part.”
Doctor Atomic, a collaboration between composer John Adams and librettist and stage director Peter Sellars, focuses on the events leading up to the first atomic bomb test in the summer of 1945 and is set in Los Alamos, New Mexico, barely 20 miles from the Santa Fe Opera, which is presenting its new production through 16 August.
In advance of production rehearsals, Santa Fe Opera’s audio/visual director, Karl G. Kern, increased the company’s inventory of Lectrosonics Digital Hybrid Wireless technology to 30 channels, adding 18 SSM super slight micro belt-pack transmitters and three six-channel Venue2 receivers to its existing stock of SMDa transmitters and Venue receivers.
“The quality of Lectrosonics’ products is by far superior,” says Kern of the purchase decision. “They’ve got a very low noise floor and very solid RF, so it helps you to get a very clear audio signal. Having that low noise floor when you’re trying to just ghost in a very low volume is very important.”
All the Lectrosonics transmitters are paired with DPA Microphones d:screet 4061 omnidirectional lavalier microphone elements to reinforce the stage performances through the company’s newly installed Meyer Sound CAL steerable column array loudspeakers for the 2,000-plus-capacity house.
Celebrated composer and sound designer Mark Grey did the sound design for this latest Doctor Atomic production. "The classical performing arts demand only the best in live sound – critical in sonic transparency, reliability, and highly concealable products,” says Grey