Gibraltar - Pixel Artworks has created an immersive light and sound installation within St Michael’s Cave on the Rock of Gibraltar. The Gibraltar Government awarded the project to WrightTech Media, a local digital marketing solutions company with extensive knowledge of the site. Pixel Artworks collaborated with WrightTech Media on the pitch as well as the design and delivery of the complex show, which is scheduled to open to the public on 20 June 2021.
While the project sought to enhance the current Gibraltar Upper Rock Nature Reserve visitor experience, there was no specific site in mind. WrightTech Media and Pixel Artworks showed how St Michael’s Cave could be used in a unique way to take the audience on an unforgettable journey through Gibraltar’s natural history, using projection mapping technology, lighting design and immersive audio.
Christian Wright, director, WrightTech Media, said, “The aim of the project was to reinvigorate Gibraltar’s tourist industry, and I felt we needed something very visual and technology-based to engage audiences to a new level. I had seen some of Pixel Artworks’ immersive and experiential projects and immediately called them to see how they could flex their creative muscles at this unique site. My team knows the site very well, but it was great to get the fresh eyes of Pixel Artworks’ creative team who spotted opportunities we hadn’t thought about, and also helped us to home in on the story we wanted to tell.”
The show, entitled The Awakening, sympathetically showcases the beauty of the cav
USA - The Robson Performing Arts Centre in Claremore recently completed a stage lighting and control upgrade with over 300 LED luminaires and a networked control solution from Vari-Lite and Strand, Signify entertainment lighting brands.
“We wanted LED equipment that would give comparable functionality to our previous fixtures, along with some added ‘eye candy’ elements to enhance our performances,” explains technical director Pamela Neuok, who turned to theatre consultancy Schuler Shook, the original theatreconsultant for the building, to advise on the specification.
Schuler Shook prioritized high quality light output and technology that would be both accessible to students and powerful enough for a professional theatre programme. “The Strand products met our design criteria very well,” says Schuler Shook’s Jack Hagler.
The final design and installation, completed by Batts AVL, features 112 Full Colour and 84 Tunable Warm White Strand Leko LED Profiles, six Vari-Lite VLZ Profile fixtures, Vari-Lite SL BAR 660 and 640 fixtures for cycs and drops, plus a wide selection of 78 VL800 Series fixtures, including Eventpar, Propar and Eventwash models.
For control, the intuitive touchscreen interface, scalability and sophisticated LED control of Strand’s NEO Console were considered an appropriate fit for the needs of both an educational environment and a busy performing arts centre. The NEO system also integrates seamlessly with Strand’s Vision.net controls for house lighting management.
“We have been having a lot of fun lear
Germany - Cover band Lonely Hearts Club isn’t likely to achieve the fame of the British quartet that inspired their name. But the six musicians from Gescher were greeted with a level of enthusiasm worthy of the Beatles or any superstar when they appeared on the open-air stage at Freilichtbühne Coesfeld at 5pm on Saturday 15 May.
For the 160 entertainment-starved fans in attendance, the band’s show, represented a small, hopeful step back to enjoying live performances as COVID-19 lockdown rules begin to ease with safety protocols still in place. Part of a regional test to demonstrate how outdoor events could be conducted safely, the concert ended at 9 pm, so people could return home in time to comply with Germany’s 10pm curfew.
The early closing time made sense from a health and safety standpoint, but it nevertheless posed special challenges for André Entrup and his team when lighting the concert, given that the sun didn’t set at the concert site until 9:19pm, almost 20 minutes after the show concluded.
“We had to create an engaging lighting show during daylight,” said Entrup, the technical director of Freilichtbühne Coesfeld. “Aside from having to account for the COVID related protocols, our biggest challenge was lighting the open air stage with all the sunlight outside. The stage was under a truss roof. In addition to accounting for the ambient light, we had to deal with mixed weather, as we had a short but intense rain shower during the show.”
Helping Entrup meet these challenges was a collection of Chauvet Professional Maveric
South Korea - To enhance the visitor experience at Pororo & Tayo Theme Park Jeju, TechDataPS Co recently upgraded the park’s aging sound systems with Harman Professional audio solutions.
Based on the popular characters Pororo the Little Penguin and Tayo the Little Bus, Pororo & Tayo Theme Park Jeju features numerous ‘edutainment’ attractions that encourage children to learn while having fun. However, the park’s sound system was becoming a detriment to the experience, causing auditory fatigue for park employees and visitors due to an abundance of echo and harsh frequencies.
To provide a better experience for guests, Pororo & Tayo Theme Park Jeju’s audio system required a complete overhaul. After being impressed by the performance of JBL Control 60 loudspeakers at the BSS Harman Zone in Yongin, park organisers hired TechDataPS to equip the facility and grounds with a complete Harman system featuring JBL Professional, Crown, BSS, AKG and Soundcraft solutions.
TechDataPS reported that the customer was concerned about the echo because of the high ceilings and wide-open spaces. They added that the previous sound system was installed for emergency disaster guidance without considering the echo effect.
To deliver quality sound with minimal echo in the indoor areas, TechDataPS selected JBL Control 67 P/T pendant speakers. For the outdoor stages, TechDataPS selected JBL VRX 900 Series line array loudspeakers. Since the main stage is close to the park’s parade ground, TechDataPS positioned the speakers to isolate sound within th
The Netherlands - Heading the production lighting department for the 2021 Eurovision Song Contest finals at The Ahoy Arena in Rotterdam, was LD Henk-Jan van Beek from Light-H-Art working closely with associate designers Bas de Vries and Martin Beekhuizen. In addition to creating an overall lighting style for the show, they liaised with all the delegations – many had their own consulting LDs and artists directors – creating 39 individual performances within the overall show design.
Henk-Jan specified 740 x Robe moving lights for the event, which made up over a third of the total lighting rig which came in at a count of 1,782 active fixtures.
These and all the event’s lighting equipment – plus audio and rigging – was delivered by ESC 2021’s official technical supplier for lighting, audio and rigging, leading Netherlands rental specialist, Ampco Flashlight.
Ampco Flashlight’s operational & commercial director Dennis van der Haagen explained that the company was chosen following an official European tender process to supply – uniquely – three areas of the production. “To realise everyone’s expectations, we combined our experience as the lighting and rigging supplier in Portugal 2018, with our extensive audio track record for live music and broadcast crossover events.”
The Robe fixture break-down was 396 x Spiiders, 220 x LEDBeam 150s, 92 x BMFL WashBeams, 25 x Tetra2 moving LED bars, with 12x BMFL Spots operated via 12 x Robe’s RoboSpot remote controlled follow spotting systems.
Florien Wieder’s impressive
Germany - Founded in 1866, Theater Freiburg is the oldest and biggest theatre in Freiburg im Breisgau, Baden-Württemberg, south-west Germany. Moving to its present venue in 1910, like many theatres it has seen an almost continuous series of changes and renovations, some more successful than others. Most recently, the installation of two Yamaha Rivage PM7 digital mixing systems have brought much-needed peace of mind to head of sound Jonas Gottschall and his technical team.
Featuring orchestral performances, opera, musicals, dance, plays and more, the Theater Freiburg building includes a main stage, smaller stage and Chamber stage. The venue has a long history with Yamaha digital mixers, going back to the DM2000 and the PM5D. More recently, the venue invested in systems by other manufacturers because, as Jonas - who joined the theatre three years ago - says, “At the time there was no Yamaha console that could do exactly what Theater Freiburg needed.”
“You can only work according to the circumstances of the time,” he adds. “In 2014, the theatre had to go down a different route, but the system it invested in ran into trouble with the network connection from the control surface to its DSP.”
The issues culminated in every live sound engineer’s worst nightmare, when three productions had to be stopped mid-show, in front of audiences. “It took the manufacturer six months to investigate the problem and I don't think they ever found it,” says Jonas.
“Reliability is the number one priority for me,” says Jonas. “With any system, i
Belgium - Kristof Van Mensel from lighting and visual design company TCF (The Creative Factory) uses Astera products extensively – particularly AX3 LightDrops – in his projects which range from live performance to festivals to television studio lighting work.
The tiny AX3s are particularly useful for ‘pop-up’ scenarios, he explains, or for shifting between mobile locations. “Two cases of eight AX3 LightDrops are always in the back of my car ‘just in case’ and are infinitely useful,” he states.
Kristof is long term lighting designer for the Scala & Kolacny Brothers women's choir, a highly visual act that has gained worldwide recognition. He regularly incorporates Astera fixtures into their live show designs and loves the fact that something as small as the AX3 can give the artist such a dynamic a tool to work with.
“I ensconce them in the set and have also used AX3s on occasions as hand-held lighting effects for the artists, which is really effective and dramatic to up-light faces,” Kristof comments. Artists like Scala & Kolacny Brothers are always up for experimentation and trying new dramatic treatments. “AX3s are simply a hugely versatile and compact light source.”
His association with Astera started about five years ago when Controllux became the Belgian distributor and contacted him to show the range of products. Now they are one of his key inexpensive and indispensable creative tools.
“It’s incredible what you can do with Astera AX3s or Titan Tubes for a band or a music artist wanting to tour on
UK - ETC fos/4 LED panels prove a complement to natural light for cinematographer Lily Grimes during shooting of art film Horsepolish, an artist’s response to de Sica’s neorealist 1946 release Shoeshine.
This recent art film project saw Lily re-acquainted in a professional capacity with a familiar London-based artist - her mother, Oona, who also lectures in art. It was shot in and around the The Ragged School Museum on the Regent’s Canal near Mile End in London.
Lily argued for and succeeded in her quest to film in black and white Super 16mm, feeling it was the best medium to capture the rough landscapes favoured by neorealists. Her approach to lighting combined the use of a lot of natural light with supplementary fos/4 LED panels from ETC, as she explains:
“The film was planned rather than written, leaving us many more creative decisions to take. As far as lighting was concerned, we used natural light on the canal towpath, and then as a result of a conversation with Barry Grubb at 3LR Lighting, decided to use two of ETC’s beautiful fos/4 LED panels. The fos/4 PD8 and PD16 use daylight HDR 6 chip LEDs with high output, and so could augment sunlight, provide subtle fill or act as strong directional key.
“In keeping with De Sica’s film, we wanted simple directional lighting, and often used the sun as our key back light with subtle fill from the fos/4s. When we lost December light at about 3pm, the PD16 stepped up as our ‘sun’ and the PD8 provided fill.
“The fos/4s boast a ‘deep red’ in the fixtures, al
Spain - Flight simulator manufacturer Simloc is now using Audio-Technica BPHS1 stereo headsets and PRO70 cardioid condenser lavalier microphones for its innovative Fixed Base Simulator (FBS) flight training devices and Extended Reality (XR) simulation environments for civil and military markets.
The relationship between Audio-Technica and Simloc began following contact between Jaime Valle, software engineer and certification manager at Simloc and Audio-Technica commercial manager Yusti Blázquez, who had previously collaborated on another clinical simulation project.
Valle said of the BPHS1 headset, “It delivers very high quality audio transmission and reception for intercommunication and it’s a really robust product.
“For the simulation to be as realistic as possible, the exclusion of distracting ambient noise is crucial. In flight simulators there are many sources of audio that can disturb concentration – the constant sound of the engines, alarms and alerts from navigation equipment and so on. So we needed microphones that pick up the voice very well but reject all other noise.
“The BPHS1’s dynamic microphone is perfect for our application because it gives great vocal presence and very effective attenuation of ambient sounds. The result is a very clean, natural signal and we currently handle all regular communications between captain, first officer and instructor with the headset.”
The BPHS1 also provides a similar look and feel to conventional aircraft headsets and allows the microphone and connection cable to be oriente
USA - Last year, during the height of the pandemic, Martin Castañon, Victor Ortiz and the team at Darvik Productions stayed busy, while bringing music to the public by running Concerts in Your Car, a series of drive-in shows at the Ventura County Fairgrounds in San Diego.
In the process they learned quite a bit about teamwork, determination and self-reliance. They also sharpened their skills lighting an elevated 360ﹾ stage. All of these attributes came in handy over Memorial Day Weekend, when they handled the production of Ziggy Marley’s concert at Petco Park.
Although the socially-distant live audience at this show was seated in pods, rather than cars, the configuration of the performance area and the sprawl of the crowd, required the same kind of elevated open stage that the Darvik team had used for their drive-ins. Working closely with Joël Huxtable, Ziggy Marley’s programmer and operator, Castañon, Ortiz and lead light tech Miguel Ochoa delivered a warm, emotionally powerful show.
Despite having the stage situated in the middle of the field at a 42,000-seat baseball park with limited fans in attendance, their engaging blend of video, light and gobo patterns created a sense of intimacy the enveloped the entire stadium, as the eight-time Grammy winner paid tribute to his late, legendary father.
Helping them set this balanced mood was a collection of 57 Chauvet Professional Rogue fixtures from Darvik’s own inventory.
“The Concerts in Your Car design was the starting point for this show,” said Castañon when describing
Zimbabwe - Nyaradzo Group marked its 20th anniversary recently, with a livestream concert celebration that featured 21 of the region’s leading artists.
The musical extravaganza was a big hit for viewers, especially since the performances on stage were supported by dynamic displays of video and light, as LD Nicholas ‘Nicky’ Sintara served up a stream of colourful looks that flowed naturally on stage.
Sintara’s design may have looked effortless, but in reality it was anything but easy. Producing different looks for 21 different artists on a small livestream stage is a “fun challenge,” he says.
Helping Sintara solve this puzzle was a supportive group of people. “Divine Concert Sound (DCS), the Nyaradzo Group Zimbabwe, Epic Sets and my mentor Simbarashe Bapiro were all very helpful,” he said. “I am grateful to have such support.”
Also contributing to the magic worked by Sintara was a collection of Rogue and STRIKE fixtures from Chauvet Professional. As he explained: “There were things we did to give the stage a different personality for each artist, while also keeping things camera friendly. The eight Rogue R2 Beams in my rig helped me a great deal. I hung six of them on a V shaped truss, and had the other two on the floor. From these positions, they gave me a lot of options to create different shapes and gobo patterns.”
Working with the R2 Beam fixtures were four Rogue R1 Beam units. Arranged in different configurations on the stage deck, these 132-watt fixtures added extra punch to Sintara’s show with their bright
USA - City Winery New York finally opened for ticketed live music events in early April at its new flagship location inside the redeveloped Pier 57 on the Hudson River after a hiatus of more than a year.
As with the seven other City Winery locations, this newest venue relies on Meyer Sound reinforcement systems exclusively, with the New York location the first to anchor its system with LINA line array loudspeakers. Within the first week of sold-out shows, the sound quality in the new room already had earned accolades from audiences and performers alike.
“I have some confidence in my own ears, but more confidence in the ears of musicians who have played here - and they have been ecstatic,” says City Winery founder and CEO Michael Dorf. “The combination of the room acoustic and the Meyer Sound LINA system is magic. Steve Earle said from the stage during his acoustic set that the sound in the room was the best he had heard in any venue.
“And when Willie Nile came with his four-piece classic rock band — two guitars with Marshall amps and a drummer that hit hard — the room and the system handled it beautifully. Willie even said that the bar had been raised for sound in New York and claimed that this was the city’s ‘new temple of rock.’”
The new system is anchored by twin arrays of eight each LINA line array loudspeakers, with sides, front centre and stage corner areas and balcony VIP areas covered by, respectively, UPQ-1P, UPJ‑1P loudspeakers and UPJunior loudspeakers. Controlled deep bass projects through a centre cardioid ar
Germany - Dark Matter is a new permanent exhibition space for lighting, visual and sonic art, and technology in Berlin’s lively Lichtenberg district, currently comprising seven sculptural and kinetic visual works created by light artist Christopher Bauder of WHITEvoid.
This experience, which opened last week, is the long-term brainchild of Christopher and his quest to curate a “parallel cosmos of expansive lighting installations blurring the boundaries between real and digital worlds” capturing and stimulating emotional, spiritual, and imaginative journeys as guests embrace the artworks – some interactive, some reflective, all fascinating – engaging and experiencing a wide range of emotions.
Robe lighting is involved in this project, initially with the supply of Tetra2 and MegaPointe fixtures which will be used for special events lighting in one of the large exhibition spaces, Hall 2.
The seven pitch-black rooms making up Dark Matter – in three buildings on a one-way walkthrough route – are part of a former factory building acquired by Christopher in 2019 and extensively renovated and converted into this vibrant and thought-provoking presentation space over the last 13 months.
Achieving sufficient blackness was fundamental to encouraging guests to leave their real worlds and dive into a different dimension where abstract meets imagination in an intense and all-encapsulating psychological journey, triggered by light and sound, vision and hearing.
The art pieces range from The Tone Ladder, a playful concept original
Austria - Founded in 2006, Das Werk is an alternative art and culture initiative based in Vienna. Located in the district of Spittelau, between the famous Grelle Forelle and FLEX nightclubs, Das Werk is the latest Vienna venue to upgrade to Alcons Audio pro-ribbon loudspeakers.
In 2018, Wolfgang Sauter of Vienna-based Pro Performance was asked to create an audio concept for Das Werk that fitted in with the neighbouring venues, including The Grelle Forelle, FLEX, SASS Music Club and The Loft. Pro Performance had previously equipped these venues with Alcons pro-ribbon systems, giving Alcons a stellar reputation in Vienna.
“The customer needed a new, effective sound solution that was flexible enough for both live concerts and DJ events across a large variety of genres,” says Wolfgang. “A particular problem was that the stage was in the corner of the room, presenting many acoustic challenges. We looked at all the available solutions and chose two arrays of three Alcons RR12 pro-ribbon point source array modules. They delivered highly precise, unified sound across the space, without producing unwanted sound on the stage.”
The RR12 arrays work in combination with the cornered subwoofer array. This custom custom-built 12x 15” vertical subwoofer was another design by Wolfgang, to also obtain a uniform low-frequency response across the room.
Wolfgang continues, “It’s simply all about physics and there is no feedback on the microphones or turntables, despite the live bands and DJs situated in front of the bass array. With the resulting pre
The Netherlands - Postponed from 2020, this year’s Eurovision Song Contest, its 65th edition, was held at the Rotterdam Ahoy in The Netherlands. Organised by the European Broadcasting Union (EBU) and host broadcaster Nederlands Publieke Omroep (NPO), Nederlandse Omroep Stichting (NOS and AVROTOS. Specialist rental and sales company, Ampco Flashlight, was the official technical supplier, providing lighting, rigging and audio requirements, which included DiGiCo Quantum 7 mixing consoles at both front of house and monitor positions.
Working on the lavish production fans have come to know and expect were Erwin Rintjema, ESC head of production, Thijs Peters, head of broadcast sound, Ampco Flashlights’ Remco Verhoek as senior project manager and Dennis van der Haagen taking up the role of operational & commercial director, along with Jeroen ten Brinke, ESC head of live sound, who specified the Quantum 7s as part of his audio design.
A competitive tender for the show had been sent out in October 2019, with Ampco Flashlight pitching alongside competitors. “We were awarded the contract in January 2020,” recalls Verhoek, who oversaw proof of concept, prepping the equipment including constructing custom racks and scheduling and taking care of his team. “We were prepped and ready to go, then the show was postponed because of the pandemic. But we had been chosen and that didn’t change for the 2021 edition. Audio-wise the stakes are always high for Eurovision, and this was a complex system, but not the most complex we’ve ever built and with all the ex
USA - As a rule, Jimmy Davidson favours intense looks in his lighting designs. But sometimes rules are not made to be broken; they’re made to be doubled down on. Such was this case this Memorial Day Weekend, when the Texas designer lit a three-show concert series by chart-topping country artist Cody Johnson.
Employing a torrent of intense colour washes (mainly in red and blue) accented by sharp beams of white light and blinding blasts, he set a frenetic pace for his client’s 21-song set without repeating the same look twice. Helping him serve up this visual eruption was a beefy Texas Stage supplied rig that featured a collection of 54 Chauvet Professional Rogue, STRIKE, Ovation, and COLORdash fixtures.
“I absolutely wanted to put something extra in this show,” said Davidson. “It was nice to have a little time off to be at home during the pandemic, but now it was time to bring back shows and happiness. I wanted to celebrate this with the fans.
“There were a lot of fun moments in this show,” he continued. “My personal favourite was at the start of the song Long Haired Country Boy when I used an all-white palette with a random strobe look over the crowd. Then I had all of my eight STRIKE 4 fixtures highlight the hits.”
Davidson used multiple hang positions and accessed different fixture groups throughout the 100-miunte plus concert to keep looks fresh and interesting. He relied on 12 COLORdash Batten Quad 12 units to provide a constant flow of background colors. Anchoring his rig were 12 Rogue R2 Wash, eight Rogue R2 Wash
USA - Specialist solutions supplier, Creative Technology Group, has increasingly turned to Elation Professional’s KL Panel LED soft light for use in their US-based LED studios and has added a number of the full-colour-spectrum fixtures to their rental inventory.
In the United States, Creative Technology (CT) operates virtual event LED studios in Chicago, Las Vegas, Los Angeles, New York and Nashville. Each is equipped with xR and camera tracking technology that works with powerful graphics engines to create dynamic scenes that put a presenter or product virtually into any environment. The results are truly spectacular. In late spring of 2020, Creative Technology contacted Elation about a high-quality LED soft light for the studios and eventually purchased 75 of the units with snap grids and snap bags.
CT has used the KL Panels on many of their studio projects, including in their Las Vegas and Los Angeles locations. In their newest virtual event studio in Las Vegas, KL Panels and other lighting work with a large curved LED wall, LED floor and LED ceiling to create an ideal virtual event suite for television, film, corporate and automotive work.
“A lot of what we’re hanging these days tends to be a KL Panel and that is because of its flexibility,” stated CT’s vice president of digital production, Reed Erickson. As lead on CT’s studio systems, he has been hands on with the KL Panels since their acquisition. “The fact that the fixtures are smaller and lighter [than comparable units] gives us a lot more flexibility to put them where we ne
Italy - The Vittoriano was built at the turn of the 20th Century to honour Italy's first king, Vittorio Emanuele II, and has since become a must-see for anyone visiting the Eternal City. Prior to the pandemic, Galleria Sacconi (which is located inside the Vittoriano) was chosen to host a temporary exhibition - named Lessico Italiano - composed by 19 different installations designed to celebrate Italian values.
Once the planning was complete, the exhibition’s creator and producer, Palzom Films, contacted Italian audio specialist, AudioFactory, to assist integrator AMP di Fabrizio Dovidio with the installation of a sound system that could live up to the expectations of such an important exhibition.
“The head of audio of Palzom Films, Alessandro Di Maio asked us an audio sound system with three main characteristics,” explained Oreste Parmentola, AudioFactory’s CEO. “It needed to be visually discreet, have high sound quality, and have the capability to be remote controlled. We were encouraged to design a state-of-the-art system using our own products. To do this, we chose to use our DESIGN product line, which has been conceived with this kind of venue and audio requirement in mind.”
As well as the quality of AudioFactory’s own speakers, Parmentola cited power amplifiers with built-in DSP as being key to answering the Vittoriano’s brief.
“Furthermore, using Dante audio streaming flux through the network was a substantial improvement in terms of reduce complexity of wiring and increase audio quality and reliability,” he said.<
UK - The National Theatre, London, has recently invested in a Kinesys load measuring system to help monitor their loads more carefully and add an additional level of safety.
Since its opening in 1963, the National Theatre has produced well over 800 plays, staging a broad range of productions in London as well as touring extensively across the UK and internationally. Their wide-spread nationwide learning and participation programme supports creative education for young people through performance and writing programmes. In addition, their programme of talks, events and workshops opens up theatre to people of all ages.
Mike Rungen, the National Theatre’s stage resources manager commented; “After looking at a number of systems, we decided the Kinesys LibraCELL was the product for us. Having had experience of working with Kinesys products on a variety of projects previously, I was confident in its reliability and functionality. We have ongoing monitoring requirements over extended periods, and have found that the use of a wired system eliminated the need for battery replacement. We also liked the zero loss of rigging headroom thanks to the shackle construction and the ability to transmit the monitoring data over a Wi-Fi network to allow remote access within each space.”
The National Theatre purchased their Kinesys system from entertainment technology supplier, A.C. Entertainment Technologies (AC-ET). In addition to the LibraCELL system, AC-ET also supplied a Kinesys DigiHoist Controller and bespoke cabling from Tourflex Cabling to compete the syst
Luxembourg - In 2016, Luxembourg City’s Philharmonie Luxembourg became the first European classical concert venue to permanently install a Yamaha Rivage PM10 digital mixing system. It proved such a success that it has now added a Rivage PM7.
With raked stalls and four seating ‘towers’ on each side, the 1328-capacity Grand Auditorium at Philharmonie Luxembourg combines the acoustics of classic shoe-box concert halls with the atmosphere of a Shakespearean theatre. The smaller Salle de Musique de Chambre features curved walls and can host audiences of 313 people, while the venue’s four foyers can also be used for performances.
The venue has featured Yamaha digital mixing systems since it opened in 2005; initially a PM5D and M7CL-32, then a CL5 and the Rivage PM10.
“The audio quality of the Rivage PM10 system is excellent. We have been working with it since the first firmware version and the performance has improved with each update. Even complex setups are now easy to create,” says Thomas Leisen, a freelance mixing engineer who regularly works with the in house Philharmonie Luxembourg team.
“The ability to separate the individual bays and thus work with two operators at the console is a good feature and, with the offline editor, new operators can get a good overview of the system's functions and easily prepare setups. The system fully met my expectations and is a pleasure to work with. It’s also been well accepted by guest engineers, who quickly find their way around it.”
“The system is very popular with the guest engin
USA - The Shawnee Cave Amphitheatre, 100 miles southeast of St. Louis, bills itself as “a venue like no other.” Tucked into the base of a massive 100ft high sandstone rock formation sits in the middle of 60 rugged acres of craggy paths, creeks and waterfalls.
Kyle Curtis had a hand in creating just such memories Memorial Day weekend when he lit the site for an event featuring a line-up of jam bands that included The Infamous Stringdusters, Sam Bush, Leftover Salmon, Keller Williams, Kyle Tuttle Banjo, and Chicken Wire Empire. Enlivening the surroundings with vivid colours and making the cave wall come alive with gobo patterns, he enhanced the evocative effect of the setting without distracting from the artists on stage.
Helping him accomplish this feat was a collection of 54 Chauvet Professional fixtures supplied by Chris Parton and his team at Midwest Music Supply. Curtis’ design, which was run on a ChamSys MQ500M, transformed the entire 300 by 100ft cave area.
“My favourite part of this project was getting to build such a huge lighting canvas,” said Curtis. “Usually, even the largest stages I work on are only 80ft wide. At this venue our ‘stage’ was only 40ft, but our overall canvas was many times larger.
“We ran about five universes in total, not because of channel counts, but for DMX routing to allow touring LDs to take some or all of the rig,” continued Curtis. “If they didn’t want to control the cave lighting, we could retain that control on the MQ500M and just give them the stage lighting. We used two NET-XII nod
Australia - Mackay Entertainment and Conference Centre (MECC) is a busy and diverse complex of nine different venue and event spaces in Mackay, central Queensland, hosting a lively mix of corporate launches and conferences to opera, music, dance, and performance shows.
Head of lighting Dan Grace and his team are amongst the first in Australia to have Robe’s new high power Forte LED luminaires in the house, with a purchase of 12 of the fixtures plus 12 new Robe Spiider LED wash beams, with more of both types of moving light to follow once the season ramps up again.
The decision to buy Fortes was underlined by MECC’s previous experiences with Robe – with nearly 100 fixtures already, including 30 x DL7s, a mix of profiles and fresnels, which directly replaced 36 hot and power-hungry 2K fresnels in the main theatre in 2019.
The last batch of these DL7s arrived together with three RoboSpot systems and BMFL FollowSpots, a move that was driven by MECC’s head of AV, Mark Blake.
Mark and Dan are part of an MECC technical team of 18. They were both instrumental in persuading the local government officials who oversee MECC’s operation that the time was right to convert the theatre to a full LED stage lighting rig.
Moving forward, LED is now a prerequisite for any new lighting investments and “it made sense to keep brand consistency throughout the venue and we enjoy a great relationship with our supplier Kennedy Amplifier Hire Service and Australian distributor Jands,” confirmed Dan.
The new Fortes and Spiiders will mainly be
USA - Xite Labs utilised the disguise Extended Reality (xR) workflow, powered by a gx 2c media server and rx real-time rendering platform, to bring to life a myriad of virtual worlds in Unreal Engine for rapper Bryson Tiller’s Trapsoul World Series live streamed concert.
Shot at Xite Labs’ xR stage in LA, the concert accentuated the artist’s musical vibe for fans around the world watching at home. The immersive livestream presented Tiller in a series of six different worlds linked by a narrative flowing through the songs. Xite Labs was responsible for the stunning xR content for 14 different songs performed in four virtual ‘worlds’ with distinct appearances and themes.
For this immersive experience, Xite turned to its in-house workflow, featuring a disguise gx 2c media server as the primary controller of the xR environment, while a dedicated disguise rx machine was used to run the Unreal Engine scenes via disguise RenderStream. Front-plate elements were created in Notch to further link Tiller into each of the unique worlds.
These included a virtual lounge that fell away to reveal a world of galaxies, nebulas and spaceships, a time theme with a mountain desert landscape and a flight through a moonlit sky, guerrilla warfare transforming into a neon jungle as well as stark hallways with bold, flat lighting, colour-changing walls and silhouettes. Throughout, Tiller appeared to perform on a moving platform, which served as the anchor point transporting him from one otherworldly environment to another.
“I have not seen anything
Japan - NBC Olympics, a division of the NBC Sports Group, has selected Xytech’s ScheduALL to provide its enterprise resource and transmission optimisation solution for its production of the Games of the XXXII Olympiad, which take place in Tokyo, Japan, from 23 July. The announcement was made by Dan Robertson, VP NBC Olympics IT, and Greg Dolan, Xytech CCO.
NBC Olympics has turned to Xytech’s ScheduALL for a ninth consecutive Olympic Games to deliver advanced enterprise resource and transmission optimisation solutions in order to coordinate the highly dynamic environment of the Games. NBC Olympics will be able to leverage the expertise of Xytech’s software and services to orchestrate the logistics of people, equipment, locations and transmission feeds.
“For the ninth consecutive Olympic Games, Xytech has the privilege of contributing to the success of NBC Olympics’ production,” said Dolan. “We understand that flawless execution of the transmission feed is incredibly important to the success of NBC Olympics’ presentation from Tokyo. As a result, many people at Xytech dedicate large amounts of time ahead of the broadcast preparing for a perfect execution. During the Olympic Games, we are proud to have a senior implementation manager working alongside NBC Olympics throughout the entirety of the Games.”
“The challenges and complexity in scheduling and managing all of NBC Olympics’ incoming and outgoing transmissions, and technical facilities, as well as Tokyo- and Stamford-based recordings is an incredibly complex and dynamic challe