Explorer of the Seas, the latest addition to Royal Caribbean International’s Voyager class cruise ships, showed the world her colours on her first cruise out of Miami on October 28th, 2000.
The Explorer, the second in the Voyager class which debuted with Voyager of the Seas in 1999, could actually be considered a destination in itself, boasting a wealth of facilities, activities and entertainment. Perhaps one of its most arresting features is a 60ft by 40ft ice skating rink (the only one at sea) which can be converted to a 900-seat concert venue or TV Studio.
At the heart of the vessel is the Royal Promenade - longer than a football field and wider than three lanes of traffic anchored by two atria that are marvels of marble, trees, greenery and sculptures. Diversions along the way include the Crown & Kettle - a traditional English Pub, a 24-hour cafe, a sports bar and more shops than you can shake a credit card at. The Palace, the main show lounge, is a four-deck-high, 1,350-seat theatre equipped with all the latest technology. There’s also a jazz bar, a contemporary sports bar, a Vegas-style casino and The Chamber, a nightclub designed to resemble a Gothic castle, with stone columns, arches and a dance floor flanked by chrome suits of armour.
And all this is just but a small part of the on-board facilities, but there isn’t time in this millennium to list the rest. Nor to cover comprehensively the technology arrayed across the ship. There are however some common denominators - on the audio side JBL, Clair Bros, EAW, Bose and Genelec speakers seem to
Daniel Carver of university specialist consultants, Section 77, has opted for the new Cerwin-Vega SUB218/T250 Intense stacks for Nottingham Trent University, following a demo of this and other leading brands by John Southee of JPS.
Thus an order for eight stacks was placed with Cerwin-Vega’s exclusive UK distributor, Lamba plc. The SUB218 is a direct-radiating twin 18" sub, featuring high-power output down to 32Hz - a combination of deep bass and high power handling. Thanks to its stainless steel bar handle and and wheels it’s also portable - which is precisely what the University wanted, since the 1,500-capacity auditorium functions as a canteen by day, and the evening conversion includes the eight stacks of T250/SUB218 being wheeled into position - four stacks either side of the stage.
The Intense! T250 mid/high box is divided into two sections which can be operated in bi-amp or passive full-range mode. The mid-bass comprises a 10" horn-loaded driver, the mid/high a large format 2" exit compression driver and the SS1 1" throat HF driver, featuring hybrid diaphragm technology, handling the top end. Personally recommended for the installation work, John Southee supplied sound - with a 16K output capability - lighting, stage and the triangular Trilite grid for the lighting suspension in a contract that was briefed, designed, commissioned and installed within a three-week period - despite the fuel crisis. To optimise the different EQ parameters and system management JPS picked the BSS FDS-366 Omnidrive Compact.
The final word comes from J
Henry Butcher International has been appointed to dispose of the contents, owned by NMEC, that went into creating The Millennium Dome, following the planned closure of the Dome on December 31st. The Dome houses an enormous range of assets, including lighting, audio-visual, broadcast & sound equipment, restaurant and catering equipment, stage equipment, office furniture and equipment, golf buggies, battery-powered scooters and vehicles. Even the equipment from the world famous Millennium Show, which currently employs 350 people, will be for sale, including stage and acrobatic props, costumes and circus rigging. Henry Butcher will be disposing of all assets owned by NMEC over the next three months by Private Treaty and Public Auction. The Private Treaty sale process is already underway and includes many of the themed Zones, audio-visual and broadcast equipment from some of the most sophisticated systems installed in Europe and sound and lighting equipment from one of the largest and most complex installations in the world.
The public auction is open to everyone and will take place over four days - 27-28 February and 1-2 March 2001 - and any enquiries regarding the auction will be dealt with after the Dome closes at the end of December. Viewing of the assets will be a few days prior to the auction sale.
Star Rigging has installed a new fall arrest netting system into Wembley Arena to improve safety for people working at height during events at the London venue.
The new safety system has been installed into the Wembley grid, which is the largest moving grid in the UK. Pictured is the Fall Arrest Net after being raised at The Who load-in at Wembley Arena.
Both Mark Armstrong and Phil Broad at Star Rigging have been rigging major live events, including major tours for 15 years. The net is a new innovation, which has gained popularity in the construction industry, attracting the approval of H&S executives across the country. The system ensures that a worker who falls off the grid will be caught, and there are handrails to prevent people falling outside of the grid area. Star Rigging had to adapt the net to suit indoor music applications including making it fire retardant to BS EN 1263-2 standards. The company is currently talking to several other venues about the possibility of installing similar systems.
A new music venue has opened on East London’s Brick Lane. Part of the former Trumans Brewery complex, 93 Feet East is a 500-600 capacity venue with an on-site recording studio, allowing performances to be recorded and broadcast over the internet. The music policy is alternative, and early bookings include Cold Cut and the Sneaker Pimps. The club has a Funktion One PA system, installed by Blue Box, from Sussex. The front-of-house control is provided by a new Series TWO console from Soundcraft, supplied by Marquee Audio. Technical manager and sound engineer Paul Epworth explained: “This desk has a very open sound, considering its price. It’s easy to place sounds in a mix and, like the Soundcraft K3 which I’ve used before in live situations, the EQ is very sensitive. It’s a very flexible console.”
The Dutch Parliament Building in Limburg has recently joined the list of government buildings around the world using the BSS 9088 Soundweb to provide digital voice processing and distribution. Forming the hub of a complete new audio-visual and voting network costing 500,000 Guilders, Soundweb encompasses three separate areas - the conference hall, the ballroom and a smaller conference and performance area. TM Audio were subcontracted by Heuvelman Sound and Vision BV, who won the tender for the overall design project, to specify the electro-acoustic elements and audio distribution of the system design. The conference hall includes a central loudspeaker cluster and individual peripheral speakers, distributed around the public tribune for maximum intelligibility. A Philips DCN (Digital Conference Network) discussion system, comprising a 70-piece mic/speaker station, is assigned for the purpose, with its outputs fed to the Soundweb, which supplies all the processing and distribution before arriving at the loudspeaker clusters, as well as the back-up recorders, wireless FM loop assisted hearing system, and many other rooms and offices round the building.
Cause & Effect, the organisers of the 2001 Birmingham Fringe theatre festival, are looking at the possibility of holding collaborative projects with entertainment technology companies during the 2001 festival, in order to demonstrate the contribution made by them to technical theatre. Project director Derrick G Knight told us: "My motivation is to enhance Birmingham as a host city for performing arts. This will be achieved through the development of a network of performance venues in partnership with the performers, venue owners and production companies associated with performing arts." An initial idea is to include a sound and lighting exhibition alongside the festival, which takes place in July and August 2001, and Knight is currently exploring the availability of no-cost exhibition space at a number of venues adjacent to the reserved performance spaces. For further information is available from the number below.
Audio-visual and multi-media specialist DJ Willrich has been making dreams come true recently for one of the world's leading producers of computer-animated films for entertainment simulation. The 4DEX Themeport, which is currently being built in Brighton Marina, is the brainchild of Ian Williams; designed to 'take the visitors into the next dimension of human entertainment experience', the 4DEX Themeport is the airport of the future, transporting the modern time-travelling visitor into both the past and the future. Beginning with the technical design, DJW worked with Williams to develop initial simulation solutions that would 'transport' visitors from each of the terminals to the destination of their choice. The company then introduced Haley Sharpe Designers, with whom it has worked on projects such as The Big Idea in Scotland and the Children's Museum in Sharjah, to work on the conceptual idea. DJW supplied and installed all the simulation, AV hardware, lighting and show control equipment that permits visitors to visit the genesis of the Olympic Games and the magic of the Pharaohs, among other destinations.
Tannoy speakers have been specified and installed at a brand new award-winning conference and event facility at the Royal York Hotel in York. Chosen for their high-quality sound performance, the combination of Tannoy speakers, installed by Orsett-based Creative Audio, has been chosen to provide speech and audio reinforcement for a wide range of differing applications, including conferences, presentations and live music productions. Creative Audio has designed and installed a powerful, high-quality audio system based around Tannoy Point source loudspeakers, with elements suited to the different applications. For the central paging system, Tannoy CMS 55 ICT ceiling mounted monitor systems provide discrete, high-quality sound reinforcement for speech and music. The 90° dispersion characteristics of the CMS 55 ICT allow the whole room to be covered with just four units.Four Tannoy i12 Dual Concentric loudspeakers are wall mounted at the middle and rear of the room, providing effective speech and music reinforcement. Extended bass response is provided by four Tannoy B225 15" bass speakers, which together with four Tannoy i15 speakers provide the extra impact required at front of house for larger events and live music productions. Two Tannoy TX2 controllers provide crossover and control functions and stage foldback monitoring is via four Tannoy T12 Dual Concentric speakers. All speaker systems are driven by Lab Gruppen amplifiers. The fully-equipped control room features an Allen & Heath 32-channel mixing desk, with monitoring from two Tannoy System 600 monitors.
ESS (Edwin Shirley Staging), the staging and structure specialist, has created a new joint venture with Pure Group, called ‘ESS Superstructure’ to invest in and service the growing market for small and medium-sized events. This venture is the latest in a series of strategic partnerships that enhances the range of services ESS can offer corporate clients. By combining ESS’ experience in producing highly-specified structures, with the Pure Group’s reputation for managing corporate events, the new venture will be able to provide a highly competitive offer for clients in the corporate hospitality and corporate event market. The new company will be responsible for developing and marketing arch-shaped structures up to 30m in width. Products will include the unique Superstructure mobile venue, as well as Orbit buildings. The Superstructure is ideal for a variety of uses from conferences, concerts, film premieres, balls, trade shows, fashion shows, outdoor events, corporate hospitality and product launches.
Tim Norman, managing director of ESS Holdings, said: “This is our third venture in the past three months and is a significant step in the expansion of the ESS offer to corporate clients. The new venture will be able to provide a highly competitive offer to clients in the corporate events or hospitality market, but with the same commitment to excellent service.”
The newest destination for UK clubbers is CODE, located at the aorta of Digbeth in central Birmingham. CODE is the first superclub and permanent venue owned and operated by legendary club promoters God’s Kitchen.
The stylish, contemporary interior design is by Matt Rawlinson of Raw Design, and the stunning effects lighting design is by Carl Dodds of Making Light Work (pictured with Avolites’ Azure console). All lighting fixtures for Dodds’ rig were supplied by Coe-tech to installers, Dublin-based Audio-Tek, with the Avolites Azure 2000 control console supplied directly by Avo to Audio-Tek.
The club’s main dance floor is overlooked by a balcony, with the VIP area in the ‘Gods’ at the top of the building, an atmospheric former warehouse, built in the 1930s. Dodds chose a variety of instruments for his high-impact rig, which was to be put in the hands of a specialist team of lighting operators.
The rig consists of Futurelight MH660s, MH640s and eight of the new MH 860s - the first in the UK. These formed the core of the rig and were joined by eight Futurelight SC980 scanners, 16 CC200 colour-changers, four TAS Versicolore spots and eight TAS 1500W Saetta strobes. Additionally, there are four TAS CF6 luminaires, a Coemar NAT TM 4000 and two JEM hazers.
Dodds chose an Avolites Azure 2000 controller plus a Stage Visualiser system for the installation as he needed a console with the power and speed to deal with an action-packed lighting rig and the plethora of fixtures. The Stage Visualiser is used in ‘live’ mode to enable t
Canadian circus company Cirque du Soleil is planning to turn London's disused Battersea Power Station into a £500m entertainment complex, with a permanent home for its shows. Cirque du Soleil plans to convert the dilapidated building into a 2,000-seat auditorium, along with two hotels and a cinema, as one of a number of planned worldwide developments over the coming 10-15 years. Work on the site will begin within the next six months by the owners and developers of the power station, Park View.
Cirque du Soleil was formed by a troupe of street performers in 1984 and has grown to include permanent shows in Las Vegas, Florida and Berlin; it employs over 2,000 staff across the world, and has performed to more than 23 million people to date. The company has staged productions of Saltimbanco and Alegría at the Royal Albert Hall in previous years, and is this week opening a show in London, called Quidam, staged in a giant tent next to the former power station. "The complexes will be a unique fusion of drama and design, of architecture and the arts," said Cirque’s founder, Guy Laliberte. "They will be a place where technology, tourism, arts and leisure converge, and will provide a year-round base for Cirque du Soleil in the form of a permanent theatre in the host city."
Early November saw the final concert at Wembley Stadium before the venue is demolished and redeveloped. Quietly publicised, it passed off with little note in the Nationals, but nevertheless raised a substantial amount of cash for the NSPCC thanks to a host of stars.
Keith Morris, under the auspices of CSS Productions, managed the event, reassembling the team he used so successfully for the British Gas, Maritime Museum New Millennium’s Eve event (strange how little we hear of the Millennial events that succeeded). Being November and rather nippy around the towers, this dinner and music show was staged on the pitch, but under cover. Serious Structures provided its Space Building, a giant derivative of the classic Orbit roof, being a curved ‘tunnel’ 92 metres long, 40m wide, with a max height at centre of 15m. The main feature of the Space Building is the totally transparent side fabric, which meant a lavish lighting display could be staged against the backdrop of the famous Twin Towers.
"This event was always going to be very tight on time," commented Morris. "The window for the build and de-rig was only 10 days (seven-day build, three-day de-rig). Scheduling was therefore of prime importance and a lot of time was spent with suppliers and site manager William (Pitso) Pirrie going through this process.
All audio was in the hands of Capital Sound, project managed by Martin Connolly. All Martin Wavefront 8, nine cabinets were flown each side of the stage as main system, plus two sets of delays down the length of the structure to avoid hig
The Royal Shakespeare Company has announced the first appointments of professional advisors to work on the feasibility study for redevelopment of its theatres in Stratford-upon-Avon. The study is being undertaken jointly with a parallel study of local public realm and traffic issues commissioned by the District Council, Warwickshire County Council and Advantage, West Midlands. Among the list of advisors announced for the extensive redevelopment programme is Theatre Projects Consultants (TPC), which has been appointed theatre consultant, joining the design team led by the RSC’s principal architect Erick van Egeraat.
Despite considerable amounts of unseasonable rain this summer, work has continued on the construction of a new concert hall for the Philadelphia Orchestra, designed by Theatre Projects Consultants.
The project is managed by David Taylor (pictured) from the Connecticut office of TPC, but George Ellerington of the London wing of Theatre Projects provided the unique theatre equipment package with an array of stage lifts, acoustics banners, hundreds of reverb chamber doors and a 40-ton three-piece canopy, all controlled from a custom PC-based memory system.
The concrete is complete to auditorium level in the concert hall and, to stabilise the building, the attic floor overhead is being poured at present. Despite the difficulties in construction over the summer, the site is being considered for an OSHA safety award. The second performance space, a 550-seat recital theatre is also underway. In this space, the entire auditorium floor can drop on a lift to give a flat floor. A 75ft diameter revolving stage allows for quick change around between a recital hall with a solid end wall and a full-flown dance and drama proscenium theatre. The Kimmel Center for the Performing Arts completes in December of 2001.
The multi-screen movie complex craze which swept across North America some years ago, has arrived in Italy with an added element of attention getting effect, namely Martin intelligent lighting. The Medusa multi-screen theater in Bologna is a 31,000 square foot theater complex featuring nine separate theatres. Outside the complex two Exterior 600 wash lights bathe the building in a colorful mix of yellows and blues while two PAL 1200 scanners add gobo and logo projection.Inside, in the large foyer, eight MAC 600 wash lights provide the colour wash with eight MAC 250 profile spots adding pattern and logo possibilities. All lighting is controlled from a Martin ProScenium, a DMX lighting control package for multi-media and architectural applications. Audio is provided by eight Mach Installation series M68 in-fill speakers, four Mach M208 subwoofers and four Mach M62 two way, near-field speakers.
Miss Moneypenny’s at Bonds in Birmingham, reputed to have one of the toughest door policies of any club in the country in terms of client exclusivity, has gone digital with a £60,000 audio system refit. Birmingham-based Dare Professional Audio was responsible for the design and specification of the new system, which was installed by Stagecraft Systems from Cannock. DARE specified a custom-built system loaded exclusively with ElectroVoice components and powered by EV P Series amplifiers supplied by EV’s UK distributor, Shuttlesound. The main system comprised four DARE NX12 mid/high packs; eight DARE TC15 sub-bass cabinets delivering an impressive 1200W each, plus one DARE Bass Quake 4 sub-bass enclosure loaded with four EVX180s. Each driver prodcues a massive 1000W - delivering a total of 4kW from one box. Two DARE Micro 12v2 DJ monitors and eight DARE E18s for the bar areas, controlled by a DARE NX Digital Speaker System Controller, completed the system.
Keswick’s Theatre by the Lake has been celebrating its first year of operation. Built with a big (£4.5 million) lottery grant to replace the old Century summer touring theatre which ended its days by Derwentwater, the new theatre opened as a year-round operation, on time and within its £6.25 million budget, in August 1999.
Since then the theatre has opened 10 productions of its own, as well as welcoming touring companies and local amateurs. 75,000 tickets have been sold for over 400 performances, an overall 65% capacity, which compares very favourably with most regional theatres. What used to be a tourist attraction has become a favourite with local audiences too - the number of Cumbrian residents attending performances has increased enormously, and the theatre’s home-grown pantomime attracted a 95% capacity.
Keswick’s residents have something to be proud of in their new theatre, a low-slung, slightly Japanese-looking building (by the MEB Partnership, with Christopher Richardson primarily responsible for the design and theatre consultancy) which sits among trees just a stone’s throw from the lake, looking out across meadowland to the fells. Its least interesting elevation is the one that the visitor sees first, but a large shield bearing the legend ‘Theatre by the Lake’ alleviates the starkness of this view.
The 350-seater auditorium itself is approached from the airy first floor. At first glance, its metal balconies and side-boxes recall the courtyard theatres of Iain Mackintosh, but the normal configuration of the seating is m
Currently wowing theatre-goers in South Africa is African Footprint - a song and dance spectacular, which is set to stride its way into the international arena.
Scheduled to tour Europe later this year, the current home of the production is in the replica of the original 19th century Globe Theatre at Gold Reef City. It was Solly and Abe Krok’s idea to copy the original Globe Theatre at Gold Reef City - a theme park recreating early Johannesburg, taking the opportunity to utilise an intended ‘mini-plex’ cinema whose backers had pulled out.
They brought in consultant Richard Loring, and his production manager Debbie Batzofin, who in turn approached lighting designer Denis Hutchinson. The roof of this intended small cinema was raised by two metres, which allowed seven metres clear over the stage and a balcony in which patrons wouldn’t have to kneel. But even so, it wasn’t possible to include a proper dome in the auditorium (much less a fly tower over the stage). The alternative was a barrel vault ceiling, in spite of the acoustic disadvantages it presented. Fortunately, it was accepted that the type of show staged in the venue would always use amplified sound. Hence acoustically absorbent tiles for the ceiling were specified as part of a scheme to make the room nearly, but not quite, acoustically dead.
Another fortunate outcome was that the control area for both lighting and sound could be incorporated as part of the auditorium. Sound equipment for the 306-seat venue includes a generous 40-channel DDA mixing desk with 64 balanced lines betw
A major sound, lighting and video installation has just been completed at the new Toxic8 club in Cambridge. With interior design by Steve Howie of Howie Designs, the club’s visual inspiration drew on the imagery of Fritz Lang’s 1927 masterpiece movie Metropolis. But Toxic8 is anything but silent!
CP Sound won the technical design and installation contract amidst stiff competition: audio throughout was designed by CP’s Colin Pattenden with lighting by CP’s Russ Evans.
A ground-floor bar acts as a feeder area for the 500-capacity club, and features music and visuals controlled from behind the bar via a six-way switch and volume control installed by CP Sound, together with three Sony K5 televisions and six JBL Control 28 speakers. Additionally, a mobile DJ set-up is available for special events. This consists of a Denon 2000 Mk 3 twin CD player and a Citronic 10/4 mixer and mic. The first and second floors have been fused into one area: the audio spec here includes another Citronic 10/4 mixer and Denon CD player, two Technics 1210 decks in the DJ box and a customised CP 10/1050 DJ monitor. Dancefloor speakers are two twin 15" 1200W JBL i-746 cabinets, and for the mid-range, JBL 300W MS112 tops, hung in the corners of the void area.
Dancefloor lighting includes three Solar 250 projectors with red infused oil wheels and eight MADScan 411 APs in the void, pointing up and down. Control is from a Pulsar Masterpiece 216. On the second floor, fixtures include two 1500W Anytronics Megastrobes, four additional MADScans, two ITM 250 MADScans and four
The famous Lyric Theatre in Hammersmith has taken a further step towards a digital future, thanks to a Lottery grant.
In addition to new sound equipment in both performance spaces, The Lyric has also purchased a GeniusPro Strand 520i desk - for use in the Main House, and also replaced the dimmers in the Studio Theatre with digital LD90s. The former was supplied by Stage Electrics and the latter ordered through White Light.
Although Strand’s 500 Series desks had been in the Lyric’s focus for around the past three years, the purchase was still made slightly earlier than expected. "We mounted a production outside, literally, in Lyric Square, with Mac moving lights running alongside conventionals," explained chief LX Clare Tattersall (inset). "It was impractical to move our existing Galaxy outside - and plotting moving lights on a Galaxy is a tedious process - so rather than hire in a board we brought forward the delivery date."
The 520i was supplied with two monitors - one displaying the cue sheets and the other the channel levels. "It’s a 350-channel desk but we expect to expand on that in the future. As we have not been able to afford to replace the Main House dimmers we have had to convert our STM dimmers for digital, but hopefully at some stage in the future we will be able to make the full changeover."
The 120-capacity Studio Theatre has complemented its new seating and sound reinforcement system with five racks of Strand LD90s (one of which contains a block of non-dims), providing 104 channels of theatrical dimming
The contents of the world famous Hacienda nightclub in Manchester - scene of early shows by Madonna, Oasis, U2, Take That, Boy George and the 'Madchester' bands - are going under the hammer at a unique auction for charity. The lots include the revered DJ booth and interior designer Ben Kelly's hazard-striped steel columns. The venue for the auction, which will take place on Saturday November 25 at midday, is the nearby Richard Conrad building. Viewing will run from 10am to 4pm on Friday 24 and from 10am to midday on the day itself. In addition to the auctioned lots, pieces of the dance floor, coloured tiles and even bricks from the building, will be sold off at nominal sums. All proceeds from the event will go to the Greater Manchester Community Foundation which works with disadvantaged young people in the city. New owners Crosby Homes are redeveloping the Haçienda site and two neighbouring buildings into apartments.
Hayden Laboratories Ltd, UK distributors for Rolec hard drive background and foreground music systems continue to supply these machines for a massive variety of venues and installations. Le Petit Blanc in Oxford, a lively restaurant now has a Rolec DHD-200C onboard, supplied by Installation Technology. Recent retail environments with Rolec systems include Boots stores in Milton Keynes and Kensington, both via Reflex Systems and fashion store Envy at the Bluewater shopping experience in Kent, via Music Marketing Services. Birmingham-based Hocken Sound and London-based Music Marketing Services are installing Rolec hard drives into Litten Tree pub venues for Surrey Free Inns. Jim Thompson's Oriental Bar, Restaurant Bazaar is a Chinese restaurant roll-out, expanding rapidly in the Greater London area, owned by Taipan Taverns. All sites are benefiting from Rolec hard drives for music, installed by HTL from Blackpool.
After several months of negotiations, Stagetec (UK) Ltd has been awarded the entire technical equipment supply and installation contract for the Zion Arts Centre in Manchester. The installation includes a lighting system with Compulite Micron 4D console, the new CompuDIM 2000 digital dimmer racks, Robert Juliat and Selecon luminaires fitted with Compulite colour scrollers, a sound system with Nexo speakers, Crown amplifiers and Allen & Heath mixing consoles, a full AV system with projection screens, digital projectors and monitoring equipment, curtain tracks and a communication and paging system. The project is funded by the Arts Council and is due to open towards the end of November. The project specification has been drawn up and will be overseen by technical consultant Steve Curtis from the Green Room in Manchester.