Switzerland - Pop-rock band Hecht entertained 13,000 fans at Zurich’s Hallenstadion in an energy-fuelled visual and sonic extravaganza which included zip-lining keyboardists, crowd surfing, inflatable pink flamingos and several tons of confetti.
Show and lighting designer Roger Staub was asked to create a big, vibrant and memorable show to end their current touring cycle riding high on their chart-topping third studio album Oh Boy and assisting him to make a massive impact were 98 Robe MegaPointes and 60 Pointes.
Roger is also a video content creator and his elegant design combined the media of lighting and video, proportionately putting the band right at the centre of the action on a large (18 x 8m) semi-transparent LED screen.
Visually, Roger wanted to create simple and powerful statements and a clean performance space. To keep focus on the band, he proposed the central upstage screen instead of standard left and right IMAGs as one of his starting points.
The concert was also shot for a DVD / documentary film with 15 cameras in total, 11 of which were available for a lively IMAG mix which was cut by John Allen of Live Image.
In addition to the Pointes and MegaPointes, there was a matrix of 84 LED battens around and behind the LED screen, and a scattering of strobes.
He relied on the full multi-functionality of the MegaPointes in particular to provide his beam, spot and wash effects. Roger had used MegaPointes before, but primarily in festival scenarios, so this was the first show with them as the main fixture.
Italy - Every October for the past five years, over a thousand musicians have gathered together in Italy to perform as the ‘biggest rock band in the world’. Yamaha digital mixing has featured each time, with a Rivage PM10 digital mixing system making its debut in 2018. This year the event moved to Linate Airport, Milan, where a Rivage PM7 system was added for the first time.
The scale of Rockin’1000 That’s Live means that the sound has to be managed by a highly professional team. Yamaha Music Europe’s Italy branch were on site in Milan as technical partners, with Alessandro Arturi, Marco Giovanetti and the rest of the crew facing the major task of mixing FOH and monitors for over a thousand singers, guitarists, bass guitarists, drummers, keyboard and wind players.
The event’s biggest digital mixing system yet comprised a Rivage PM10 with CS-R10 and CS-R10-S control surfaces to manage the Front of House mix. A Rivage PM7 system was used for the monitor mixes, with five RPio622 I/O racks providing 304 inputs and 96 outputs. The system was based on a TWINLANe network, with Dante distributing the audio to the PA amplifiers and to multitrack recording via two RMio64-D Dante/MADI I/O racks. A QL1 digital mixer was also provided for the conductor, who was busy keeping all the musicians in time.
Groups of each type of instrument were assembled symmetrically throughout the space to provide an even soundfield and avoid spill or feedback as much as possible. Inputs to the system were from a large number of microphones - either close miked or one m
USA - Keeping pace with Andrew Peterson’s gently winding performance of Behold The Lamb Of God as it weaves its way through a mix of words and music is a supple lightshow designed by Winn Elliot and operated by Jessica Sanders.
Elliot and Sanders’ blend of brightness, colour and shadows was on full display Sunday 1 December when the 20th edition of the popular holiday tour played to a sold-out crowd at the Von Braum Civic Centre in Huntsville. Helping them create their flow of evocative looks was a collection of 16 Chauvet Professional Maverick MK2 Spot fixtures supplied by 44 Designs.
Flown on upstage, midstage and downstage truss, the 440W moving fixtures were used to spot performers in all sections of the stage as the Christmas narrative unfolded. During dramatic moments, the Maverick MK2 Spot units turned up the intensity level with sweeps and overhead beams. The versatile fixtures also created a variety of concert-style looks in support of the show’s diverse musical mix, which ranges from the soft rock country tones of It Came To Pass to the hard-driving Celtic-sounding Gather Round Ye Children.
At the start of the show, when special guests like Jill and Andy Gullahorn, Scott Mulhavill, and Sierra Hull appeared, Sanders busked often to reflect their individual styles. “We created a lot of different looks,” she said. “The Mavericks definitely added versatility to the show. Their optics were amazing. I got to change up looks dramatically using their zoom ranges and varying intensity levels.”
France - The Abbey of Mont Saint-Michel, the well-known islet in Normandy, provided an enchanted venue to Laurent Voulzy’s concerts in September.
The popular French singer and song-writer performed here for the first time accompanied by a keyboard player and harpist.
Lighting designer John Artonne enhanced the atmosphere by using Prolights Starkbar1000 to illuminate the stage and create a set of aerial effects.
“Choosing Prolights Starkbar1000 fixtures was a no-brainer for me,” says Artonne. “Among all the products I have seen were those who convinced me the most in terms of light output and effect possibilities, to such an extent that we had the chance to see up close its great potential even when Mont Saint-Michel was shrouded in thick fog. My team was enthusiastic about this choice too.
“It’s always a pleasure working with this brand. Thanks to ESL, Prolights distributor for France, who has been involved in providing local technical support and assistance.”
USA - While he officially retired from touring after his 2012-2014 Cowboy Rides Away tour, George Strait was one of the first headliners at Fort Worth’s new Dickies Arena, playing two back-to-back, sold-out shows in late November.
With those shows and others now being mixed on a DiGiCo SD12 96 desk at front of house, Strait stays at the forefront of live sound technology. Commissioned by Epicenter Productions of Dallas, the console was acquired by George Olson, who has been with Strait since 2004.
“It was the SD12’s compact size, and the power that it packs into that footprint, that really convinced me to go with it,” says Olson, who bumped up the console’s channel count from 72 to 96 with DiGiCo’s latest software, increasing its desirability as a rental unit for his GP Productions company when he’s not using the desk for shows with Strait. “When I looked at its dimensions, I knew that it would fit in virtually any truck or trailer, or the back of any bus, so it would always be able to get to the gig,” he says. “But when I saw how many features they had crammed into that console, I knew it was the one I wanted.”
Olson cites the SD12 96’s two DMI slots, which he’s filling with Waves and Dante cards, and the 192kHz SD-Rack that’s fully loaded with 56 32-bit mic pre-amp inputs, 40 analogue outputs and 16 AES connections among those attractive features. “Plus, the SD12 has the dual screens of an SD5, but in a much smaller size, which makes it great for a wide variety of types of venues,” he adds.
USA - Although Louisville residents have long associated the term ‘Triple Crown’ with Kentucky Derby thoroughbred horse racing at their own Churchill Downs, this year’s Trifesta may well pose a legitimate threat to that reigning royal trio title.
Produced by Los Angeles-based Danny Wimmer Presents (DWP) - the concert promoter behind popular US music festivals like Sacramento’s Aftershock, Columbus’ Sonic Temple and Charlotte’s Epicenter - a Trifesta pass served as the golden ticket to get into three large Louisville music festivals held on consecutive weekends during September, each of which utilised an L-Acoustics K Series loudspeaker system deployed by Brown Note Productions (BNP) of Thornton, Colorado.
Staged at the Kentucky Expo Centre’s Highland Festival Grounds, the inaugural Hometown Rising festival packed in more than 70,000 country music fans over September 14 and 15 to hear from headliners Luke Bryan, Tim McGraw, and Keith Urban, among others. The following weekend, a crowd of more than 90,000 attended the three-day Bourbon & Beyond festival featuring performances from a wide variety of artists, including Foo Fighters, Robert Plant, and Zac Brown Band.
Anchoring the final weekend of the month was the three-day Louder Than Life, which brought out 128,000 hard rock and heavy metal enthusiasts to headbang along with Guns N’ Roses, Slipknot, Disturbed, and many more.
According to BNP president Ryan Knutson, who, with the help of Soundvision, created the system design for Trifesta, each of the three weekend festivals f
UK - Silent Disco King, a leading provider for wireless headphone events, helped deliver the biggest ever silent disco event at Lowlands festival.
Back in 2017, the festival organisers wanted to increase the size of their silent disco to 10,000 headphones and needed a suitable supplier. Having visited the company’s UK head office, Lowlands turned to Silent Disco King, who, in August 2018, delivered a silent disco for the festival with not 10,000 headphones but 20,000 headphones.
In August this year, the supplier provided 30,0000 headphones to light up an arena with three channels of music, keeping festival goers dancing until sunrise as customers were able to switch between two DJs or the on-site radio station.
Seven technicians and supervisors from the Silent Disco King team were on site to help set up and manage the event, with a local crew of 90 people for distribution.
Paul Gillies, managing director, comments: “To ensure this event ran smoothly we worked closely with Kees Heegstra, festival frequency co-ordinator, to select frequencies and optimise coverage by linking each DJ wirelessly to our centralised transmission mast. This provided coverage across a large part of the site, including two 10,000 capacity venues, the refreshments area and the campsite.”
The festival’s license for audio covers the Friday, Saturday and Sunday and the Silent Disco King solution enabled a whole day to be added to the festival resulting in additional revenue streams and more entertainment for the festival goers.
UK - Anna Valley has announced their purchase of over 500sq.m of 3.9mm Unilumin LED, making the AV and entertainment technology company one of the biggest suppliers of single-batch high-resolution LED in the UK. The purchase was motivated by increased demand for super-sized screens for projects like X Factor: Celebrity 2019 where 200sq.m of Anna Valley’s new stock was used to create the digital backdrop for the live final at the SSE Arena, Wembley.
The improvement in LED resolution and the increase in the computing capability of video processors and servers has prompted a surge in demand for large screens to display ultra-high-resolution content for live events and broadcast shows. However, in order to achieve image consistency across these video walls, they have to be built from LED panels that are not only from the same supplier, but from the same production batch. Anna Valley now hold enough high-resolution LED stock to cover the stage area at the SSE Arena, Wembley twice over, or to build a giant screen measuring 30m x 17m to display 8K content at a native resolution.
“With 500sq.m of single-batch LED, we’re now able to offer almost limitless scale and versatility in display design,” says Anna Valley operations director, Pete Jones. “This represents a significant financial investment and reinforces Anna Valley’s position as the leading entertainment technology supplier to the event, live entertainment and broadcast sectors.”
Anna Valley has also bolstered its stock of black marble LED floor by 6sq.m, bringing their total inv
World - Twenty-four Astera AX1 LED battery powered wireless ‘pixel tubes’ played their part onstage with rock band Muse during their action-packed Simulation Theory world tour, which has just played its final show in Chile, having been on the road since February.
The AX1s were used in just one song - Algorithm - for maximum impact. They were placed in custom angled holders on the sides of a long runway / thrust during the blackout, and at the start of the song formed 12 illuminated pillars of light behind lead singer / guitarist Matt Bellamy, who was playing keyboards on the B stage right in the centre of the venue.
The tubes were then picked up by a troupe of Ninja performers who used them in bō staff-style to make geometric formations and accentuate their distinctive robotic movements as they moved along the walkway and across the stage.
Two conjoined AX1s each made up one bō staff and there were 12 Ninjas at the largest shows. The tour played a mix of stadiums and arenas.
Creative director Jesse Lee Stout of Metaform Studio wanted to use the fixtures. His original ‘simulation theory universe’ setting for the show was a concept inspired by 1980s and 90s sci-fi movies and spacey themes, which was developed into a dynamic ‘Cyber Noir’ environment for the band, where lighting - designed by Sooner Routhier - was very much a character in the plot.
Being a Cyber Noir show, he needed the Ninjas to have an illuminated tool / weapon for strategic moments and thought that AX1s - used in bō staff style - would be the right
Europe - Two years ago, after Thomson Cruises (part of TUI) had rebranded to Marella Cruises, the instigation of a refurbishment programme of the fleet saw UK technology company tedav (part of The Entertainment Department), awarded a long term contract to provide entertainment and comms systems, starting with the conversion of Mein Schiff 1 to the Marella Explorer luxury ship.
Audio and networking components deployed through the many entertainment spaces and general deck areas were sourced from the Harman Professional Solutions catalogue via UK distributor Sound Technology.
tedav’s successful audio design template - along with the addition of Martin from Harman lighting - was adopted and expanded when the company returned to Navantia Cadiz Shipyard in Spain 12 months later to begin work on their second project - the Marella Explorer 2. And with technology having moved on, they were able to place the first UK order at the time for the new JBL VTX A8 line array system.
Under the direction of tedav’s senior project manager, Martin Jones, and cruise technical manager, Flavio Diolaiti, just eight weeks after embarking on the project, they had equipped eight venues on the 14-deck vessel, transformed by a 40-strong team (including permanent technicians respectively dedicated to sound, light and automation).
“We created a bespoke installation out of nothing,” says Flavio Diolaiti. “We had to start from scratch, as none of the equipment onboard was reusable.”
Overall, the project involved around 25,000m of cable, and from an audio per
USA - Rapper Logic toured 26 cities across North America this fall on his The Confessions of a Dangerous Mind tour with lighting design by Mitchell Schellenger and lighting supply by Volt Lites of Burbank, California.
Schellenger employed a rig of Elation Professional Artiste Monet moving heads as the workhorse fixture in his design and says the powerful, multi-purpose LED profile was just what he was looking for.
Schellenger had visited the Volt Lites shop in LA to demo the Monet and found the fixture’s multiple capabilities to his liking. “I didn’t want to use the typical wash, profile, beam configuration,” he says. “I wanted this to be a simplified look and by doing so I needed a fixture that was capable of doing a lot of things with the power and capacity to light the entire show from above. The Monet just made perfect sense.”
On the Logic show, an overhead rectangular rig holds 24 Artiste Monets in six rows of four fixtures each. Across the backline and lined up with the six overhead finger trusses are six more Monet fixtures used for aerial effects and to shape the band. Running perpendicular to the Monet truss fingers are four automated finger trusses, which at times disappear completely to leave the Monet fixtures alone.
Despite the large arena settings, Logic wanted the show to have an intimate feel so Schellenger abstained from LED video graphics and used IMAG with a supporting light show. While two monolithic screens (each 15ft wide by 32 ft tall) project live images of the artist, the upstage centre is left intentiona
Austria - An Allen & Heath dLive mixing system recently provided audio support for the 200th anniversary of one of the leading financial institutions in Europe, Erste Bank.
Held at the Wiener Stadthalle, the event saw more than 12,000 in attendance and with nearly 80 musicians performing, including an orchestra, big band and choir, the event presented several challenges, requiring several mixing consoles with the ability to handle over 120 inputs and 44 monitor outputs to both wedges and IEMs. Additionally, an extensive Dante network was used for shared access to wedges and wireless systems, track playback via DAW and connections to the main PA.
Supplied by live production company, Habegger Austria, FOH comprised a dLive S5000 surface equipped with a Dante card for stem playback and PA feeds, and a DM32 MixRack fitted with a gigaACE card for the digital split to the monitor system. An IP8 remote controller was used for controlling FX returns and channel mixes for video voiceovers.
Operated by Felix Zwerger, monitors featured a dLive S7000 surface, IP8 remote controller and a DM48 MixRack, fitted with a gigaACE card for TieLine connections to the DM32 at FOH. Two DX168 expanders and a DX32 expander were also used to add extra physical I/O onstage. Both MixRacks were fitted with Dante cards for monitor and wedge sharing and access to Shure wireless devices.
Richard Redl, head of audio at Habegger Austria and FOH engineer comments: “I was one of the first dLive users in Austria and I’m still in love with this console. The show needed a hi
Italy - The Parma Città Della Musica festival is new, but its Romanesque setting was decidedly historic. Set in the Parco della Citadella of this ancient northern Italian city, the festival’s inaugural edition had the walls of a 16th century citadel serve as the backdrop for its stage. Accenting this setting was evocative lighting from over 60 Chauvet Professional Maverick fixtures supplied by Fumasoli Audio and Lights Rental.
Gustavo Boetti, lighting manager for Fumasoli, built the lighting rig with the evocative nature of the festival’s setting firmly in mind. His goal: create a rig that would lend itself to theatrical looks. The lighting designers for the festival’s co-headliners, pop icon Antonello Venditti and Italian rap star Salmo, both made use of his rig to support their clients with compelling scenic panoramas on stage.
Utilising deep pools of light and shadow, crisp key lighting, and boldly saturated back light, the designers eschewed the “typical concert look with its continuous rapid movements” in favour of more immersive and subtle displays.
“The designers wanted the lighting to create emotion,” says Boetti. “Because of this, they focussed on using the fixtures to create more scenic looks with a lot of back light, side lighting, and dark areas to build a sense of space and drama.”
Working with Enrico Fumasoli and the rest of the Fumasoli Audio and Lights Rental team, Boetti selected 44 Maverick MK2 Washes as the backbone of his design, hanging 12 across the front truss, 20 on the back truss, and positioning
UK - For the UK tour marking the 40th anniversary of Gary Numan’s career as a solo artist, lighting designer Luke Edwards called on the power and clarity of the VL2600 Profile luminaire from Vari-Lite. The tour, which completed at the end of October, played 24 UK venues.
“Although this tour was to celebrate the fact that Gary has been touring for 40 years, he is still very much an artist in the present,” says Edwards. “So we’re using the newest technology, with a large video wall and stage set design for the size of venues we are playing.”
Placed on tiered risers upstage, 14 VL2600 Profile fixtures created strong gobo looks through the band, as well as beam and mid-air effects. “I was looking primarily for brightness and clarity, which the VL2600 Profile handles particularly well,” he explains. “I would have thought they were a discharge lamp source, instead of LED.”
Edwards enjoyed the advantage of the VL2600 Profile’s compact form and punchy output. “The compact size is a big advantage, as space is usually at a premium. With a relatively small footprint and incredible brightness and gobo clarity, it was still powerful enough to cut through the air, even against the video content, and even with a gobo and colour.”
Impressed by the fixture’s output and colour, gobo clarity and high colour temperature, Edwards adds: “The Vari-Lites absolutely delivered, and I will use them again, without a doubt. In fact, they have already been drawn into next year’s tour designs.”
South Korea - The largest jazz festival in East Asia has selected Amadeus’ newest speaker Series including Diva M², Maestro II, as well as bespoke stage monitors which are to be released in 2020. SSL Live L500 consoles were featured at the event as well.
Jarasum Festival has hosted over 2m attendees since its inception in 2004 and featured performers from 55 countries on its stage. Over 200,000 spectators attended the 16th Jarasum Jazz Festival in October. Elan Tech is the South Korea-based production company in charge of both sound equipment and technical production for the event.
Located in the Gapyeong region, northeast of Seoul, the festival site is an island surrounded by a beautiful city near the mountains and the banks of the Bukhan River. The yearly three-day festival features all types of jazz including swing, fusion, bossa nova, bebop, as well as world music. This year’s festival featured Black String, López-Nussa La Familia, 4-Wheel Drive, Omar Sosa Quarteto Afro Cubano, Jon Cleary & The Absolute Monster Gentlemen, and The Danish Radio Big Band & Marilyn Mazur, among many other musicians and groups.
“Because a recent typhoon had hit Korea, we started setting up the sound systems on-site only three days before the festival began,” reports Yongwoon Jeong, CEO and technical director at Elan Tech. “The main speakers and subwoofers used were all made by Amadeus, for a total of 30 units of DIVA M², 12 units of Diva M² Sub, and 12 units of Maestro II.
“We have also worked with Amadeus to develop new speakers - stage
UK - Light Fantastic Production Services once again supported CoppaFeel with a full production package as well as taking on the overall production management mantle for Festifeel 2019.
The work being done by CoppaFeel raises awareness of the signs and symptoms of breast cancer particularly amongst young people.
Held at House of Vans London, deep within the arches below Waterloo Station, Festifeel is the charity’s annual music and comedy festival that flies the flag for the work they do and highlights the help they provide.
Having provided a full production package, including lighting, audio, rigging and video, LFPS transformed the underground venue with a vibrant, creative mix of colour and projections throughout the urban interior. The lively look provided an appropriate backdrop to a host of musical performances that included Bombay Bicycle Club, James Bay and Feeder plus comedy sets from Sara Pascoe, Dane Baptiste and Harriet Dyer.
LFPS project manager Andrew Maxted comments: “We are extremely proud to have once again supported Festifeel and to help highlight the fantastic work being done by the Coppafeel team. This year’s event has been another great success. An enjoyable event to be involved with and a wonderful opportunity to play a part in helping raise awareness of such an important issue.”
On working with LFPS, Coppafeel founder, Kris Hallenga, says: "We worked with Andrew and Light Fantastic on our annual music and comedy festival Festifeel. There were many elements of our event that Light Fantastic dealt with, includi
USA - ZZ Top recently wrapped up a tour celebrating their 50th year as a band with a lighting package provided by Bandit Lites. Comprised of Billy Gibbons, Frank Beard and Dusty Hill, the Rock and Roll Hall of Fame band formed in 1969 and have sold more than 50m albums worldwide
Lighting designer John Lucksinger conceived a classic par can rig made up of moving lights to give the band the authentic rock look of yester-years.
“It’s been a fun time,” says Lucksinger. “Three guys on stage. No real frills. Just guys playing great music. It has been different in that the last few tours I was behind the console for where we had a lot of trucks, huge video walls, and lots of lights. This is just a plain and simple rock show. The band doesn’t like movement in the lighting, so the show is mostly big rock looks with hits of lights and colour chases. I’m just trying to accent what is being played on stage and not distract from it.”
Bandit Lites supplied Martin MAC Auras, GLP X4, GLP X4S, GLP JDC1, Elation CuePix WW4 Blinders, Chauvet Rogue RH1 Hybrids, Claypaky Sharpys, Bandit’s exclusive GRNLite Moving Washes and a grandMA2 Full console for control.
“I tried to get an old school look with newer technology,” Lucksinger explains. “I chose the fixtures based on that. Also, the functionality of the fixture was important; colour mixing and zoom was a must. I went with the RH1s due to size, as I needed a small powerful fixture.
“I’ve always been a fan of the X4s,” continues Lucksinger. “It’s small and versatile, plus
Italy - At the Vittoriale degli Italiani (The Shrine of Italian Victories) it is possible to discover the bow of the Puglia cruise ship immersed in the promontory in the middle of the trees. There is also a MAS 96 anti-submarine motorboat used for the Beffa di Buccari (a military raid led by D'Annunzio in the Croatian bay of Bakar), as well as the poet's cars and the SVA biplane used in 1918 for his propaganda flight to Vienna.
Overlooking the Garda Lake is the spectacular amphitheatre with about 1500 seats, designed to replicate the ancient structure of a Greek amphitheatre in a seductive setting, surrounded by the Alps. Architect Gian Carlo Maroni was sent to Pompeii to study the Greek theatre and began work in 1934, completing the building after the poet's death in 1952.
In the summer months, the theatre manages a prestigious season of shows, including Tener-a-Mente, the Vittoriale Festival which has hosted over the years artists such as Lou Reed, Ben Harper, Burt Bacharach, Keith Jarret, James Taylor, Damon Albarn, David Byrne, Pat Metheny, Paul Weller, Steven Wilson, Arto Lindsay, and many others.
The 2019 summer season of the amphitheatre, with Garda Lake as its backdrop, hosted the likes of Johnny Marr; Gary Clarke Jr; Billy Corgan; James Morrison; Diana Krall; Garbage; Antonello Venditti; Ghemon; Calexico + Iron and Wine; Xavier Rudd and Glen Hansard.
“The audio system that we installed at the Vittoriale degli Italiani provided total coverage of the area, made up of three sections of seats. Parterre, Steps and Imperial stage, the
USA - Building on the momentum of last year’s inaugural event, the West Coast Music Festival treated fans to a star-studded line up of hip-hop, DJ and rap artists this fall. Headlining the festival at Tucson’s Mercado district was Ice Cube. Supporting the festival, was a punchy and flexible light show created by John Garberson and his team at Creative BackStage that featured Chauvet Professional fixtures.
“We built our design around a large video wall,” says Garberson. “Inter Technologies, supplied the screen and hired us to do the lighting. The wall displayed some iconic images for Ice Cube. We needed lights that would stand up to the bright wall and provide colour and movement to energize the looks for Ice Cube’s show. We also needed the fixtures to be flexible enough to create distinctive looks that reflected the music of the other artists.”
Garberson and his lighting programmer Ellie Knight, relied on 10 Maverick MK2 Spot fixtures to complement the video wall, flying four of the 440W moving fixtures on mid stage truss, and six on upstage truss. Drawing on the fixtures 3-facet prisms and 13° to 37° zoom range created a flow of new looks by changing coverage areas.
“The performance features of the Mavericks were important in terms of creating variety, but what really made the design work was their output,” said Garberson. “We had a lot of brightness from the video walls, so we needed fixtures that could stand out.”
Also standing out were the eight STRIKE 4 blinders in the Creative BackStage rig. Garberson and his te
South Africa - The Joburg Zoo Festival of Lights, held in partnership with the Joburg Theatre and the City of Johannesburg, has transformed the city’s zoological gardens into a night-time wonderland for both young and old this festive season.
Many of the trees at Joburg Zoo are more than a hundred years old and contribute to the city’s magnificent forest canopy. The Festival of Lights pays homage to these majestic forest giants by bathing them in light over the festive season for all to enjoy.
Johnny Scholtz, architectural lighting specialist at DWR Distribution, worked with Joburg Zoo management and the City of Johannesburg to come up with a design for the temporary installation of lighting fixtures and audio equipment for this year’s festival. “There were a number of factors that we needed to take into consideration, such as the sheer size of the area that Joburg Zoo wanted to illuminate and bathe in sound as well as the impact of the installation on the animals that reside at the Zoo,” says Scholtz.
The DWR team deployed 60 Longman Parco R350 units to wash the Zoo’s forest in dynamic colours. The wash effects provided colour and a sense of drama when used in conjunction with the hundreds of meters of fairy lights that add that special festival-season charm to the display.
In addition to the lighting, Jaco Beukes of DWR Distribution designed an audio solution for the Festival of Lights that features Quest MX601 speakers on towers that have been strategically spaced throughout the allocated area to provide ev
UK - Hawkwind celebrate their 50th anniversary this year, releasing their 32nd album and embarking on a tour that culminated in a sold-out show at London’s Royal Albert Hall in November, supported by an Allen & Heath dLive mixing system.
With special guests including Eric Clapton and Motörhead’s Phil Campbell joining the band on stage along the way, the tour saw long-time Hawkwind FOH engineer Rik Elliss behind the dLive surface. “I’ve been an Allen & Heath fan for many years and the dLive is my go-to system these days, both for my own engineering duties and for my rental company Audioworx,” explains Elliss. “For this tour I’ve been using the S5000 surface with a DM64 MixRack at FOH. The MixRack is also fitted with a Dante card, which is used for recording several of the shows.”
Perhaps unsurprisingly, Hawkwind’s dense, layered sound provides some challenges when translating to a live setting, but Elliss points to key dLive attributes that help the process. “I’ve got 11 channels of keys which all need to be heard, five channels of screaming guitars, a pretty distorted bass guitar, 11 channels of drums and four vocals to deal with,” he says. “And trying to get the vocals to sit on top of this very mid-range heavy music is a challenge. But the dLive is great at keeping sounds separate and distinct and that separation really helps with adding clarity to the mix, which is something that’s incredibly important, particularly in a venue as different as the Royal Albert Hall.
“The other key aspect of the dLive that I r
Columbia - Juan Luis Guerra recently kicked off his 2019 Literal Juan Luis Guerra 4.40 Tour Grandes Éxitos with a complete Robe specification for the lighting rig, which has been designed by Daniel Charif and is being operated and directed on the road by Emmanuel Ferry, who also programmed.
The three-time Grammy and 21-time Latin Grammy award-winning artist, musician, singer, composer and record producer has sold over 70m records worldwide and is one of the most internationally recognised Dominican artists. His signature merengue / Afro-Latin fusion style has been distinctive, popular and successful, and for this tour he is playing alongside his band, 440, creating a diverse mix of sounds in an entertaining live show.
Bogota’s new Movistar Arena provided the second stop on the tour, The show was completely sold-out with the majority of the Robe moving lights supplied by the house technical providers Linea Estrategica, Colombia’s largest rental company.
Guerra’s touring specification includes 112 x Robe fixtures: a mix of BMFL Spots, BMFL WashBeams, MegaPointes and Spiiders. These are at the hub of the rig, augmented with around 75 other lights including more wash lights, strobes and 2-lite blinders.
UK - A large pyramid-shaped scenic element defined the stage in the British Theatre Academy’s recent production of Joseph and the Amazing Technicolor Dreamcoat at London’s Compass Theatre.
The pyramid succeeded in conveying a sense of time and place, but thanks to a collaboration between the BTA’s artistic director Dean Johnson and lighting designer Andrew Exeter, it also did much more.
Constructed with six Chauvet Professional COLORdash Batten-Quad-12 fixtures, supplied by T&B Events, the distinctive triangular structure was used to create a flowing wave of colour changes that accentuated the powerful current of emotions running through this story of hope, betrayal, courage, and redemption.
“Dean and I have worked together on many projects,” says Exeter. “His concept for the set in this production called for having this giant pyramid act as a symbol of Egypt, then using it with colour to reflect the moods and character development of the protagonist, as well as the flavor of the different locations in the play. Based on experience, we knew that the COLORdash Battens could help us achieve this vision, so we hired them out from T&B Events.”
Using pixels and offsetting colour, Exeter focused different architectural looks on the COLORdash Batten-Quad 12 fixture to underscore different moods. “The colour of the pyramids’ battens mirrored the changes that took place in the play,” he says. “For example, we included blue by gold pixels for Joseph’s progression to ‘Pharaoh’s number two’ man. We also had a
UK - White Light has supplied the lighting equipment for [BLANK] which recently ran at the Donmar Warehouse.
[BLANK] is a theatrical provocation, which marks 40 years of Clean Break, a theatre company that works with women affected by the criminal justice system. Featuring over 100 unnamed scenes, [BLANK] sees the director Maria Aberg choose 30 of these in order to create the production.
Featuring an all-female cast and creative team, the show has a lighting design by Jess Bernberg, who comments: “After attending meetings with Maria and Rosie Elnile (set designer), we came to the decision to keep the aesthetic quite open. Whilst part of Rosie’s inspiration for the set was mother and baby units in women’s prison, we didn’t want to create any literal space, instead choosing practical lights to break up the space and adding a sense of uniformity to the lighting design.”
To achieve all the required specific looks, Jess approached WL who have supplied a range of her shows this year, including Out of Water (Orange Tree), And the Rest of Me Floats (Bush Theatre) and The Crucible (The Yard)
Bernberg explains: “Most of the rig was Aryton Ghiblis and ETC Lustr2s, as well as CP61 par cans forming a toplight grid. The Ghiblis are wonderful moving lights, super quiet in terms of ambient noise which is very important for a space like the Donmar where audiences are just metres away from the units and there were many quiet, delicate scenes that can’t be disturbe