USA - The song fit the moment for Target when the company sponsored a 3:15 minute video of the No.1 Billboard dance hit The Middle during the 28 January broadcast of the Grammy Awards.
Like the awards show itself, the melodic tune, which features country star Maren Morris, EDM producer Zedd and the dance pop duo Grey, illustrates the power of music to pull together a diverse mix of cultural influences. Supporting this musical melding was a captivating video that featured a stunning skyline background of varying geometric light configurations, created by Volt Lites using 325 ChauvetProfessional Nexus 4x4 panels.
Arranged in different heights across the set, which represented the roof of an urban high rise, the Nexus panels flashed on and off in a variety of patterns to evoke powerful images of a city skyline. This setting lent an edge to Morris’ haunting vocals and provided an intense backdrop to the video’s intricate choreography.
“The idea was to create an environment that could support the dynamics of the song in a larger-than-life set,” explained Volt Lites designer and co-founder Matt Shimamoto. “Each element needed to have a moment that could consume the shot at a very specific time throughout the song.
“We went through many different versions of what could be in each of the ‘buildings’ in the background. We selected the Nexus panel 4x4 based on a few principles. We needed something that could be punchy enough to blast through the building windows, yet soft enough to be forgiving when the diffusion was placed inche
USA - Around 250 of GLP’s LED products were deployed at the Pepsi Super Bowl LII Halftime Show during Philadelphia Eagles’ defeat of New England Patriots at the US Bank Stadium in Minneapolis. The show featured a versatile 12-minute set from Justin Timberlake that spanned the entire field.
For lighting designer Bob Barnhart of 22 Degrees, for whom this was his 20th involvement in the event (and ninth as principle LD) the extreme, sub-zero temperatures were just one of the many challenges he faced. The event required all his expertise.
Collaborating with set designer Bruce Rodgers of Tribe Inc, Nick Whitehouse, Justin Timberlake’s designer, and Josh Zangen (of Fireplay), he again drew heavily on GLP’s inventory to help illuminate Justin Timberlake’s show, which took place in eight different performance positions.
Barnhart explained, “JT was turning in so many different directions throughout the show, one of the biggest challenges was just keeping him lit properly. We had many different ‘key’ light looks, but it was quite the process coming up with all the proper angles, especially when you consider that we had to pick our final spot positions way back in September.”
The show opened in a basement ‘Laser Lounge’, doubling as the underpinning of the 360° stage, before JT emerged down the catwalk ramp, and duly used the full expanse of stage and then field (all of which were immersed in production lighting). Over the course of the 12 minutes, he not only worked through his catalogue of hits but paid homage to hometow
Europe - US rock band Paramore's current world tour features a complex array of projection mapped video screens, with the production displays’ psychedelic visuals powered by Avolites' EX8 Ai Infinity Server and Ai v10.1 software.
Production designer Butch Allen devised the show's complex video display. Three concentric rings of truss and screen loom over the audience at a 45° tilt. Managing the tour's substantial projection-mapping system is LMG Touring's technician Grant Draper.
"In terms of video mapping for Paramore, we have multiple planes of convergence and multiple focal points, as everything is on a slant and stepped back on stage," explains Draper. "There is about a foot and half between each circle of the central screen, meaning that even on the most basic level we are not working with a flat plane."
Using a modest six layers of content, Draper has configured the stage's projection screens using Ai v10.1's Autoblend feature. Laying out the mapping as one screen surface in the Ai environment Draper was able to calculate the required warping and blending of the video projection outputs onto the concentric circular screens on stage.
"We use three Panasonic 32K projectors on the show," says Draper. "These effectively act as cameras within the Autoblend 3D environment. I just pointed the projectors at the 3D object - the screens - made it fill the full image of the projectors and basically just used it as a line feed of that. I also used geometry correction within the Autoblend environment. Once I go into the warping features within Ai
Ecuador - Lost Beach Club in the secluded surfers’ town of Montanita was recently upgraded with an Evo system from Funktion-One.
Kami Tadayon founded in 2012 with the ambition to create a club that would garner international acclaim and be visited by top DJs.
“Lost Beach is unique,” he explains. “You’re under the stars, on the beachfront, in a town of 1,000 residents, and you have this superclub, with the best sound system in the world and some of the best DJs in the world coming to play every weekend. There's nothing like this anywhere in Ecuador - or even Peru and Columbia.”
Far from a hindrance, the club’s remote setting has fuelled a reputation for being among the best beach club experiences on the planet, and ensured that those who do make the journey arrive with a real passion to party. At Kami’s insistence, Lost Beach Club has, from its inception, featured a Funktion-One sound system at its heart. Ever one to push for the very best, he recently ramped things up a notch with the addition Funktion-One Evo 7 and Evo 6 enclosures.
It was back in 2003 that Kami first found and immediately fell for the unmistakable Funktion-One sound. Relocating to Ibiza for two years, he quickly embraced the island’s superclub scene, witnessing from within the incredible sound systems installed at venues like Space and Privilege. “Space Ibiza was a big inspiration for me,” Kami remembers. “I studied and investigated the place thoroughly and swore to myself that one day I would start a club and take it to the same level.”
USA - Following his successful Valentines concert series, singer-songwriter Erick Baker returned once again to the historic Bijou Theatre with Bandit Lites for two more sold-out evenings.
Baker is known to his fans for baring his soul in performances, and to mirror that intimacy and tenderness in the lighting, the team at Bandit Lites crafted a design that would set the right mood.
“We provided seven of our new crystal chandeliers to help set the mood,” said Bandit Lites general manager, Giff Swart. “With the warm glow of tungsten and the refractive properties of the crystal, it is a huge effect. We also provided Freedom Pars to light the cyc backdrop. Lastly, we provided eight Martin Mac 2000 Performances with custom heart gobos, which when used in conjunction with the effects-wheel, looked stunning.”
Lighting director Alex Becker utilised and re-focused all the Bijou’s existing LED stage wash fixtures and Leko ellipsoidal front wash, in addition to tying in Bandit’s fixtures with their DMX control console. Bandit Lites DF-50 provided haze, giving the stage additional dimension and mood looks for the intimate performance. While balancing colour-combination, beam-looks, and basic front light to compliment any song is a normal challenge in lighting direction, the added dimension of the evening’s romantic nature added another component to balance.
“The crowd usually wants to be able to see the performers, but ultimately it is a visceral experience the audience really craves,” noted Swart. “The Bijou itself is a smaller venue,
UK - Helping to add a touch of colour to the new studio installation at Dancing on Ice, illumination rental and installation specialist LED Creative provided over 1600m of its Alpha 60 RGB system and 750m of their Sigma 60.
Housed within a custom-built studio structure, the Dancing on Ice set is a vibrant, super versatile space featuring an interview and judging dais swathed in neon tones and an ice rink. Against a bank of video walls, the rink set has been creatively formed to combine the show’s ‘ice swirl’ branding with a flexible lighting installation by LD Dave Davey that can adapt instantly to reflect the myriad of musical styles that accompany each performance.
Scenic designer Dominic Tolfts has cleverly applied the LED Creative Alpha and Sigma systems throughout his design, adding highly controllable colour, movement and intensity to the set pieces, to create a dynamic, dazzling backdrop to the show.
Working with lighting gaffer Dave Hallet, LED Creative’s project manager Tim Rees and gaffer Brad Purse, the crew also employed the company’s BYTE Controllers and silent running BIT Control units to help allow maximum precision and artistic control over the LED installation with minimum programming time.
Speaking about LED Creative’s Alpha and Sigma systems, Dominic Tolfts says, “Working with LED Creative is always a pleasure and their attention to detail is second to none. The versatility and ease of use of the led systems that they supply are brilliant. The products give the unique elements of the set design i
USA - Justin Moore’s Hell On A Highway tour started in mid-October 2017 and continues into 2018, with the country singer set to visit over 40 cities across the USA.
Audio contractor Special Event Services are deploying part of their large Outline inventory for the tour. The main PA comprises left-right hangs of 12 Outline GTO C-12 modules with a single, wide-dispersion GTO-DF down-fill cabinet flown at the base of the array. Six Outline LAB 21 HS subwoofers per side provide the low-frequencies, while six Outline LIPF-082 dedicated stage lip-fill enclosures cover the seats immediately in front of the stage.
Moore’s long-standing engineer Jeff Oliver is manning the FOH console and is clearly enjoying touring with SES’s Outline system.
“When it comes to mixing Justin Moore every night, I want a system that faithfully represents what I’m sending to it and it’s no surprise that Outline’s GTO C-12 never disappoints.
“Our show is very dynamic in design, as it ebbs and flows from slower ballads to straight out heavy rock & roll country. These dynamics require a PA system that is precise during the quiet, intimate songs as well as in the hardest hitting moments. With over 700 shows under my belt mixing Justin, I’ve never come across another system that has the sonic accuracy and headroom of Outline’s GTO C-12 - I know that when I step up to the console every night, even without a sound check, I can push up my VCAs and be right back where I was the night before.”
Jeff concludes, “Mixing a concert for me is abo
Turkey - J&C Joel, in conjunction with their regional distributor Eramita, received the Turkish President’s seal of approval when they were commissioned to fit the stage engineering solutions at TCCB National Congress and Cultural Centre.
The Congress and Cultural Centre is one of the largest multi-purpose halls in Turkey and is located within the grounds of the Presidential Palace Complex in Ankara. The venue will be home to several types of performances ranging from concerts, operas, theatres, musicals to congresses or big meetings.
J&C Joel’s engineers took on one of the company’s biggest ever installations despite being caught in the middle of an attempted military coup in the country’s capital city. The installation in the 2,042-seat theatre took around seven months to complete with a team comprising a site project manager, four UK fitters and three local labourers.
J&C Joel’s project engineers carried out a full installation of the private theatre’s stage engineering solutions and drapery. This included a 45-axes powered flying system to provide over-stage suspensions for lighting, scenery and stage drapery, and a complete lift system consisting of a front of house lift and two orchestra lifts driven by Serapid Link-Lift systems.
The company also manufactured and installed main FOH curtains from custom-dyed Vegas Velvet Velour. Forestage Loudspeaker Hoists were also installed for the suspension of speaker clusters and the company also supplied a full Wenger ‘Diva’ Concert Shell system and all the loose Wenger
USA - Philips Lighting reports that its Philips VL6000 Beam was chosen by lighting designer Bryan Hartley to create his 'rock theatre' design for the recent winter tour by Trans-Siberian Orchestra.
Hartley, who has lit the American rock band's shows for the past 18 years, found the output and appearance of the new VL6000 Beam suitable to create the searchlight effect. He says: "The VL6000 Beam has an awesome output, which more than delivered to expectations."
Hartley continues: "I wanted to sync' the production with the show's story, which is about a child who wanders into an old theatre. I designed the set to be an old theatre during narrations, then during the songs the stage morphs into a rock stage. The impressive output and the look of the VL6000 Beam helped to create that old-style movie Skytracker look."
Hartley adds: "I wanted lots of small lights, but also some big lights, positioned at each side of the theatre, to stand out among the rest. The VL6000 Beam looks the part. I also have three huge video screens and the VL6000 Beam is so bright, it's able to cut right through and be visible against that LED background."
The show's design pays tribute to the late Paul O'Neill, the band's founder and lyricist who passed away in April 2017. O'Neill's love for the concept of ‘rock theatre’ survives through Hartley's design. Hartley explains: "Paul was everything Trans-Siberian Orchestra. His passion made it the most amazing show, year after year. He loved the term rock theatre, so I came up with a theatre of light that coincides with the
Guatemala - Nexo’s STM Series modular line array was installed at the Cultural Centre Miguel Angel Asturias, also known as the Teatro Nacional de Guatemala.
Built on the site of a former fort and, at one time, a prison, the theatre is renowned for its architecture designed by Guatemalan architect Efrain Recinos. Opened in 1978, it is now the country’s largest cultural complex, with its auditorium capable of housing audiences of 2000+, to watch up to 300 artists on the large stage, and more than 50 musicians in the orchestra pit.
The theatre’s technical director Luis Tala welcomed the completion of the system installation. “This is a very special moment. I remember when I started talking about this project with Celso Papadopoulos of Nexo Latin America, more than 12 years ago.” By the time official authorisation was received, Nexo had released the compact STM M28 main modules, providing one of the most popular configurations of its modular STM Series line array.
Teatro Nacional’s new system comprises left and right clusters for the main PA, each using 12x STM M28 modules, with eight STM B112 bass modules flown alongside. Behind these two arrays, a third line is flown with four STM S118 subs.
Four more S118 are mobile on the stage, providing additional subbass when required. On each side of the stage, side-fill is delivered by three STM M28 plus two S118 subs, which can be flown or used on the ground. Nexo’s 45°N-12 line monitors are used for onstage monitoring, with additional monitoring requirements met by Nexo PS15 full-range ca
USA - A live concert to celebrate Porsche’s new Panamera hybrid automobile was mixed on an Allen & Heath dLive S Class with S7000 Surface, DM64 MixRack and DX32 Expander.
The Engine Notes concert, held at the Porsche Experience Centre in California, featured Dave Navarro, Mark McGrath and other rockers performing as The Royal Machines and was co-sponsored by Rolling Stone magazine.
Shawn London mixed FOH for the concert with sound and lighting systems provided by Los Angeles based Harmony Event Productions. London, a 20-year veteran FOH engineer, has mixed for bands like Eagles of Death Metal, Jane's Addiction, 30 seconds to Mars, The Used and Fishbone.
He noted, “For the Porsche event, they needed feeds for FOH but also for a video recording and cues for a lighting director, and an overall production director. And, they wanted to do two simultaneous multitrack recordings. So, they had originally proposed a different digital mixer but I told them we needed a dLive to provide all of those feeds and coordinate all those mixes.”
“The production spaces were 350ft from the mix booth,” London said. “So we fed everything over the network from Dante cards in the S7000 and DM64.” He used the DX32 to send and receive channels to the video production area allowing time-code to be added to the multitrack recordings. “That’s the great thing about the dLive,” said London. “You can send audio all over the place and still have plenty of feeds left over. You can’t surpass that workflow with any other mixer.”
UK - Sitting on the banks of the river Mersey in Liverpool, the Grade II listed Cunard Building embodies the rich maritime history of the city. Constructed in the heyday of Liverpool’s shipping industry between 1914 and 1917, the building was the headquarters of the Cunard Line until the 1960s and was also home to Cunard's passenger facilities for transatlantic journeys departing from the city.
When the building’s current owners recently decided upon bolstering its evening appearance on the waterfront, they turned to local install specialists Adlib for an architectural lighting concept, who specified 24 Colorist Panel 36Qa and 14 Colorist Panel 8Qa Iluminarc fixtures to accentuate the building’s Italian Renaissance-inspired architectural aesthetic.
“It was a tough task to illuminate one of Liverpool’s most iconic buildings and UNESCO World Heritage Site,” commented Adlib installations manager Richard Murphy. “The Colorist fixtures, however, offered a perfect solution to tastefully illuminate the building’s façade and draw attention to the building’s subtle sculptures.”
Murphy and his team positioned 24 Colorist 36Qa fixtures along the ground to illuminate the lower three floors of the building, with the 14 Colorist 8Qa fixtures positioned midway up the building to provide coverage to the upper three floors.
“The Colorist panels provide excellent even coverage to the building’s façade,” continued Murphy. “As a result, the simple beauty of the building is highlighted, with the building clearly visible from the othe
USA - With Lana Del Rey’s most recent album, Lust for Life, prominently appearing on many critics’ top lists for 2017, the sultry singer-songwriter has been on the road in North America this January and February with LA to the Moon, her first tour since 2014.
FOH mixing duties for the Sound Image-reinforced trek have been in the capable care of Kevin Madigan, perhaps best known for his work with David Crosby, Graham Nash and Steven Stills. With the task of bringing Del Rey’s dreamy, intimate pop to audiences in hockey arenas and other equally acoustically challenging venues, Madigan has two secret weapons: a well-honed ear for great, vocal-based song craft, and a passion for exceptional PAs, in this case, a DiGiCo SD5-driven L-Acoustics’ K1 system.
“We’re not trying to get huge SPLs - quality is the key, and that was taken into account with the PA choice and system design,” Madigan notes from Orlando, Florida after surviving a month of dates mostly in the Midwest and Northeast where the temperature on opening night in Minneapolis was 26 degrees below zero.
“It really is a show that’s very vocal-based. It’s all about the songs and her voice. So, keeping that in mind, I initially met with L-Acoustics’ Dave Brooks [application engineer, touring liaison] and we came up with a system design that allowed us to maintain the feel of intimacy in a large arena show. The coverage and the quality of the system make that possible and the linear reproduction of sound everywhere really helps people to feel as if they’re quite
UK - Rental production company Neg Earth Lights has added the Chroma-Q Color Force II LED cyc, wash & effects light to its stockholding and is supplying the fixture for a number of high-profile concert tours, live music events and TV shows.
Lighting designer Tim Routledge approached Neg Earth looking for a LED washlight for a particular project, and was impressed by the Chroma-Q Color Force II.
In recent months, he has utilised the fixture on a variety of projects. These include using nearly 60 Color Force II to powerfully illuminate the entire room as a single surface for a show by a leading British pop artist inside one of The Tanks - huge concrete, circular underground rooms at the Tate Modern measuring over 30m across and 7m high.
In addition, Tim has utilised nearly 40 fixtures to provide different floor lighting packages for performers during six shows in the latest series of The X Factor.
He says: "The Color Force II are my new 'go to' LED cyc and wash light. They are super bright, the colours are really great, and the evenness of the cyc lighting is superb. I've previously used the original Color Force many times, but the new fixture takes this type of lighting to another level."
Neg Earth has also supplied its stock of Color Force II units for a number of other recent and upcoming high-profile entertainment projects.
They originally trialled Color Force II when, as the premier rental supplier for last year's Glastonbury Festival, Neg Earth made the fixture central to its lighting package for the Pyramid Stage. Nea
South Africa - The recently-opened, multi-purpose Sun Arena at the Time Square in Pretoria (see report on the venue in LSi March 2018) hosted the Extreme Fighting Championship (EFC) in December last year.
With the heavyweight title up for grabs, it was lighting designer Gary Sam who was throwing the blows. In his arsenal was the in-house Robe lighting system which South African distributor DWR Distribution supplied to the new venue. The lighting included 12 Robe BMFL Spot, 6 Robe BMFL Blades, 12 BMFL WashBeam, 24 Robe Spiiders, 24 Robin Pointes, 12 Robin LedBeam 100, 42 Longman F4Up and a LeMaitre MVS.
“The brief from EFC was to make the show look as spectacular as possible, using effect lighting without compromising the TV ‘key’ lighting,” said Gary. MGG Productions were the technical support at the venue and assisted with set up, while Gearhouse South Africa supplied all the generic lighting and additional crew.
“This was EFC’s final event of the year, and also the finale to the EFC reality show called The Fighter,” he explains. “What made it special for me was being able to have more lighting fixtures than usual at my disposal which allowed me to make the event look and feel even more spectacular.”
A highlight for Gary was also working with the crew on the event. “The event was made special thanks to the MGG and Gearhouse team who were there as tech support. I always say that the crew make the show happen.”
USA - Southside Baptist Church in Warner Robins, Georgia, recently upgraded its dated LCD video system with a high-resolution FLEXTour 2.8mm LED video display provided by Nashville-based LED video manufacturer PixelFLEX.
Chris Clark, Southside Baptist director of media, explains: “In our previous design, we had an array of twenty-four 65-inch LCD TV’s, with a 2-inch bezel around each unit, so you can only imagine our challenges and frustrations. With the LCD display, it was impossible to create a seamless image, and it looked a bit clunky and cheap. Since I go to a lot of sporting events, I knew LED video would be an ideal solution, and we couldn’t be happier with our new high-definition, video system from PixelFLEX.”
Clark continues: “During our initial research, we also thought about the possibility of using a projection system, but it’s simply not as bright as LED video, and you have to worry about regularly changing bulbs. LED video is just better all-around, from both a maintenance and performance perspective, and after meeting with PixelFLEX, I knew that no matter what LED product we chose, it would be a PixelFLEX solution because working with them is like working with a friend.
“I am the full-time video technician at Southside Baptist and then we also have a volunteer crew that assists as well,” adds Clark. “During the installation, the FLEXTour system went together very easily, and as far as control, we come straight out of a computer running ProPresenter, into the PixelFLEX sending unit, and then to the LED screen in a ver
USA - Cornerstone Church in Milwaukee, WI, a portable church that converts into a large banquet hall and wedding venue, has recently upgraded to a Martin Audio Wavefront Precision Mini line array system.
Wavefront Precision introduces a scalable approach to resolution and control of coverage that functions in tandem with external, dedicated multi-channel amplifiers in a uniquely flexible, upgradeable, and price-conscious system. The more cabinets with dedicated amplifier channels, the higher the resolution and scale of coverage control achievable.
System designer and integrator David Price says: “The hall is in a historic building and has several acoustic challenges which explains why we chose the WPM system. The room has a mammoth 35ft. tall x 30 ft. wide curved centre channel area where tons of acoustic energy can get trapped. WPM gives us control over directivity of the system so we can avoid that area and put the energy on the audience where it needs to be.”
Marble columns are spread throughout and the ceiling is all plaster with no acoustical panelling, and many cavities. “They also needed the system to be loud for the contemporary worship service without killing people in the first couple of rows, which happened with the previous PA because they had to push it so hard,” Price continued.
“With the Martin Audio WPM system, we could control the sound coverage from front to back and use the internal DSP to figure out the smoothness of coverage in terms of SPL they preferred. And now they’re incredibly happy with the system. Every
USA - A successful band setting up a studio is not particularly noteworthy, but when it is set up to record in DSD and features a 4K video stage, this is clearly unusual. Furthermore, this new facility is located on Nashville’s doorstep which is home to many famous studios, suggesting this is a bold move.
DSD recording is relatively unusual for a conventional studio, although commonplace in the classical recording world with the majority of concert halls and opera houses being so equipped. This is no ordinary studio but, regardless of musical genre, DSD means Merging Technologies and in this case Pyramix MassCore with two Horus networked audio converters.
The successful group behind this project is the Annie Moses Band, very much a family venture blending traditional American folk songs with a strong classical influence. Their live and predominantly acoustic performances influenced the design of ManAlive Studios.
The idea was to be able to capture a live performance in the best quality audio and video which is not something you can typically do in the neighbouring Nashville studios. The plan crystallized about six months ago and includes a 4,000sq.ft sound stage with full lighting, six 4K cameras, Pyramix and Pro Tools HDX recording and an SSL AWS console. The idea is to have the ability to stream, broadcast or just record the music with or without a live audience. Flexibility and quick turnaround are key to the studio’s philosophy.
“We have been extremely impressed by the depth and audio quality of DSD. It is creatively exciting and mee
USA - Ross Dettmering, owner of D24K Sound, welcomes the scepticism he gets from clients when he tells them he'll cover their event with high-impact, high-fidelity sound using only a tiny fraction of the boxes that they're used to seeing.
For example, D24K Sound recently covered a crowd of 5,000 Drexel University students who packed together to watch rapper Kehlani using only a stereo pair of Danley J3-94 Jericho Horns for full-range content, along with four Danley BC-415 and six Danley DBH-218 subwoofers. D24K is among a small, but growing number of event production companies that are standing apart from the competition by offering their clients Danley Sound Labs' “crystal-clear fidelity, honest bass, and improved sightlines”.
"I first heard about Danley from a sound engineer friend who told me that Danley was building single boxes that were powerful enough to cover an entire stadium," says Dettmering, referring to Danley's inroads in the sports arena market. "That struck a chord with me. I looked into their technology and got the back story on inventor and acoustician Tom Danley and all of the patented technologies he's using to design the Danley loudspeakers and subwoofers.
“It sounded like a more principled way to design big sound reinforcement systems, and all of our competition is deeply invested in the line array technology that the Danley boxes outperform! Going with Danley seemed like a great way to differentiate D24K from all the other guys."
Dettmering also admitted that the idea of setting up and tearing down a handful of box
Spain - Barcelona-based lighting designer Ezequiel Gomez has worked on Spanish singer David Bisbal’s latest Hijos del Mar tour which has already visited Spain and Latin America. The LD chose Robe for the majority of the moving lights, with Spiiders, Pointes and LEDWash 300s key fixtures on the rig.
Ezequiel, who has been working for the artist since 2009, insisted the stage and scenic design for this tour had been a collaborative effort between the artist himself, Brian Sellei from Menos que Cero, Universal Music, Barcelona-based LED specialists LEDSCONTROL and performing arts collective SomosLuz (We Are Light), of which Ezequiel is a member.
LEDSCONTROL presented the initial ideas from which the stage look evolved, coming up with an idea to have partially enclosed LED ‘cabinets’ for the band risers. Ezequiel and his team at SomosLuz adapted this and made it a tourable concept. The video was created with direct input from David Bisbal by the SomosLuz video department, headed by Lucas Averbuj.
The 24 x Pointes, 24 x Spiiders and 36 x LEDWash 300s were positioned on five trusses which wrapped around the back and sides of the stage and were also used for rigging a series of 4m wide by 1m high LED video screens.
LX 1 was the most downstage of these trusses and LX 5 the most upstage, the latter rigged with the 12 of the Spiiders. LX 4 featured 12 x Pointes and LX 2 and three were both loaded with six Pointes and six Spiiders alternating. The LEDWash 300s were all on the side trusses.
The LEDWash 300s were used to illuminate the b
USA - The Conga Room-LA Live isn’t photographed and videoed quite as often as the celebrities who frequent the nightlife, concert, and private event venue, but it comes very, very close.
Located directly across the street from the Staples Centre, the sleekly designed 1000-capacity multi-room site regularly hosts press conferences, after parties and other functions associated with major award shows like the Grammys, Emmys, X-Games, VMAs, and ESPYs, as well as film and album releases, all of which are press magnets. Lately, the photos and videos taken at the celebrity co-owned A-list venue are looking better than ever, thanks to the installation of 34 Chauvet Professional fixtures, supplied by RAT Sound and designed by Aaron Silvie.
“There has been a stunning improvement in our image quality on film and still photography as a result of these lights,” said Woody Nuss, production manager of the Conga Room-LA Live. “The room now has a beautiful even light field, and the improved image resolution that results from this is obvious even to casual observers. Our social media and marketing look fantastic, and our film/TV associates are ecstatic.”
The Conga Room-LA Live’s lighting system is anchored by four Maverick MK1 Spot fixtures, along with eight Rogue R2 Spot, eight Rogue R1 Spot and12 Rogue R1 Wash units. Together, these movers are used to add visual excitement to the stage and dancefloor, while also providing a smooth, richly coloured light to bring out the best in photos and video images.
Accenting the architectural elements are tw
UK - The Gatecrasher Classical club night landed at Sheffield City Hall in January, with dramatic lighting controlled by Avolites consoles.
Birmingham-based Stage Production provided the technical know-how for the laser and lighting spectacular, achieving that 'Gatecrasher feeling' by hitting the crowd with myriad effects. The team supplied all lighting, rigging, staging and technical production for the event and designed the light show.
Stage Production managing director Jordan Lake was production director/designer for the gig, working alongside Ben Butler as lighting director/designer. The duo used an Avolites Sapphire Touch and Tiger Touch II console with Fader Wing to control the ambitious production.
"Gatecrasher fans expect massive lighting shows and it was up to us to deliver," says Lake. "Gatecrasher has always understood that it takes more than a big-name DJ to make a party successful - it's a combination of the perfect sound, the best lighting, the biggest lasers, the most outrageous effects and performers."
One of the main things the team had to take into consideration was the on-stage orchestra, which performs as part of the classical/dance event.
"None of the lighting could distract or obstruct their ability to see or play, so we designed a powerful, even wash with only colour changes, and positioned all blinders, strobes and eye-candy units carefully," Lake continues. "The bulk of the lighting was mid-air FX and beam-work, which spent the majority of the time in the air or on the crowd, rather than on the stage."
The Netherlands - One of Holland’s first installations of Nexo’s new Geo M10 mid-size line array has been completed in the Stadsgehoorzaal in Kampen, a classic 125-year old city theatre in the traditional Dutch style.
The plush red auditorium of the Stadsgehoorzaal, which seats 480, has just been equipped with a Nexo line array system in a L/C/R configuration, with Nexo’s super-compact ID Series loudspeakers for fills.
The design story starts with the theatre’s large central chandelier, which challenges most sound reinforcement system designs, obstructing sound from reaching the balcony. Bert Koenders, from Nexo distributor and installer Iemke Roos, worked closely with the theatre’s head of sound Larz Kemper and his installation team, coming up with a design which deployed small clusters of a pair of Nexo Geo M6 line array modules - these were ceiling-mounted left and right of the chandelier to handle dispersion to the seats in the balcony.
The main PA consists of four-module arrays of Nexo’s new mid-size line array, the GEO M10. These arrays were mounted left and right on the proscenium arch, with a centre cluster of five Geo M6 above the arch. All these speakers were presented in a special olive green RAL colour, to ensure a tasteful match to the theatre’s décor.
Another innovative touch was the installation of ID24 point-source loudspeakers into the proscenium arch itself, artfully hidden yet providing essential front fill along with three additional ID24 units across the front of the stage. For sub bass, the main system uses
USA - The XLNT CyberHoist IITM system by CyberMotion recently finished the US leg of Fall Out Boy’s Mania tour. Sixteen CyberHoist II Intelligent, variable-speed chain hoists and one MotionCue 3D console, plus two hoists spare and one console spare were rented to Fall Out Boy management for the 2017 autumn tour.
The hoists were used to float a B and C stage above the crowd with artists on top of them. The B-Stage consisted of a double layer, where the top was raised to reveal a secondary B-Stage with drum set and drummer on top. This bottom, or secondary B-Stage, would then grab onto the video skirt surrounding the B-Stage to lift the whole thing above the crowd.
The C-Stage was used as a three-sided iMag screen throughout the show and it landed during the show to create the C-Stage for the lead singer and bassist. This stage then raised over the crowd so the upper level of the arena bowls could have a closer interaction with the artists. The gear was supplied out of the CyberMotion North American office located in Manheim, Pennsylvania.
Fall Out Boy production manager Chad Olech says: “The CyberHoist II system is definitely the right equipment for the job. It has allowed us a great deal of flexibility for a variety of venues and lends an overall very sleek and sexy look to the set. It’s also a huge plus to deal with a company with really fast, attentive, no-drama service. We always got quick turnaround on quotes and questions.”
PJ Visser, who runs the North American office for CyberMotion, adds: “We deal with sales and renta