USA - This year’s Electric Daisy Carnival, known to most as EDC, powered into action with a three-day flagship festival in Las Vegas, Nevada. Winner of the Festival of the Year award at the Electronic Music Awards 2017, EDC has grown since its 1991 launch to become one of the world’s leading electronic dance music festivals, and this year’s event, held in the Las Vegas Motor Speedway, cemented EDC’s position as North America’s largest EDM festival.
Over 400,000 visitors flocked to Vegas and EDC organiser called upon Tenfeet to help deliver visuals to match festival goers’ expectations. Working alongside Insomniac and LEG, Tenfeet was responsible for the lighting design, media control and supply, as well as programming and operating. Following on from the Vegas event, EDC goes global with Tenfeet adjusting the design into a touring version.
Tenfeet knows Green Hippo’s line well – the Netherlands-based company has used it on many key projects – and the team chose a pair of Hippotizer Montane+ Media Servers for the Vegas festival. The Hippotizer machines were the main playback machines on mainstage, handling all of the Timecode Shows, or ‘Intermezzos’, in between each of the DJ performances.
With one Hippotizer Montane+ as backup, the primary machine controlled all of the screens during the Timecode shows, outputting twin outputs of 3840x2160@60Hz. The total screen area on display amounted to 904 sq. m made up of 7mm screens of varying sizes. Here, the Green Hippo machines proved super-reliable, allowing Tenfeet to playback 8Kx2K
USA - Formed in 1996 in Palm Desert, California, the Queens of the Stone Age developed a style of riff-oriented, heavy rock music. Their sound has since evolved to incorporate a variety of different styles and influences, including working with Nirvana drummer and Foo Fighters frontman Dave Grohl, and Screaming Trees frontman Mark Lanegan who has been a steady contributor to the band.
For all this time Josh Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita and Jon Theodore have been a constant in the worldwide Rock’n’Roll circus, touring and performing old and new songs, always dedicated to keeping the spirit of innovation and autonomy alive and moving forward.
This motivation also applies to lighting designer Emmanuelle ‘Gigi’ Pedron who has given the band a unique look onstage. Using a grandMA2 full-size as her creative tool of choice, she has also transformed this into an object of art itself. A grandMA2 light was on the most recent tour as well.
Gigi comments on her choice of MA Lighting: “I started touring about 19 years ago and the MA Lighting Lightcommander 24/48 was the first console I ever touched. Ever since, I have exclusively worked with MA. I’ve used them all, from Scancommander to the latest grandMA2 running the most recent software versions and very soon I hope to utilise the grandMA3.”
The tour’s lighting equipment was supplied by Upstaging in the US and Christie Lites in Europe.
USA - It’s a 4th July tradition: the Boston Pops Fireworks Spectacular at the Edward A. Hatch Memorial Shell on the Esplanade along the banks of the Charles River in Boston. The event featured the celebrated orchestra, under the direction of conductor Keith Lockhart. This year, Michael Berger of LA-based Full Flood utilised Claypaky Scenius Unico and Mythos 2 fixtures, supplied by 4Wall, to support the production.
The Independence Day spectacular showcased an all-women guest line-up featuring Emmy award-winning Fight Song artist Rachel Platten, Rhiannon Giddens of the Carolina Chocolate Drops, Amy Ray and Emily Saliers of the Indigo Girls, and Emmy, Grammy, Oscar and Tony Awards-winner, Rita Moreno.
“We needed to make the orchestra the star of the show and provide opportunities for the guest artists to shine as well,” says Full Flood’s Micahel Berger, a Boston native who marked his third year as lighting designer.
“This was a combination symphony orchestra concert and arena rock show held outdoors in the middle of summer,” he notes. “It’s a great opportunity to get to come home to Boston and work on this calibre of show.” The Spectacular was telecast, carried on radio and live streamed by Bloomberg.
Berger utilised Claypaky Mythos 2 fixtures and Scenius Unicos for the production. “Mythos have become an important part of our repertoire,” he says. “For this show they outlined the arch of the Hatch (bandshell) and have developed into a pretty iconic image.”
“Mythos are a staple as a beam unit,”
USA - The 32-city North American leg of Erasure’s World Be Gone tour takes place on multiple levels, literally and figuratively. Made up entirely of LED linear fixtures, the matrix-like set features a collection of tiered mini-stages. Vince Clarke plays keyboard in an upper centre-stage cubicle, flanked by kinetic dancers on slightly lower portals, while his partner in the synth-pop duo, Andy Bell, holds forth on the floor, his vocals soaring above it all.
Weaving the complex set together, while supporting the full scope of Erasure’s music, is balanced Matt Waterfield-designed lightshow run on a ChamSys MagicQ MQ80 with a MagicQ Extra Wing.
Waterfield is drawing on the output of some 230 fixtures supplied by Christie Lites in his show for the tour, which is in support of Erasure’s 17th studio album. “I have been designing for Erasure since 2017,” he says. “I was introduced to them by their FOH engineer. Initially, I did a floor package for a few shows. That went well, so they asked me to design the show for their current tour. They gave me a lot of freedom.
“Their only input was to make it neon, giving it an Amsterdam red-light district kind of look. They wanted this show to be more held back than their usual performances, less rave, more theatrical, but still with its full-on moments.”
A ChamSys user for over 10 years, Waterfield selected a MagicQ MQ80 with an extra wing as his main console and a MagicQ MQ70 as his backup. “I started with a Maxi Wing and touch screen, which was then replaced with the MQ70, and later t
The Netherlands - At the end of July, 50 Dutch engineers got the opportunity to enjoy a demonstration of Yamaha’s Rivage PM7 digital mixing system at Hilversum’s Wisseloord Studio.
Wisseloord Studio is likened to ‘the Dutch Abbey Road’ having seen an array of major musicians record at its premises. Those include Afrojack, Chris Brown, Elton John, Foo Fighters, Metallica, Michael Jackson, Paul McCartney, Steve Aoki, Sting, U2 and many more.
On 30 July, attendees were welcomed to Wisseloord with a tour of the studio complex, including its renowned mastering room, conducted by the studios’ chief creative officer Malik Berrabah. This was followed by an introduction to the Rivage PM7 system in Studio 2, conducted by Yamaha’s Ruben van der Goor and Jan Prins.
All were then invited through to Studio 1, where Jamiroquai FOH engineer Rick Pope was waiting with a Rivage PM10 system and four musicians from the band - Derrick McKenzie (drums), Ernie McKone (bass), Nathan Williams (keyboards) and Hazel Fernandes (vocals). The band played a number of songs, mixed by Rick on the PM10 via a Nexo M10 PA system, plus 45N12 monitors.
In between songs Rick and Ruben conducted question and answer sessions, with Rick explaining how he mixes Jamiroquai on the PM10 system and revealed his mixing tricks and tips to the visiting engineers.
After the live session, the attendees were invited to the studio bar. “It was an excellent event, held in a great location with marvellous sound and top-quality musicians,” says Jan. “The responses to both th
UK - Video production company Media Flare has added three Hippotizer V4 Boreal+ Media Servers to its hire stock of nine Hippotizer V4 and Hippotizer V4+ media servers.
Media Flare’s freelance TV lighting designer Tom Sutherland comments: "Our Hippos have never let us down, and with the V4+ models' new features and enhancements providing even more creative flexibility, for us it was the only way to go. It's great that I can rely on a media server which can cover such a range of productions and budgets."
Freelancer programmer Nick Hansen adds: "Hippotizer Media Servers are so user-friendly. The Output Manager side is incredibly powerful and flexible, enabling us to handle things when a show's technical needs can change quickly during production. Also, we are really excited by the potential of Notch, which we will definitely be using on future projects to manipulate content with effects, to fit the music or show we are doing."
UK - One of the highlights of the UK summer season is the Henley Festival - a traditional black tie event for Martin Audio partner RG Jones Sound Engineering, spread over five days.
The company has serviced the event for 36 years, and in recent times they have fine-tuned their coverage of the main stages with Martin Audio MLA components, including the tricky Floating Stage.
As festival technical manager and head of sound, Jim Lambert, says: “The Floating Stage has always been a challenge in that the front to back of the arena is only approximately 30m, but it is extremely wide, and with the introduction of general admission tickets outside the arena we are being asked to cover a width of something like 100m. The MLA Compacts more than rise to this challenge and yet also enable us to keep to the fairly strict off-site noise limits set by the Council.”
It again provided the setting for main stage headliners Rita Ora, Chic (featuring Nile Rodgers), Grace Jones, Curtis Stigers and ENO, particularly since the highly experienced sound team of Steve Carr and Mark Edwards, both of whom have an advanced knowledge of MLA, were on hand to supervise the main stage.
Having refined the system last year, the service company further fine-tuned the PA this year, adding the powerful Martin Audio DD12’s as arena delays in the grandstand to replace the previously used DD6’s. Production also used MLA Mini for infill, and decided to retain the same curved MLX sub bass arrangement that they had introduced in 2017. According to Jim Lambert, “This produced
UK - The beautiful surroundings of Kew Gardens in south-west London, containing the world’s biggest Victorian glasshouse, provided the backdrop for the facility’s annual six-day music festival, aptly titled Kew The Music.
Now a consolidated part of London’s summer festival tapestry, for the past four years rental company Capital Sound and their loudspeaker partner Martin Audio have enjoyed a growing presence on the site.
Working with promoter, Stuart Galbraith from Kilimanjaro Live, and production manager, LarMac Live director Ian Greenway, they tailored the sound system for the clientele that typically brings picnics and folding chairs to the Royal Botanic Gardens to witness a succession of concerts that this year included Steps, Björn Again, Gypsy Kings, 2Cellos, The Human League, Boyzone and Jools Holland.
Despite having a number of Martin Audio’s premier MLA systems on duty simultaneously, Capital were still able to provide the necessary Martin Audio hardware to guarantee even coverage down the awkwardly long, thin site, tapering off from a wider field at the stage end.
The sound was carefully programmed by Chris Pyne, who was doubling as system tech. Capital flew 10 MLA Compact elements each side of the stage, with a flown hang of six MLA Compact infilling at stage right and a smaller MLA Mini ground-stacked stage left to serve the picnickers out on that flank. Four Martin Audio DD12’s across the stage provided nearfield coverage for those who wanted to get up close and personal with the broadside cardioid array, which
South Africa - DWR Distribution, the Signify distributor in Africa, reports that Philips Showline SL Punchlite 220 luminaires and a Philips Strand 200 Plus console have been installed in the Conservatory Hall at the North-West University School of Music and Conservatory in Potchefstroom. The new equipment will compliment all the concerts and music productions, such as the cabaret and annual pantomime.
Dr. Yvonne-Marié Brand, acting director of the NWU School of Music & Conservatory, comments: “The new equipment is a huge upgrade and has greatly improved the lighting in the hall. More light, no noise! We are really impressed with it.”
Headed by Andi Rodgers, DWR Distribution installed three lighting bars on which 12 Philips SL Punchlite 200s were hung, with a Philips Strand 200 Plus console for control.
Brand adds: “The feedback from the technical crew is very positive, the equipment is fantastic, good quality, great features and is fairly easy to use.”
USA - Marc Salzberg was introduced to the immersive capabilities of TiMax spatial reinforcement whilst working as the production soundman on Broadway’s recent revival of The King and I at the Vivian Beaumont Theatre. Later, with the same sound team of designer, Scott Lehrer, and his associate Alex Neumann, he explored TiMax further on the Broadway Theatre’s revival of Fiddler on the Roof.
When he was asked to create the sound design for My Fair Lady back at Broadway’s Lincoln Centre, he immediately turned to the TiMax platform.
Salzberg explains: “The ability within TiMax to do timed, and crucially, live delay changes meant it was the right tool for the job. TiMax makes it possible for the sound system to not call attention to itself.”
Going against the current tide in many Broadway and London West End productions, The Lincoln Centre Theatre is very deliberate in its choice to use the original orchestrations of productions. Where elsewhere theatres are shrinking the size of the band, My Fair Lady boasts the solid sound of a 29-strong orchestra coming from the pit. And it’s a difference the theatre wanted to showcase.
Salzberg’s sound design divides the stage into 14 different zones, with TiMax spatial Image Definition objects created to allow any console mic or group to be imaged to and morphed between each zone. Control of the audio begins with a DigiCo SD7, connecting 42 inputs to TiMax SoundHub which then sends 56 outputs to the loudspeakers. Salzberg assures that, “the TiMax software interface ma
USA - At the grand opening of their 338,000sq.ft, $166m Athletes Village, the University of Minnesota ushered in a bright new chapter in the history of their Athletics programme.
Comprising three new buildings, the university wanted to create a memorable experience for their recruits, fans and the 700 student-athletes. Looking for a dynamic visual environment, which included the creation of their Letterwinner tribute, the University called upon the experiential design specialists at Advent who installed an immersive LED video display using 3.9mm FLEXLite NXG from PixelFLEX.
“The overall vision was to create a unique digital experience inside the new University of Minnesota Athletes Village with slightly different approaches in a few key locations,” began John Downie, VP of experience at Advent. “For the Football Hall of Fame area, we used the LED video in a very targeted way to create a custom and highly-impactful display using the FLEXLite NXG technology which recognises all Letterwinner student athletes in the football programme.
“We wanted to immerse the visitors in the story by creating it in an unexpected way that honoured these individuals and fit into the modern look and feel of the space,” continued Downie. “To do this, we decided to create an angled LED wall that would transition the visitors from a passive observer of the story, into something that was much more dynamic as we enveloped them in the LED video experience.”
Now complete, the University of Minnesota unveiled the new Athletes Village, ready to heighten the
The Netherlands - After theatre De Blauwe Kei decided to move to a new purpose-built 650-capacity facility in the CHV Noordkade venue in Veghel, the theatre’s owners decided to be the first 100% LED theatre in the country.
Central to achieving this goal was an exclusively Chauvet Professional Ovation rig consisting of 20x Ovation E-260WW, 36x Ovation E-910FC, 4x Ovation F-265WW and 40x Ovation F-915FC fixtures supplied and installed by Stagelight.
“For the new location, the theatre was questioning whether it was still necessary to invest in traditional incandescent ellipsoidal and Fresnel fixtures,” says Robert Frijns from Stagelight. “We tried looking at what other theatres in the region had installed, but it turned out there were no 100% LED theatres yet in The Netherlands. De Blauwe Kei decided to go all in, and the results have been quite astonishing.”
By specifying the full selection of Ovation LED fixtures, the theatre ensured that cumbersome dimmer packs were no longer required to support the fixtures. Despite this, the fixtures retain the classic dimming curve of tungsten fixtures, thanks to Ovation’s advanced 16-bit dimming technology.
Positioned from above stage truss to the front and sides of the stage, the Ovation fixtures provide a wide range of looks for different purposes. The E-260WW and E-910FC fixtures, for example, were specified for their ability to provide a mixture of soft and concentrated wash effect lighting for the stage.
The Ovation F-915FC fixtures were specified for their ability to provide high-
Croatia - Ultra Europe 2018 was staged in Split, Croatia, offering three dynamic performance areas – Main Stage, Resistance and Arcadia – in and around the Poljud Stadium.
Zagreb-based Promo Logistika was the site-wide technical provider for sound, lighting, video, rigging, logistics, crew and – via carefully selected partner companies – staging. It’s the sixth year the massive event has been presented in Europe, and the fourth year that Promo Logistika has ensured that the many layers of demanding international creative and technical standards have been met and exceeded.
Over 300 Robe moving lights featured prominently on the Main Stage this year explained Miro Hrg, Promo Logistika’s production lighting co-ordinator for that area.
The overall production lighting design for the Main Stage was created by Patrick Dierson who works on all Ultra events worldwide, and the Resistance lighting was designed by Andy Hurst, working in a similar capacity.
Around 80 percent of DJ’s including all the headliners and anyone playing after 10 p.m. each night brought their own LDs / lighting directors / operators, which this year included, Afrojack, Hardwell, Axwell Λ Ingrosso, Eric Pridz, David Guetta, Steve Aoki, Marshmallow, Armin van Buuren and more.
The main stage moving light count broke down to 20 x BMFL Spots, 26 x BMFL Blades, 48 x MegaPointes, 40 x Pointes, 48 x Spiiders and 42 x LEDWash 600s.
“The design was clearly and intelligently through through,” comments creative director Miro Hrg. “Enough presence, but sensibl
UK - Academy Music Group enlisted the support of Liverpool based Adlib to co-design and deliver a touring specification audio system for its 2,000-capacity O2 Academy in Newcastle, one of the most active and vibrant live music venues on the UK touring scene.
This project was led by Academy Music Group’s divisional manager Steve Hoyland and O2 Academy Newcastle’s technical manager Nile Lines, with Adlib’s Andy Dockerty and Rob Crossland, who, together specified the Coda Audio PA system.
The main auditorium has a large space in front of the stage, with a raised bar area on the ground floor mid-way, that is situated underneath a balcony at the rear. One of the main goals of the new system was to ensure it provided a level of sonic experience to satisfy touring artists, offering a viable and attractive choice to bringing in their own productions.
For this venue, 20 x Coda LA12 line array speakers are configured as two main (left and right) hangs of 10, neatly forming an elegant arc from the existing PA points.
These cover the main room, underneath the balcony and the upper balcony positions perfectly – just from the two arrays – with four Coda G7 12-96s rigged under the balcony area.
The eight Coda SC8 sensor-controlled subs are positioned in a cardioid pattern under the stage to ensure as much low-end energy as possible is concentrated back into the auditorium. They are also neatly tucked away to maximise sight-lines for the audience.
For stage lip-fills, a pair of Coda Vi-Ray cabinets were added, with everything drive
UK - Cardiff City Council contacted 11th Hour requesting a turnkey solution for the presentation event as the city welcomed back Tour de France winner Geraint Thomas.
The council contacted 11th Hour with the brief just three days before the homecoming was due to take place.
Outside Cardiff Castle, 11th Hour erected a 6m x 5m Trilite stage, complete with cycle ramp and PA system by ABacoustics. As well as power to the stage and temporary media centre, the company supplied two confetti cannons and 58m of Prolyte truss to create 2 x 13m high archways over St Mary’s Street.
With much of 11th Hour’s own truss out on festival duty, the company was able to source its requirements at short notice from trusted partner AED. Every aspect of the event proceeded smoothly, from the build, managed by a highly experienced team operating in what are familiar, busy city centre surroundings, through the presentation itself, to the swift removal of the installation.
Business development manager Jason Venables comments: “At 11th Hour we’re always happy to take up any challenge on behalf of our clients, even at the shortest notice. More often than not, events are notified well in advance and we’re able to take time over planning and implementation but every so often, circumstances dictate otherwise. We are pleased and very proud that Cardiff City Council regularly turns to 11th Hour for a range of solutions and particularly so in this case, where we were delighted to play our part in welcoming home a true national hero.”
USA - Lighting designer Nathan Brittain from LD Systems chose to work nearly 250 Robe moving lights on his rig for the 2018 Houston Livestock Show & Rodeo (HLSR) live entertainment stage which ran for the 20-day duration of the event. This, the largest such rodeo event in the world, attracted over 2.5m people and a glittering line-up of artists who performed on the concert stage in the NRG Stadium in Houston.
LD Systems, also based in Houston, delivered technical design, live sound, concert lighting, HD video screens, custom truss structures, rigging equipment, production crew and logistics support throughout NRG Park for the entire month surrounding the event.
This year saw the debut of the new Star Stage commissioned by HLSR, and a collaboration between LD Systems and staging specialist TAIT, a project that was two and a half years in the making.
The stage is a mobile structure which is moved and laser guided into place beneath the stadium’s video cube centrepiece - also brought in for the event and used for both the rodeo and the concerts.
A major lighting upgrade for the shows followed the instigation of the new stage explained Nathan, who has lit the HLSR concerts for the last four years. “We wanted to focus on bringing the environment to life and make the lighting and video elements as big as the stage itself.”
The 49 x MegaPointes, 60 x Pointes and 128 x Spikies were all purchased by LD Systems from Robe North America, who offered “fantastic support” stated Nathan.
The layout of the lighting fixtures, and the
USA - Federal Hill Commons, a 6.5-acre multi-use site just north of Indianapolis in Noblesville, Indiana, recently opened a community amphitheatre designed to hold any and every type of outdoor event. Professional production company and Elation dealer Stage Tech, Inc. of Indianapolis was commissioned to handle everything lighting on the project from concept and design to installation and programming and turned to Elation’s leading line of IP65-rated luminaires to realise the task.
“The nature of this installation demanded weatherproof fixtures so the IP rating was the first and most important criterion when compiling a list of options,” says Mike Trotta, owner of Stage Tech, Inc. “Elation has a wide range of IP-rated fixtures, so we were able to weigh the benefits of various fixture types and feature sets, knowing that any of them would be appropriate for the outdoor environment. The competitive pricing also ensured we could include enough fixtures in the inventory to provide an effective system within the client’s budget.”
Stage Tech chose to use 6 Proteus Hybrid fixtures, Elation’s multi-functional, IP65-rated arc-source moving head, along with 4 DTW Blinder 350 IP variable white LED blinders and 16 SixPar 300IP LED Par color changers. Lighting design was by Stage Tech’s in-house lead LD David Lapham.
Besides the IP rating, Lapham says the venue’s operator wanted the capabilities inherent in moving lights in order to add excitement to music events. “The Proteus Hybrid’s feature set allows for a high degree of flexibility fo
UK - At this year’s Edinburgh Fringe Festival visitors are not only enjoying comedian Abandoman’s freewheeling performance, but also got an inside look at the lighting that supports his on-stage magic. On Monday evening, 13 August, Chauvet Professional sponsored a behind the scenes tour of the popular entertainer’s FOH and lighting rig, which includes Maverick MK Pyxis and Rogue R1 FX-B fixtures supplied by SLX.
Taking place at the Fringe Festival’s Underbelly at George Square, Edinburgh, EH8 9LD, the ‘Open Day’ event featured a lively chat with Abandoman’s lighting designer Robbie Butler, ALD’s Tom Wilkes, Underbelly’s head of lighting Cat Neufeld, and a special guest on the inspiration and techniques behind successful improvisational lighting.
After the interview and subsequent tour, Wilkes donned his Chauvet hat (he is the company’s UK South pro manager) and joined his Chauvet colleagues Graham Baron and Rob Moore to host an open bar.
“We will be interviewing Robbie on stage for approximately 30 minutes before the backstage tour,” says Wilkes. “Our discussion will cover a wide range of topics, from why Robbie selected the fixtures in his kit, to how he meets the challenge of keeping up with the unbridled creativity and improvisation that characterise Abandoman’s shows.”
UK - ADI supplied in excess of 900sq.m of LED screens across 12 competition and non-competition venues to the Glasgow 2018 European Championships for the benefit of over 250,000 spectators and brand partnerships.
The largest sporting event held in Scotland since the 2014 Glasgow Commonwealth Games featured a combination of ADI’s mobile and modular LED screens - in addition to plasma displays - to suit the specific indoor and outdoor locations.
Nick Robinson, ADI’s director of screen rental, comments: “Nine months of planning have come to fruition with diverse, tailored solutions across a variety of sports and cultural venues. We’ve been able to add value through centralised project management of the screens and HD video signal distribution across all 12 locations. Our delivery of market-exclusive mobile and modular LED provides the very best quality to enhance production values and audience experience, while creating impactful digital platforms that elevate the European Championship’s brand and all associated partners.”
A variety of custom modular projects have been designed and built by ADI for the Games; The SSE Hydro features a 225sq.m screen in 4.6mm outdoor product, delivering in excess of 10,000,000 pixels in a single display. This creates a vast digital backdrop to the gymnastics, providing image magnification and supporting the broadcast of multiple live data feeds and timings. Over at Toll Cross International Swimming Centre - which has a capacity of 5,000 spectators - over 145sq.m of high resolution screens are located around
UK - The Hay Festival, an annual festival of literature and the arts, held in Hay-on-Wye in Powys, Wales, has expanded to encompass a broad spectrum of cultural activities. This year’s 10-day event welcomed more than a quarter of a million visitors.
The festival site comprises temporary marquee structures of varying size (capacities vary from a few thousand to less than a hundred) connected by covered walkways and is located in a field on the edge of the town. The infrastructure required to meet the needs of the festival audience and the 800 or so events that take place is significant.
From lectures, readings, concerts and screenings, to discussions, sales, children’s activities, catering, media centre and more besides, Hay Festival presents logistical challenges that might bring a frown to even the most seasoned events professional. This year, Cardiff-based events services supplier 11th Hour was in the thick of the action having been appointed as the event’s lead production company.
To meet the needs of the site’s eight principal venues, as well as peripheral areas on what is a very compact site, 11th Hour supplied full production, including stage and site lighting, staging, audio and AV (in partnership with Stage Sound Services) as well as generators and mains distribution. The provision covered a varied range of requirements, from large concerts to intimate talks.
11th Hour’s project manager, Pete Morgan, reports: “The site is quite tight in terms of moving equipment around and keeping it discreet and safe. Whilst very detailed
Puerto Rico - As part of his mammoth Love + Dance world tour, Luis Fonsi, the Puerto Rican singer best known for the smash hit Despacito, played on home turf to an ecstatic crowd at the José Miguel Agrelot Coliseum of Puerto Rico in San Juan.
Luis may be a fan of taking things slowly but FOH engineer Yamil Martínez has embraced how quickly he could work on a DiGiCo SD10, which was at the heart of the tour's audio system supplied by local provider Wichie Sound Performance.
Yamil Martínez is a seasoned pro when it comes to hot Latin performances. Prior to spending the last three years as Luis' FOH engineer, Yamil worked with the likes of Ricky Martin, Enrique Iglesias and Alex Campos, and has been a fan of DiGiCo consoles ever since he first got his hands on one.
“I have been using DiGiCo with other artists since 2011,” explains Yamil. “It was back then I first encountered an SD9 and to my surprise the adaptation process was fast enough for me to run the soundcheck and the show very easily from day one. The flow of operation was such that it didn't feel like a first! DiGiCo has always had a reputation for sound quality, but because the SD10 is everywhere and is nowadays considered to be the new industry standard, using one allows us to be consistent.”
On the Puerto Rico leg of the tour, the SD10 was connected via Optocore to an SD-Rack loaded with 32-bit Ultimate Stadius Mic Pre-Amp cards. On the console, the eight local analogue inputs were used as outboard FX returns from a UAD system, a Kaoss Pad and two-track playba
Spain - GLP fixtures have been hard at work in Barcelona, providing DJs with visual dynamics for the annual Wet Deck Summer Series 2018 in W Hotel. The fixtures were provided by rental company, PI Sound having been initially supplied by Monacor Iberia, GLP’s Spanish distributor.
Taking part every Sunday between 10 June and 19 August, the season kicked off in style with Erick Morillo, and also features the likes of Roger Sanchez, Sam Divine, Claptone and many more.
It was back in March that the partners of PI Sound decided to acquire their GLP lighting equipment from Monacor Iberia since they were continually carrying out events of all types, where lighting played a leading role.
With the support of Monacor Iberia, the GLP fixtures have taken centre stage at this famous pool party, where the GT-1, impression X4 L and X4 lit the Barcelona sunset to the rhythm of the best dance music of the moment.
PI Sound lighting designer, Jorge Morales, highlights the GLP products “that offer you endless possibilities for any type of event.” He went on to say: “In our case, whether entering a congress hall for a corporate event, or a house / dance music festival, the possibilities offered by the hybrid GT-1 are endless.
“In addition, the X4 gives us excellent colour quality and unrivalled power for events of all kinds. The zoom setting is especially good, allowing complex designs with relatively few devices. In addition, with the Rain Cover protection accessory, we are prepared for any eventuality without losing the quality of lighting at our
China - When Audi introduced its A8L luxury saloon to the Chinese market, technical service company Redline turned to the BlackTrax real-time motion tracking system to help deliver the wow factor to the launch show.
Each of the cars featured in the show was fitted with BTBeacons which transmitted the exact position of the vehicles as they moved around the stage to BTCams, which then relayed the information to the lighting console so that any lighting look could be designed while automatically following the cars on the stage, regardless of speed or direction, with an accuracy that would not have been possible to achieve manually.
Another big part of the reveal, was the futuristic graphics projected on the floor and not only accented the beautiful car, it also helped explain some of the A8L’s new built in technology and features. The mapped projection interacted with the car as it drove around the stage. As well as the BlackTrax system, the Audi A8L launch show featured no fewer than 30 Panasonic PT-SRZ31KC projectors, 72 Acme lighting features - being used by Redline for the first time - two gx 2 and four 4x4pro media servers from disguise and motion graphics from Notch.
“The cars were the stars of the show - so it was vital that they were accurately highlighted by the supporting AV technology,” says Andrew Gordon, director of business development. “BlackTrax is unique in its ability to automate the tracking of moving objects by projectors, spotlights and so on - which is why it’s being used increasingly in major product launches worldwid
Italy - Six dLive systems were chosen to run the show at this year’s spectacular Primo Maggio event in Piazza San Giovanni, Rome. Over the course of the day, over 30 major artists performed in front of a giant crowd and a huge live TV audience, including names such as Gianna Nannini and Fatboy Slim, and a 50-piece orchestra.
With 36 acts, short changeover times and a live broadcast to the RAI national TV channel, Primo Maggio featured a spectacular revolving dual-stage setup, with each stage having its own dLive system, each consisting of an S5000 surface and DM48 MixRack at front of house, and an S7000 surface with DM64 MixRack and DX32 I/O expansion for monitors. Both M-Dante and GigaAce cards were selected for audio distribution.
Specified by contractor ABC, supported by Arcadia Digital and Exhibo S.p.A, the set-up also included a further two dLive systems comprising C3500 and C1500 surfaces with DM48 MixRacks for the complex communications requirements between stage and front of house.
Additionally, an Allen & Heath SQ-6 was used as a matrix mixer for the wedge and side-fill monitors that were situated outside the revolving stage setup.
To facilitate the broadcasters’ requirements, the main FOH mix from each stage, plus announcements and playback tracks from the VT programme were managed by the ‘central’ dLive comms / continuity system.
Given the complexity of the event, Roberto Marchesi (pro audio manager at Exhibo S.p.A) said the power and flexibility of the dLive system was key to its success. “The dLive was chose