UK - The Warehouse in Leeds will bring back live music to the fore later this month, building on a legacy that includes performances by U2, Oasis, The Stone Roses and Soft Cell.
Celebrating its 40th anniversary, The Warehouse has had a quarter of a million pound investment into the production infrastructure and now boasts three rooms with a capacity of 600 for live music and 1100 for DJ-led events.
Curated by TEG | MJR, the live music 2020 programme will showcase a mix of touring artists and local musicians on a regular basis, with the first events kicking off later this month.
The Warehouse relaunch weekend will kick off with a live performance from singer-songwriter Badly Drawn Boy on 23 January, followed by two sold out performances from Terrorvision on 7-8 February.
TEG | MJR has added a new L-Acoustics sound system which brings the live and club experience into the modern day. The venue now also has a new Chauvet R2X line of lighting fixtures, covering the entire main room and is accompanied with a new video wall and CO2 jets. In addition, the stage will be suitable for live and club events, with the ability to extend for larger set-ups.
Dan Ickowitz-Seidler, chief operating officer of TEG | MJR, says: “Live music is a huge driving force in any big city and we wanted The Warehouse to showcase a real plethora of events. The venue was built on live music and what better way to celebrate 40 years of The Warehouse than bringing back its roots.
“We’re looking forward to welcoming a credible selection of performers and club
Austria - Back in 2016, Wiener Staatsoper (Vienna State Opera) with its chief sound engineer Athanasios Rovakis, started investigating the possibility of moving the venue’s audio and video distribution to fibre. At first, the opera house modernised its audio system, purchasing a network fibre solution based around Optocore X6R-FX analogue devices and M8 MADI switch to bring together additional signal sources from distant places in the house, and to share signals for broadcasting.
Looking to expand their communications outreach, by the following year they were considering further options provided by Optocore’s partner company BroaMan. This resulted in them purchasing a point-to-point set of Mux22 multi-signal transmission devices, with the new FrameSync8 board. Offering a superior upgrade to traditional frame sync technologies it allowed sync distribution together with eight video channels, IP and serial data.
But the upgrade path was far from complete, and this year the State Opera invested in a complete BroaMan architecture, with a system based on 10 Repeat48WDM, which provide five point-to-point transport systems with 12 video channels, each transported on a single duplex fiber; a Repeat48 electrical-optical media converter, with six SDI-In and six SDI-Out; and six compact Repeat8-NANO to convert SDI to and from fibre. All video is transported on multimode fiber.
“The audio control room has been steadily upgraded over the past 70 years, with devices from many generations and manufacturers - all with their own unique formats, connections and
UK - When Peter Daffarn, MD of Photon Beard was contracted to design, supply and install some studios at YouTube London, he brought Doughty Engineering on board to provide a range of kit.
“Dave Errock of Wave Science Technology first got in touch with Photon Beard - initially just for some consultancy and to prepare the tender documents,” explains Daffarn. “However, it wasn’t long before we were asked to manage the entire fit-out. For a company like YouTube, we needed a solution that not only performed well, but looked great too. And that’s why Doughty were my first port of call.”
YouTube wanted a functional yet aesthetically pleasing suspension system so Doughty supplied a range of curtain tracks, hoists and grids - some off-the-shelf and others made especially for the project. “Working with Dan and his team we came up with a solution that YouTube loved. There’s no doubt that Doughty helped us overcome a number of challenges to get both looks and functionality 100% spot on - something I doubt we would have achieved with any other company,” claims Daffarn.
Since collaborating on YouTube London, Photon Beard and Doughty have gone on to partner on other projects including YouTube Berlin, Google DeepMind and Financial Times TV. “What started as one great job has seen us make a great team on several other great TV/broadcast studio jobs - all with very happy customers. There are several more in the pipeline that we’re very excited about,” continued Peter.
“Doughty really is the best there is in my book,” says Daffarn.
Czech Republic - Transmission is Europe's most spectacular trance music festival, with a legion of loyal fans who return year on year. As usual, the 2019 event was enhanced by haze from MDG generators, which showcased the spectacular lighting and laser shows that accompanied the artists.
Transmission is held annually in Prague at the O2 Arena and attracts thousands of fans from over 70 countries. The line-up for Transmission 2019 included trance legends such as Blastoyz, Cosmic Gate, Darren Porter, Ferry Corsten presents System F, Giuseppe Ottaviani, Key4050, MaRLo and Thomas Coastline.
The acts are knitted together by Transmission’s unique, themed storylines that take the visitor on a journey throughout the night, with each artist introduced by their own bespoke ‘show movie’ and visuals, all of which are accompanied by spectacular lighting, laser and special effects. To showcase the lighting and lasers to peak effect, Transmission’s lighting designer, Bas Kemper, needed to fill the huge 15,000-capacity venue with large quantities of smooth, pure white haze. He knew exactly which manufacturer to turn to which would give him precisely what he needed. He invested in an ATMe haze generator from MDG and three MDG MAX 3000 generators, supplied by Rudo Tucek of Slovakian rental company, Ministry.
“The venue is huge and filled to capacity for the festival – the stage alone is 48m x 24m and the floor space covers approximately 80m x 80m, with the hall stretching - with the tribunes included - to something in the region of 120m x 120m,” says Ke
Russia - Astera’s wireless LED Titan Tubes helped the action come alive in Moscow for performances of The Worker and Kolkhoz Woman, a comic opera by Pavel Kaplevich, staged at the Zaryadye Concert Hall.
The opera is dedicated to the history of one Russia’s most famous monuments, The Worker and Kolkhoz Woman, a 24.5m-high sculpture by Vera Mukhina, renowned globally as an example of socialist realism and art deco. Two figures - male and female - are leaning forward holding a hammer and sickle above their heads. The work was designed for the Soviet Pavilion at the 1937 World’s Fair in Paris and was subsequently moved to Moscow. It is instantly recognisable as a powerful Soviet-era symbol.
Last year marked the 130th anniversary of Vera Mukhina’s birthday and the 80th anniversary of the monument’s ‘home’ at the Exhibition of Achievements of the National Economy (VDNKh) in Moscow.
In the opera version, Worker and the Kolkhoz Woman come to life as two real workers who get packed up and sent to Paris for the Fair, where they reassume their poses and engage in a series of bizarre and surreal adventures and encounters - including with Marlene Dietrich and Pablo Picasso.
Lighting designer Alexander Krasnolutsky created a distinctive look and style for the show utilizing a conventional lighting rig, LED screens and the 60 Astera Titan Tubes that were a central element to the performance.
Alexander explained that he could not work with traditional beam lights as the Zaryadye Concert Hall itself has high ambient light le
USA - Anyone enjoying Maroon 5’s New Year’s Eve special shows at Mandalay Bay Arena in Las Vegas would have witnessed the elegant geometric lines of Brian Jenkins’ production and lighting design, for which he utilised over 200 Robe moving lights.
The band have frequently played this December slot at the venue in recent years, and the objective for 2019 was to present a new and fresh visuality for the occasion, different from any of their touring shows. This year the New Year shows were ahead of an upcoming album release and 2020 world tour.
Jenkins had wanted to “go geometric” as a design concept for some time, and this presented him with the perfect opportunity, together with the relative luxury of two days for the get-in and set up.
Knowing the band’s video content also helped fuel Brian’s thought process. The upstage LED screen was a triangle 50ft wide at the base and 30ft high, and this was flanked by two angled lighting pods either side at the top - in a diamond orientation - with a third pod over center stage, also at 45° to keep the triangular / diamond architecture. These three trussing pods were each filled with 49 Robe Spiider LED wash beams in a 7x7 matrix format.
Brian needed a lightweight fixture for this that he could source easily in quantity, and that had some degree of pixel control. Spiider was “a robust fixture and a great fit”.
Fifty-six MegaPointes were on the plot. Describing these fixtures as “reliable and with plenty of tools”, 30 MegaPointes were positioned along the sloping edges of the
UK - Event production services & hire company Light Design supplied Claypaky Sharpy Plus moving spot lights for the recent 2019 UK Festival Awards, hosted at London’s Troxy.
A long-time user of Claypaky products, Terry Lewsey, MD of Light Design, was very keen to add the Sharpy Plus fixtures to his rental stock. He comments: “For us as a rental company, the Sharpy Plus is the perfect fixture and exactly what we were looking for. As a beam spot hybrid, it does both jobs very well.
“We already stocked a number of fixtures from Claypaky’s range and have years of trust in the brand. The Sharpy Plus’ versatility, combined with how rider-friendly it is and the strong appeal of Claypaky products as rental items, made it a logical decision for us to add it to our portfolio.”
Jonathan Walters, UK sales & purchasing director of A.C. Entertainment Technologies, Claypaky’s UK distributor, provided the fixtures to Light Design. Lewsey comments: “It’s always great to work with Jono and his team at AC-ET. They are always so helpful and knowledgeable, especially when it comes to supporting us with both new purchases, and existing product support.”
UK - Adlib supplied full audio production to the Glasgow and Manchester gigs on the recent UK leg of Snarky Puppy’s Immigrance world tour, plus a control package - comprising two Yamaha CL5 consoles for FOH and monitors, a line system and all the associated cable and distribution infrastructure for the other UK and European dates. These included one night at London’s Royal Albert Hall.
Grammy award-winning, Brooklyn New York-based multi-genre ‘jam’ band Snarky Puppy embraces a lively mix of jazz, pop, rock and world music. The Immigrance album dropped in the Spring of 2019 and this was part of a seven-month world tour to support the work.
Adlib was asked onboard by the Band’s production manager Rosanna Freedman who has enjoyed a long, strong and very positive working relationship with the Liverpool-based company.
Rosanna first met Adlib in 2006, when she was managing popular Manchester live music venue, Band on The Wall. The production manager there at the time asked Adlib to design and install the new house PA system, for which they did “an amazing job,” she recalls.
Adlib’s Phil Kielty project managed from the office, working closely with Michael Harrison mixing FOH for this leg, and Matt Reccia on monitors.
The two full audio production shows supplied by Adlib were Manchester Apollo and Glasgow Barrowlands.
L-Acoustics K2 systems were deployed for both gigs, with 12 K2 a side plus eight ARCS front-fills, four X8 lip-fills and 12 KS28 subs in Manchester; and six K2 a side in Barrowlands together wit
UK - Bristol punk band IDLES enjoyed a heavy 2019 global touring schedule, and this continued into the UK up to the end of the year.
It was the band’s first full production tour in support of the A Beautiful Thing: IDLES Live at Le Bataclan CD recorded a year ago. The band’s long-serving FOH sound engineer Chris Fullard requested Martin Audio’s MLA loudspeaker, supplied by Capital Sound.
This was rigged at the 1,900-capacity Barrowlands in Glasgow, but more notably at Alexandra Palace’s 10,250-capacity Great Hall.
Capital project manager David Preston, a self-confessed IDLES fan, had first met Chris Fullard when he was house engineer at the Scala in London, and was aware of his love for MLA.
“MLA had sounded really good at the festivals I had done,” confirms Fullard, “and so I called David at Capital. I had a choice of two PA’s but I knew exactly what I wanted. I chose MLA firstly because it sounds great, but also because I knew the coverage it would give.”
At Barrowlands production featured eight MLA Compact per side, four Martin Audio DD12 as front-fills and six SX218 subwoofers, in L/R stacks on either side of the stage.
At Ally Pally they upgraded to the full-size MLA, with 10 MLA enclosures underpinned by two MLD Downfill elements per side. L/R delays comprised eight MLA Compact, while a further 12 MLA Compact provided a beefy front-fill component, along with four DD12. Equally beefy was the sub frequency reinforcement, provided by 18 MLX in a cardioid broadside array across the front of the stage.
China - New Year’s Eve presents a broadcaster battleground in China as the main networks compete for the most-viewers crown. Satellite channel Hunan TV rose to the challenge, commissioning a countdown-to-2020 live show featuring big-name artists backed by party-enhancing lasers, lighting effects and video content.
Shanghai-based Honest AV was brought in to deliver a video solution for the ambitious programme, specifying 10 Hippotizer media servers to drive visuals for more than 50 acts and events during the evening. The content was a mixture of live feed to IMAG screens and pre-made content by Ndimensions.
“Two Boreal+ and four Boreal DVDL Media Servers were used to play the video material, three as the main output and three as hot backup,” explains Fei Zheng from Honest AV. “A further three Boreal+ machines were used on the VJ elements of the show.”
There were three stages on site: the main stage, a water curtain stage, and a small stage. The main Boreal+ and Boreal DVDL Servers outputted 21 signals to all LED screens on site, a huge total of 4000 square metres of screens.
“The Ndimensions designers used the real-time rendering function of Hippotizer to simplify the time and cost of content production, using PREP to program in the early stages to improve work efficiency,” Zheng continues. “Before the performance, all content fed into the Hippotizer software was rendered and outputted through the After Effects component of FlexRes. Using this tool can greatly improve the efficiency of uploading materials on site, and protect c
France - Playing a rich and colourful role in the history of its region’s wine making (it was once owned by legendary vintner, the late André Lurton), the estate of Couhins-Lurton was prominently featured in the recent 100th anniversary celebration of the Grands Moulins de Bordeaux.
Accentuating the intricate architectural qualities of the château during this event was a collection of wireless, battery powered Chauvet DJ lighting fixtures installed by Benson’ Audiovisuel.
The Benson’ Audiovisuel design team, under the direction of Benjamin Faure, positioned 12 Freedom H1 par units below the ornate cornice to highlight its details. Thanks to its compact size and wireless properties, the 10W fixture was able to fit unobtrusively on the site without distracting from its aesthetics. Drawing on the fixture’s RGBAW + UV colour mixing engine, the design team was able to create a wide and varied palette of hues during the event.
Bathing the building’s façade in an array of richly saturated colours were 24 Freedom Flex H4 IP uplighting fixtures. With their intense output, these units were able to send smooth, even fields of light high up the exterior walls of the château.
A group of 16 freestanding Freedom Stick RGB LED linear fixtures was used to enliven the estate grounds, as well as provide a colourful setting on the dancefloor inside during the party. Also generating excitement on the dancefloor were a Derby X effect light, a Line Dancer that projects intense strips of colourful light, and two mini Kinta beam units. Like the outdoor
Singapore - Lighting designer Nick Ho began working with the G12 worship rally in 2005 and has lit every one of its annual conferences since 2016.
Although his big, multi-faceted lightshows have earned widespread praise from the conference’s attendees and its technical director, Dennis Thien, Ho is always working to make them more compelling. This year, he and his programmer Justin Poh upped the engagement level by doing something they’d never done before: pixel map their rig’s washes.
Creating this new design with the 78 wash fixtures in their rig was made much easier, they say, by the pixel mapping features in their ChamSys MagicQ MQ100 Pro. “This was the first time that we have tried pixel mapping washes for such a large scale event,” explains Ho, noting that the conference, which was held at the Singapore Expo Hall, drew 10,000 people. “The pixel mapping functions in our ChamSys works very fast, which was good, because Justin wound up creating looks on site during the conference.
“Pixel mapping the washes added another dimension to our show,” continued Ho. “Having the simple low-res animation effects run across the back line truss created very engaging looks. Doing this was a straightforward process with ChamSys. We just had to create a fixture layout in the Output Window View Plan, create the grid size, and assign heads correctly into the boxes, then patch PIXMAP - and we were done! The ease of working with ChamSys removes a lot of stress when you are trying something new.”
Ho was also impressed with how smoothly hi
UK - The Elgiva Theatre has invested in a Vista by Chroma-Q lighting & media control system to take full advantage of its recent upgrade to an all-LED house rig.
Located in Chesham, The Elgiva presents a wide-ranging programme of professional and amateur productions, touring concerts, top comedy, musicals, ballet/dance, one-night shows, professional pantomime, movies, and private events.
After upgrading its house rig to all-LED, the theatre’s ageing control desk had been struggling with the quantity and greater sophistication of the fixtures, and the extra workload created by additional shows as a result of the venue’s increased popularity.
This was limiting what could be achieved creatively in the time available - both for Elgiva’s own productions, and in the theatre providing high quality technical support for its clients, which include major international tours.
The theatre therefore decided to invest in the next generation Vista 3 control system, purchasing the latest Vista EX control surface, plus a Vista MV to use as an extra playback wing.
Tristan Collett, the theatre’s technical manager, comments: “I have found that the speed with which Vista allows users to work benefits Elgiva not only with saving time, but also positively impacting shows’ quality and budgetary constraints.
“Our technicians are extremely creative, and finally don’t have to struggle to transpose their vision onto the stage. What would previously take hours to program now takes minutes or seconds using Vista.”
The Vista syste
Poland - Mateusz Karon, deputy of technical manager the Teatr Dramatyczny m. st. Warszawy (Dramatic Theatre of the capital city of Warsaw), is happy with the new Robe Tarrantulas that are part of the house lighting rig for this important venue, which has been at the forefront of producing Polish drama since 1949 and ensconced in the Palace of Culture and Science venue since 1955.
There are two performance spaces at the Palace of Culture, and the company also runs programmes in two other buildings around the city.
These four stages offer a busy and vibrant schedule of modern, classical and new works with a reputation for excellent acting and tackling relevant contemporary issues. Each space stages between 10 and 12 shows a year, primarily their own productions.
Mateusz oversees all things technical in the main Dramatic Theatre building and creates new lighting specs as and when they are needed to ensure they keep pace with developing technology. These then go out to open tender.
When initially looking for new fixtures for key lighting - with Tarrantula as one of the contenders - Mateusz and his team were all impressed with the controllability of the fixture, and beyond that, the sheer power, which they thought would be perfect for the 460-capacity ‘Big’ stage - in addition to key lighting duties. They also wanted a source with a high CRI and Tarrantula fitted all the criteria.
The decision to choose the Tarrantulas - delivered directly by Robe’s Polish distributor, Prolight - was a collective one made by Mateusz and the Dramatic T
Australia - Fusion Entertainment provided the technical production for the gala unveiling of the Ferrari F8 Tributo in Sydney, using a complement of Claypaky fixtures to illuminate the car’s debut at the black-tie event.
The evening marked the first Australian appearance for the new, half-million dollar mid-engined supercar.
More than 300 guests gathered at Sydney’s White Bay passenger terminal for an immersive Ferrari experience. The 2,000sq.m space was filled with classic cars in Ferrari’s shade of red and speeches paid homage to the luxury brand’s history and the debut of “the best eight-cylinder in the world.”
Some 200 Fusion staff members worked continuously across 36 hours to install and prepare for the event. They put together 5.1 tons of rigging equipment, 6,000m of cabling, 158m of black drape and a total of 236 lights to create a 348sq.m staging structure standing 1.5m high.
The evening began with guests watching a five-minute AV spectacular on the F8 Tributo, dotted with archival footage from Ferrari’s vault, in the pre-function area. When it was time to reveal the new vehicle the function area went to black and a 60-meter kabuki drop showed an astonishing collection of Ferrari V8s, on display for the first time outside Italy. The F8 Tributo emerged from under the stage through fog and lasers and past its predecessors to take its position on the podium.
Fusion mounted Claypaky Sharpy fixtures on either side of the podium; several more were used for the moment of reveal with Oracle Laser’s Laser Sharpy attachmen
UK - Lighting rental specialists Version2 supported The Brits Are Coming at the newly re-opened Riverside Studios. Working with award winning lighting designer Tim Routledge, the Version2 team supplied a comprehensive lighting package, including a healthy selection of recent additions to the company’s growing inventory.
The Brits Are Coming TV special is the reveal of the nominations for the BRIT Awards 2020. Hosted by broadcaster and presenter Alice Levine, the show featured special guest performances by nominated artists including Liam Payne, Aitch and Mabel.
Recorded for ITV in front of a live audience, this was one of the first and one of the largest productions staged within the newly opened Studio 3 at Riverside Studios. Following the extensive re-development of the historic West London site, Riverside’s hosting of the show conveyed a clear message that the production centre is back open and ready for business.
Commenting on working with Version2 at Riverside, Tim says, “I use V2 a lot for my broadcast work as they always go the extra mile and have a want to make a great show every time. This was also only the second show in the all new Riverside Studios which was a blessing - a fantastic new studio with a saturated overhead grid of lighting hoists and the ability to patch data anywhere, it was a really easy studio for this show to move to and it worked for us brilliantly.”
Over the past year V2 has been steadily growing their inventory to increase both the scope and range of products they have available. Ahead of t
USA - Nesta Garrick lights the Welcome to Jamrock Reggae Cruise, an annual December excursion that showcases many of the genre’s leading stars. But every year, the Jamaican-born LD disembarked from the floating festival’s ship with the same unfulfilled wish: he wanted an outdoor rated moving wash.
“I have been working on Jamrock for five years, going on six, and in that whole time I’ve asked myself ‘why can’t someone make a moving wash that’s IP rated?’” he said. “This is a five-day cruise, and every night we’d have to take our washes down, because it rains a lot at sea. Then, the next evening, we’d have to focus them manually, which was difficult given the short amount of time we had to set up.”
The owner of RAS Visuals & Lighting, Garrick was visiting LDI in 2018 when he came across the Chauvet Professional Maverick Storm 1 Wash. “Right then I knew I found my answer,” he said. “I called Abbas Ritscher from The Design Oasis and asked if he had the Storm 1 Wash. He told me he did, so here we are!”
When the stately Independence of the Seas set sail in the Caribbean on Welcome to Jamrock Reggae Cruise 2019, reggae stars like Stephen ‘Ragga’ Marley, Buju Banton, Popcaan and Taurus Riley were on board, so too were 12 Maverick Storm 1 Wash units, which like the rest of the fixtures in Garrick’s rig, were supplied and installed by The Design Oasis.
Although the issue of having to take down non-IP rated moving washes every night was resolved, Garrick had to contend with other challenges on board the vesse
USA - CMI Communications supported the stage production for a multifaceted event at the Minneapolis Convention Centre in August, where they utilised a large complement of Ayrton Ghibli LED spot luminaires to illuminate the Knights of Columbus 137th Supreme Convention. Sessions were broadcast internationally, and to over 1800 attendees of the event. The fixtures matched exactly in output and colour temperature even though they were supplied by three different vendors.
AV service provider CMI Communications of Rochester, New York asked Light and Shadow, LLC of Winter Garden, Florida to provide turnkey lighting design for the convention as the company has in the past. During the three-day event the daily morning Mass and business sessions were broadcast on EWTN, CatholicTV and other outlets. The convention hall featured a 120ft-wide stage with a 115ft projection screen as a backdrop.
“We needed a high-quality broadcast light that we could also use for the opening dinner,” says lighting designer, Shawn Seithel. “We were looking for a replacement for our previous go-to fixture, and a Ghibli demo by ACT Lighting sparked our interest.”
During the demo, “Ghibli did everything our usual go-to fixtures did and did it better. Ghibli was brighter, had a nice flat field and its framing shutters were a huge plus. It looked like a well-rounded light for every kind of event we do,” Seithel says.
For the convention Seithel rented 78 Ghibli fixtures from three vendors placing them on mid-stage and downstage truss and on two trusses running the lengt
Europe - Award-winning independent French theme park, Puy du Fou, unveiled its first venture in Toledo, Spain with an epic night-time immersive spectacular El Sueño de Toledo (The Dream of Toledo), creatively directed by Nicolas de Villiers and the team from Puy du Fou with lighting designed by Koert Vermeulen from Belgian creative visual practice, ACTLD.
At the heart of Koert’s lighting spec are 74 x Robe BMFL WashBeam and 20 x MegaPointe moving lights.
El Sueño de Toledo takes spectators on a hi-octane condensed one-hour journey through history – from the Reign of Ricaredo in the 6th century to the arrival of the railways – touching on the battle of Navas de Tolosa and the discovery of America along the way! The 1500 years of history is represented by 185 actors and a plethora of special effects.
Koert and Nicolas have worked together on several previous Puy du Fou live shows and projects in France. The show is staged outdoors on a performance space approximately 125m wide by 100m deep, rising up towards the back. The set includes several permanent buildings and structures and a large lake, with the action taking place both on, in front of, and behind the water.
Nicolas briefed Koert on the historical narrative and Koert produced a lighting concept for the show which is played out by the large cast to a special soundtrack composed by Nathan Stornetta.
“The show’s essence was similar to some of those we have created in the French park, so some of the base principles and style needed to reflect a continu
UK - Arena Birmingham is set to be renamed Utilita Arena Birmingham as a part a new partnership with Smart Pay As You Go (PAYG) Energy provider, Utilita. .
Utilita has a growing presence in the UK live events industry, having partnered with a number of major music festivals in recent years including Parklife, TRNSThe city centre venue will take up its new name on 15 April 2020MT, Creamfields, V Festival, Bestival and Camp Bestival – as well as Newcastle Arena (now Utilita Arena Newcastle).
Utilita’s customers are set to receive exclusive access to pre-sale tickets at the 15,800-capacity venue, which has recently hosted the likes of Ariana Grande, Jack Whitehall and Take That, as well as VIP experiences and exclusive ticket offers.
The energy supplier will also use the Arena’s pre-show entertainment areas to get audiences thinking about their energy usage as part of its new #EnergyHigh5 campaign, designed to get 5m UK households to reduce their energy consumption.
As part of the new deal, Utilita will also become a partner of the NEC Group’s other flagship arena, Resorts World Arena on the NEC campus just outside Birmingham City Centre.
Utilita founder and CEO, Bill Bullen, said: “We are thrilled and honoured to have our name above the door of such an exciting and well-known venue. As well as providing our customers with fantastic opportunities to see some world class shows in the heart of the country, this will also help us to deliver our #EnergyHigh5 message to nearly a million visitors a year – and millions more across the
UK - Leeds City College is the city’s largest educational establishment, offering a wide variety of courses to more than 25,000 students. The college recently expanded its facilities with the new £60m Quarry Hill Campus, home to the School of Creative Arts, featuring an Allen & Heath dLive digital mixing system.
Following a recommendation and demonstration by the audio sales division of A.C. Entertainment Technologies (AC-ET), the college opted for a dLive C3500 control surface and CDM48 MixRack, fitted with a Dante 64x64 networking card, for the campus’ soon to open theatre.
For use by both Theatre Design & Production and Music Production students, the dLive system will also be employed for public performances by theatre companies and community groups during holiday periods and outside of college hours. As such, the new system needed to meet a variety of criteria as the College’s chief theatre technician and teacher, Paul Graham-Bell explains.
“We looked at several models from different manufacturers when trying to find a mixing solution to meet the demands of the theatre,” he says. “The Theatre Design and Production students are taught sound design for dance and musical theatre, while Music Production courses cover both live sound and recording, so flexibility was very important. The control surface also needed to be simple enough to learn the basics of mixing, but also sufficiently powerful for students to explore advanced features and techniques. We also wanted to invest in something that was popular within the industry, to
Finland - In the wake of the success of G Livelab Helsinki, the Finnish Musicians’ Union has opened a new - and bigger - venue in the city of Tampere, some 200km north of the Finnish capital.
The same team was deployed to realise the Tampere project, which is built according to the same ‘music first’ philosophy as Helsinki. The result is an extraordinary live music experience based on quality programming, modern design, and Genelec audio systems including the new 4430 Smart IP loudspeaker.
Housed in a striking red brick building which was formerly the boiler house of the Frenckell paper mill in the heart of the city, the venue hosts up to 250 people and offers a varied programme including jazz, folk, world music, pop/rock, chamber music, electronic music and more.
Akukon Oy designed the acoustics, electroacoustics, lighting, sound, video, communication systems and basic IT structure as well as the rigging systems, as they did for Helsinki, and leading Nordic AV integrator, Bright - another key member of the Helsinki team - brought Akukon’s vision to life.
“Genelec was already a tried and tested solution with the first G Livelab project in Helsinki which has had great reviews,” explains Bright’s head of installation, Santtu Sipilä. “People really liked what we achieved in Helsinki, so it was an obvious decision to equip the Tampere club with Genelecs as well.”
“We definitely wanted the new 4430s for easier cabling and added control; it’s opened up a world of possibilities for us,” admits Sipilä. “We have a f
The Netherlands - Visual design studio Tenfeet’s longstanding relationship with Dutch rockers BLØF resulted in some dazzling effects as the much-loved band played two sell-out gigs at Rotterdam’s 16,000-capacity AHOY Arena.
Tenfeet video programmer Pim Elberse specified and supplied two Hippotizer Boreal+ Media Servers - one main and the second as a full live backup machine - to handle pre-made content mixed with multiple effects and live feed blend. The content ranged from sweeping landscapes to computer-graphics, lyrics and pictures.
“We needed a system that could cope with various live feeds and feed a variety of content that was mixed with live, as well as control an SDI-matrix with 10 cameras on stage surrounding the band,” explains Elberse. “The Boreal+ provided total flexibility in combination with our Hog4 lighting console.”
Despite the large venue, BLØF’s stage was only 10m wide, designed for an intimate feel. The stage floor was transparent, with lighting fixtures beaming up from underneath. Behind the band was a large LED screen, rising from the stage to a height of 16m - almost to the ceiling. At each side of the stage, multiple trusses held the lighting and worked in collaboration with an LED strip around the LED wall to enhance the sense of height.
“The staging and rigging structure gave us the freedom to create unique looks for every song and unite set, light and video,” Elberse continues. “During shows, besides running the programmed cues, I’m always controlling content and effects to integrate the vide
Belgium - Het Kunstuur (the Art Hour) is a new ‘interactive’ gallery concept developed by art collectors and entrepreneurs Hans & Joost Bourlon, presented in the former Holy Ghost Chapel in the historical heart of Mechelen, Belgium.
Thirty-two Belgian paintings from the 19th century are displayed in three gallery spaces where their stories are told by a series of well-known Belgian personalities.
Creative lighting design and media specialist Painting with Light (PWL) was asked to manage and co-ordinate and design the technical systems and control for lighting, video, audio and humidity control for this intricate and unique project.
Visitors wear headsets and listen to an audio track as they move around the spaces, prompted to stop / move on cue to designated areas by the audio track, where they watch and listen as the AV effects play out. The walkthrough lasts an hour, which inspired the name.
PWL was asked onboard by concept designer Wouter Verhulst of King Concept who created the original idea and storyline with the Bourlon Brothers and designed the gallery layout.
The first phase of the design process saw the whole museum virtually created in WYSIWYG and presented as a VR experience to the project’s initiators.
The PWL team, under the creative direction of Luc Peumans, was led on site by Céline Cuypers who project managed delivery of the full technical design including the projection system, creative lighting, audio track and control, plus specification, procurement and commissioning of all equipment and its impleme