USA - On the south edge of Kansas City, a multi-story commercial building has been lighting its windows in special colours and patterns for decades. ETC’s Mosaic system, a pixel-mapping and show control solution, recently gave them a 21st-century upgrade to heighten the graphics and even provide a new revenue stream for the building.
“The building is right near the interstate. For years, everybody drove past it and loved the decorative touch of the special lighting,” says Autumn Nieland, business development at Mercer Zimmerman. The patterns started with a holiday wreath, then expanded into other designs like the Kansas City Royals or Chiefs logo. But the building wanted something better. They wanted a system that could handle bigger designs but needed less time and people power to make happen.
“They were still just using fluorescent strips lights, figuring out by hand what colours would go into what window, and having maintenance personnel change the colour of gel tubes. It was very labour intensive,” says Nieland. “The property manager came to me and said there’s got to be a better way. So of course, we introduced them to ETC’s Mosaic.”
ETC’s Mosaic makes it easy to paint with light on big canvases like buildings. With support for up to 1.5 million pixels, your designs can be as high- or low-res as you like. And it’s easy enough to use that the building staff have free rein to build and implement their own designs.
Mosaic’s design software has made their life much easier. “They used to plot out windows in Excel by s
UK - Home to a technically advanced film production complex, Garden Studios is a one-stop-shop for a wide variety of TV and film productions, designed specifically to support the latest technologies as well as decades of future innovation. Its in-house Virtual Production stage is driven by Brompton Tessera processing.
Launched this year, the facility boasts three traditional sound stages, totalling over 3,700m2, as well as an array of supporting spaces. The jewel in its crown is its Virtual Production stage, which allows filmmakers to shoot live action footage within a pre-visualised virtual world, using 3D CGI modelling and precision camera tracking to make it all look as real as possible.
“Whether our clients are looking to shoot a feature film, short-form promo, commercial or music video, Virtual Production can deliver a sustainable and cost, time, and travel-effective solution for their project,” says Garden Studios’ Virtual Production supervisor, Mark Pilborough-Skinner.
The 445m2 Virtual Production stage is powered by tech from Epic Games (Unreal Engine), Mo-Sys (Star Tracker tracking technology), ROE Visual (Diamond 2.6mm LED panels), and Brompton Technology (Tessera LED processing).
Additionally, the LED panels have been dynamically calibrated with Brompton’s Hydra measurement system, making them Brompton HDR-ready. This unlocks the full potential of each LED and allows the team at Garden Studios to take full advantage of exceptionally realistic-looking visual content and extra-wide colour gamut.
“Brompton is an integra
Canada - Twelve Ayrton Domino-S fixtures, part of Ayrton’s IP65 multi-function luminaire family designed for intensive outdoor use, played a variety of roles at Les Francos de Montréal and the Festival International de Jazz de Montréal, staged back-to-back in September this year due to COVID-19.
Les Francos de Montréal is a large annual pop music and performance festival featuring French-language performers from around the world. It has been held for more than 20 years. The Festival International de Jazz de Montréal holds the 2004 Guinness World Record as the world’s largest jazz festival; every year it features about 3,000 artists in more than 650 concerts and welcomes 2m-plus visitors. This year’s 41st edition was reduced in size due to the coronavirus pandemic with all shows taking place outdoors. Both events were centred around downtown Montréal’s Quartier des Spectacles.
Solotech in Montréal supplied all the lighting, video and audio gear for both festivals. Nicolas Labbé, senior technical specialist, business development at Solotech and a lighting designer himself, had seen and tested the Dominos and knew they would fill the bill for Les Francos and the jazz festival. “I was really impressed by what they could bring to the festivals: their intensity and resolution, the richness of the colours, no hot spots at all, and no need for weatherproofing covers that destroy the look.”
Bruno Rafie, lighting designer for both events, hung the Dominos 35ft in the air on giant, arm-like mega-structures positioned on the street during th
The Netherlands - Located in the eastern Dutch town of Hengelo, the Metropool is a long-established live music venue featuring a wide range of acts and genres. It moved to its present home in 2009 and at that point its console stock was updated to include three DiGiCo SD8s and a large-format analogue desk, covering all its audio mixing needs across its Jupiler and Jack Daniels halls.
They were one of the first Dutch venues to invest in DiGiCo technology as Teun Zekhuis, their Head Technician recalls: “We chose the SD8 for its sound, interface, workflow and overall look and feel. Being one of the first stages in the Netherlands with this first series of SD8s we were really pioneering in a new world of digital audio. The SD8s proved to be a great choice and served us very well.”
Fast forward nine years to 2018 and through a series of events, Metropool found itself taking over the business of Atak, a venue for pop music, creating Metropool | Pop stages of Twente. “The audio equipment we inherited at Enschede confirmed that we made a good choice back in 2009; unlike ours, it had not withstood the test of time! So, one of the first things we did in Enschede was to replace the consoles,” Zekhuis continues.
“Having DiGiCos in Hengelo, the choice for a new series of DiGiCos in Enschede was obvious; why change a winning formula? But to be sure we checked a few competitors and concluded that there was no other brand with a product line so compatible with our business, both affordable and quantitative. So, in 2018 we chose an SD5 for front of house i
USA - Rapper and songwriter Nate Feuerstein, more commonly known as NF, embarked on a massive amphitheatre tour this past fall that showcased Martin Professional VDO Sceptron and MAC Quantum Wash fixtures with P3 system control, provided by Solotech.
Boasting several songs with hundreds of millions of streams - including the single Let You Down which recently crossed one billion streams - NF is a multi-platinum-selling artist who has gained a dedicated following for tackling themes like vulnerability, faith and mental health in his music. This latest tour featured just Feuerstein and drummer Rico Nichols onstage, leaving plenty of room for Feuerstein to move around and display his electric showmanship.
The tour’s lighting crew aimed to create a rig that enhanced and heightened Feuerstein’s energy for arena-sized venues while also maintaining an aesthetic use of shadows and darkness. To achieve this balance, creative director Chris Denholm and lighting designer Clay Joiner selected the versatile Martin VDO Sceptron LED video battens and the colourfully immersive MAC Quantum Wash lights.
“We tried to figure out how we could carry a show with just one guy on stage and how to put together a rig that would lend to Nate’s performing,” said Chris Denholm, creative director. “Nate's very physical onstage; he runs around and ping pongs from place to place, so framing him properly has always been an important thing to do. Also, he’s a no-front-light artist; it's all silhouette and sidelight with him. So we really needed a powerful fixt
Japan - Kobe Port Museum, is a new cultural complex in the Japanese city, consisting of an aquarium, food hall, and bridal desk. The space on the ground floor is a ‘next-generation food hall’ typified by the well-known Kobe restaurant brand, Tooth Tooth which has recently installed a Martin Audio system with background music produced by Fish Four.
Based in Kobe, the president Yutaka Okano says: "High-quality BGM is an indispensable element for restaurants and cafes. We choose music suitable for both daytime and nighttime and develop the atmosphere of the place. We have enjoyed a long relationship with Martin Audio and have used the brand in several facilities to date. With confidence in the quality of Martin Audio's speakers, we again requested them without hesitation."
A total of 29 CDD6TX cabinets have been installed on several pillars, covering a wide area of the food hall. In addition, Adorn series speakers have been deployed in the aisles with ACP-55T pendant and ASC-55T ceiling speakers. Including the outdoor terrace, 52 Martin Audio speakers feature in total.
"At night, DJs come in and play live. In addition, there is an event space in the hall, and if necessary, a portable Blackline X10 can be set up."
Since there are three locations in the building where DJ booths may be set up, it was necessary to devise ways to smoothly transfer the signal inputs from these locations, and this was accomplished via a mobile input DSP rack, with the input signal delivered to the system via Dante. Switching between the ‘Start DJ’ and ‘Return
USA - A cornucopia of performers, including Billie Eilish, Coldplay, Dua Lipa, and Nelly, descended on the T-Mobile Arena in Las Vegas for the iHeartRadio Music Festival - a live production backed by striking visuals driven exclusively by Hippotizer Tierra+ Media Servers.
The Hippotizers were supplied by rental company 4Wall Entertainment and looked after by screens producer Jason Rudolph of Mobius Productions.
“I’ve used Hippotizer products for a long time, since the early days of V3,” says Jason. “I’ve always gotten incredible support from the team at Green Hippo, and that's a big reason why we have continued to use them over the years.”
Rudolph selected the Tierra+ model to drive high-impact visual content onto the upstage LED wall, noting the Tierra+ offerings of 4 Native Outputs, 8K playback, unlimited mixes, and 39,816 Notchmarks.
“We like the Green Hippo platform for festival style shows as they are so flexible,” he continues. “The content ingestion and management tools, and the ability to apply effects on the fly all play a very important role in a show like this, where we are getting media from all sorts of acts. They all tend to be formatted in different ways too, so it’s essential that we have the power to make them all work for our set.”
The new advanced triggering features added to Hippotizer’s MultiController allows programmers to automate their content and media playback to react to numerous triggers, while the new TimelinePlus editor with KeyFrame interface makes it easy to programme hundreds of p
USA - Boxing matches are inherently unpredictable. Some end with a sudden thud mere seconds after they start. Others are boring uninspired 12-round dances. Then there are those that serve up more than their share of dramatic moments. But one thing is certain at every boxing event: a sense of excitement and anticipation fills the air when pugilists enter the arena and walk with handlers to the ring.
Pangea Land of Dinosaurs’ Jurassic Fight Night in Phoenix was no different, even if the combatants approaching the 40ft by 40ft boxing ring were not your typical athletes. Bearing names like Blue Lighting The Velociraptor, and Steve The Spine Crusher Spinosaurus, these boxers were realistic replicas of dinosaurs,
Pumping up the crowd as the dinosaur fighters entered the Gilia River Arena during the two-day event was a collection of Chauvet Professional fixtures supplied and installed by Creative BackStage.
“We relied on our moving lights with their rapid pan and tilt motions and bold colours to engage the crowd throughout the three shows that made up the event,” said Creative Back Stage’s John Garberson, who served as the LD of Jurassic Fight Night. “The lights gave the crowd energy without distracting from the show. This was especially true when the dinosaurs made their way to the ring. It was important to start things off on a high note.”
Key to setting this tone were the 16 Rogue R3 Beam fixtures in Garberson’s rig. Working with his programmer Steve Smith, L2 Michael White, and rigger Maxie Kichler, he divided the 300-watt beams e
Canada - Brompton Technology recently helped the VFX team at Pixomondo bring Star Trek: Discovery into a new era using virtual production. The new season of the Paramount+ streaming hit leveraged virtual production for the first time, filming on Pixomondo’s large volume LED stage in Toronto, Canada.
Pixomondo’s Toronto stage is a 70’ x 30’ horseshoe-shaped volume equipped with ROE Visual Black Pearl 2.8mm (BP2) LED panels for the walls and ROE Visual Carbon Series 5.77mm (CB5) panels for the ceiling, each with Brompton Tessera SX40 4K LED video processors. The volume also features OptiTrack motion capture cameras to handle multi-camera tracking, and the LED walls are fed CG content in real time from Epic Games’ Unreal Engine.
The Tessera SX40 offers support for full 4K screens at 60Hz with 12 bits per colour output, as well as a zero-latency up/down scaler that matches the source to the screen. It also comes equipped with Brompton’s industry-leading processing features such as HDR, Dynamic Calibration, Ultra Low Latency, HFR+ (High Frame Rate), Frame Remapping, and more.
In addition to this stage for long-term film and television projects, Pixomondo also recently opened the Stage 6 virtual production volume for short-term engagements in Toronto’s Port Lands district; and the world’s largest LED stage in Vancouver, with 23,000sq.ft of stage space, which is currently being used to film Netflix’s live action Avatar: The Last Airbender. All three of Pixomondo’s Canadian stages are built in partnership with rental compa
UK - Dermot Kennedy’s breakthrough #1 album Without Fear, released in October 2019, had its touring cycle interrupted by a worldwide pandemic, just when the Irish singer-songwriter and Brit-nominee would rather have been treading the boards of global stages. Undeterred, Kennedy featured in Billboard's Live At-Home concert, and subsequently organised his own virtual concert, Sound Waves, in May 2020 in support of the World Health Organisation's Solidarity Response Fund.
He also performed his own global live stream from London’s Natural History Museum. Now, he’s finally back on the road with two DiGiCo SD5 consoles supplied by SSE Audio and operated by FoH engineer Will Donbavand and monitor engineer Simon Peter Lawson.
“We were lucky enough to be back out in the US with rehearsals in Nashville from late July,” says Donbavand. “This was followed by a US tour and a performance at Lollapalooza,” Lawson adds. “It’s been a journey since then! It’s been challenging in its own way, digging deep to recover the skills, quick thinking and seamless execution that we took for granted before the pandemic. We found our stride again!”
Donbavand and Lawson have been working with Dermot since 2017. Things quickly escalated in early 2018 with both engineers taking up their current positions. “As soon as we could spec desks for Dermot, we took out a pair of SD11is and gain shared an SD Rack,” says Lawson. “We’ve not looked back since,” adds Donbavand. As the channel count grew, both engineers worked their way up the SD Rang
UK - The Bridge is a tourable 22m wide by 6m high bridge structure providing a platform for music, actors and performers, designed by Sydney based designer Dan Potra and executed by Imagineer Productions,
After a series of ‘workshop days’, these events conclude with in a circus style performance, featuring international artists, including regular Cirque du Soleil performers, in an explosive finale, up to 12m above ground.
To provide visual support for The Bridge's series of residencies in town centres throughout the UK, lighting designer Arnim Friess required a multi-purpose, flexible solution to accentuate the varied day and night programme of performances, conversations and workshops from the local artistic community.
Friess’ solution, which utilised a number of Chauvet Professional Ovation E-260WW IP fixtures, drew heavily from the fixture’s theatrical pedigree to create engaging and dramatic looks for over 100,000 visitors throughout the week-long residency. During the daytime the Ovation E-260WW fixtures provided focus, in combination with the show effect lighting.
A collection of 12 Ovation E-260WW IP fixtures were sourced from Hawthorn’s (now Encore) and positioned at front of house at a distance of between eight and 12m, with six rigged from a central operating box, and a further three each side added to 6m truss.
“It’s not just the visibility that fixtures provide for the audience, but ensured even coverage they provide along the top curved performance area,” said Friess. “This is essential for acrobats to
China - Organised by the Ministry of Culture and Tourism and the Beijing Municipal People’s Government, the 9th Chinese Peking Opera Arts Festival took place over a three-week period in September and October at The National Centre for Performing Arts. As the leading opera art event in China, the Festival has been the launchpad for a large number of productions and performances, and has been instrumental in the advancement of Chinese traditional culture.
The principal work featured at the festival was The Grand Canal of Beijing, a complete orchestral suite for the Beijing Opera, combining a range of different vocal genres with orchestral music. The presentation was a multimedia stage event, combining music, choreography and costumes.
Held in the concert hall of the National Centre for Performing Arts, the symphonic performances not only demanded the highest quality audio, but also that the loudspeaker system was as discreet as possible in order to avoid compromising video feed sight-lines or other aspects of the presentation. Production specialists and Coda Audio’s distributor in China, Tongbo supplied a Coda System based around the German manufacturer’s latest N-Ray product.
The system comprises six N-Ray with 1 x SCN-F subwoofer per side, as well as four Hops5 for a stage-lip system and a further eight Hops8 for monitoring. The compact nature of all the loudspeakers in the system meant that they were largely invisible in the live video feed. Following the performance, Wang Lei of the technical department of the National Centre for the
USA - In the tri-state area where Indiana, Kentucky and Ohio meet, just north of Cincinnati, lies Citygate Church’s new campus, Forest Park. The church, which originated in Cincinnati and was once mobile, has grown from a small congregation into a thriving, multi-site ministry that enhances services for live and broadcast audiences using customisable lighting from Elation Professional specified and installed by integration company S&L Integrated Systems.
Citygate is a multi-ethnic, outreach-driven church with a vision to positively impact the community and share the word in a creative and dynamic way. “Pastors Eric and Kim Petree have always had a vision to become a multiple campus church - one church, multiple locations,” says Dustan White, production director at Citygate Church. “We know that our success and our blessings come from how we impact other people’s lives, and the opening of the Forest Park campus has opened the door to an even broader community.”
As Citygate operates an existing campus in Lebanon, Ohio, further north, the Forest Park campus gives the church a broader reach into the Cincinnati area. The ministry also administers outreach in downtown Dayton, as well as downtown Cincinnati.
Although expansion into a new community was a long-time vision of the church, an expensive new build wasn’t necessarily on the agenda. The Forest Park property - an existing church space that had become available under auction in early 2021 - was an opportunity that the church couldn’t pass up.
Nathan Tomberlin, an account ex
USA - Lighting designer Tim Deiling chose two MDG Atmosphere generators to provide the ambient haze for his lighting of the Broadway production of Six. The British musical is a modern retelling of the story of Henry VIII’s six wives, presented as a pop contest – a production report on the musical will feature in LSi December, out next week.
The show’s signature style is very much that of a rock concert, utilising an abundance of beam effects to take the place of set changes, which simultaneously give a different look and identity to each of the queens.
To achieve this, Deiling needed a good, clean haze as a canvas on which to highlight this motif. The fine white particles of MDG Atmosphere haze proved exactly what was needed, delivering a beautiful base layer of haze that defined the beams clearly without any adverse effects on the dynamic performances of the singers.
“We began by using generic water-based hazers to save money (all our original, humble, “fringe” budget could supply),” says Deiling, “but as the show developed it became clear that the haze in many ways was the scenic design. For the lighting to provide lots of different ‘architecture’ throughout the night, the haze at to be perfect, fine, and constant. MDG was the only way to go.”
Associate lighting designer, Tim Reed comments: “The show runs for 90 minutes, and while we sometimes run generators on a cycle according to the quantity of haze required, for this show we simply turned the Atmospheres on at the start and off at the end, leavin
UK - Reading-based television lighting rental specialist Version 2 Lights has made a large investment in Robe’s new Forte moving lights with the purchase of 50 fixtures.
These have been supplied with both the HCF (high colour fidelity) and the HP (high performance) LED engines - to service V2’s upcoming projects.
Versions 2’s managing director Nick Edwards stated, “We needed a high-powered, high-quality fixture to meet the demands of the big shows, so explored a number of options and selected Forte as the best fixture with optimum quality output for camera.”
The Fortes - among the first in the UK - will be working hard this winter, including on ITV’s new talent show, Walk the Line which is being lit by LD Tim Routledge. The show is produced by Simon Cowell and due to be aired in December.
For Nick and V2, a product like Forte has all the finesse needed for working with camera systems and in HD filming environments using the high CRI engine to effortlessly create amazing skin tones, plus the power, punch and effects required for more rock ‘n roll lighting treatments - and also for dry hires.
V2’s first Robe purchase was two years ago for the 2020 edition of The Brits Are Coming at Riverside Studios in Hammersmith, a broadcast announcing the nominations for that year’s Brit Awards. Tim Routledge also designed lighting.
“With LDs - especially in the LE (light entertainment) sphere - increasingly specifying Robe and a string of great new products coming to market, Robe had clearly been listening to
USA - Offering 360° views over the Hudson River and Manhattan skyline, The Glasshouse is a new multi-function, interconnectable event space in New York City.
Able to accommodate almost 2,000 people, and with multiple outdoor terraces set within the 75,000sq.ft footprint, the venue required a cutting-edge production infrastructure, including transparent audio transmission, video and lighting and broadcast-ready cabling.
The work went out to tender, and the successful bidder was Martin Audio partner, Audible Difference (ADI). “We were offered the contract based on our design, and the fact that Martin Audio system offered a robust and adaptable Dante platform,” believes ADI principal, Erich Bechtel.
Consequently, the stage area pop-up space, taking advantage of the extra ceiling height on the 7th floor, comprises two hangs of eight MLA Compact, while LF extension is provided by eight DSX-F subs, four per side, which can be deployed as necessary.
Bechtel’s colleague, Ian Ruben-Schnirman, ADI’s director of technical services, was responsible for overseeing the fit-out of this former warehouse building. The Glasshouse itself occupies the 5th floor and the 6th (the event space, VIP rooms and kitchen), which are entirely new additions to the building.
He noted that the high ceilings, concrete base construction and heavily glazed superstructure were likely to generate reflections. To deliver an adaptable space suitable for private hire, live events, party planners, weddings and so on ADI needed to create an environment which could be rec
Romania - Aware that their students needed a way to understand signal flow more easily, course leader Áron Fazakas, associate professor and József ‘Yogi’ Lénárd, sound master instructor at Sapientia Hungarian University of Transylvania “decided to teach a more solid, analogue-based hybrid studio process.” After much research, they chose the Audient ASP4816 mixing console to facilitate this, saying the desk “perfectly met our educational and production needs”.
Áron and Yogi make up two-fifths of the teaching staff on the Sound Master course. Yogi continues, “In the all-digital beginnings of our sound engineer training, the problem was that our students were always staring at the computer screen. Reading the various values and admiring the beautifully crafted audio plug-ins on-screen, slowly began to eclipse their confidence in their musical hearing.”
He explains how they went about choosing the console: “As our adult education course did not have a limitless budget, our aim was to find an analogue mixer with the best price-quality ratio. With very high-quality microphone preamps, excellent EQ and noise-free signal processing, this console is perfectly suited to the sound system we have set up in our studio, thanks to its versatile connectivity.”
The Media Department’s teaching studio in Cluj-Napoca was built in 2013, and the sound equipment here was primarily used for degree-level, practical training in TV broadcasting. “Launched in 2016, the adult training course for Sound Mastery is based in the same space, in a 200 squ
Saudi Arabia - Visitors to 1Rebel in Riyadh might easily think they’ve entered an upscale club were it not for the rows of treadmills, bikes and other exercise equipment that reveal its identity as a fitness centre. This is precisely the sort of image, management of the London-based gym hoped to create when they opened their two Saudi Arabian locations.
Their vision for their Middle East expansion was based on the success they had in the UK, offering guests a total experience.
AV designer Toby Jones worked with lighting designer Durham Marenghi, who he had also collaborated with in the UK. Together they endowed the new Saudi centres with the engaging look and feel that have become a signature of 1Rebel.
Helping them accomplish this was a collection of Chauvet Professional fixtures. The team positioned Ovation, COLORado and ÉPIX strip fixtures within the four main concept spaces that define the 1Rebel experience: Reshape, Ride, Rumble, and Reflex.
“Our lighting brief from Marenghi was simple: stay consistent with the London venues and take it to the next level,” commented Jones. To execute this vision, lighting and video were employed within each of the gym’s studio/spaces to support the 1Rebel theme with energetic visuals.
In the Ride studio, for example, a total of 41 COLORado 1 Solo wash lights were positioned from the ceiling to illuminate the exercise bikes from above. Thanks to the generous zoom of the fixtures coupled with vivid colour rendering, a number of dynamic effects could be achieved within the space to heighten
China - Part of the Aochi Production Resource Platform, Moto Group is one of China’s largest commercial advertising resource platforms. It has offices and service teams in Beijing, Shanghai, Guangzhou, Hong Kong and Vancouver, as well as three large-scale production studios and a Fortune 500 clientelle and has recently announced its first Moto Stage XR in Shanghai. Brompton Technology is one of the partners that has invested its technology and technical expertise into developing this new facility.
The studio focuses on the research, development and application of XR visual effects technology, creating seamless connection and a perfect immersion into physical and virtual reality across film, broadcast, TV, advertising and other areas.
The studio’s opening ceremony, held on 16 October, attracted many industry leaders including TVCBOOK, Wunderman Thompson, Havas, Publicis, Hakuhodo, Ogilvy, neone, Advertising ‘godfather’ Tomaz Mo, Infiled, and Base FX among others.
“The opening ceremony offered us a perfect platform to re-connect with our clients and offer them the opportunity to experience the power and multitude of creative possibilities of XR technology,” says Moto founder, Phil Cui. “We also had the Brompton Technology team and other key partners participating in an open discussion about the future of XR and the effect of this reality-blending technology on the creative industry.”
Moto Stage XR comprises a large 14m x 4.4m LED volume made up of INFiLED DB2.6 S8 panels and driven by Brompton Tessera SX40 4K LED processors. A t
Germany - Anolis Eminere 1 RGBA LED wall washing lighting fixtures were specified to create mood lighting in a series of breakout rooms in the newest extension to the Estrel Congress Centre (ECC) in Berlin, with the Czech manufacturer also producing some specially adapted ceiling mounting versions of the fixture to suit this project.
The 10 breakout rooms are part of a new 5000sq.m extension project which opened last summer having been under construction for nearly two years, adding an 800 seat auditorium / presentation space and 10 event rooms to ECC’s substantial multi-purpose conference, exhibition and hotel complex which first opened in 1999. It occupies a massive site in the south of Berlin city.
Each of the new rooms can accommodate up to 50 - 240 people, and Estrel’s owner and technical management teams planned mood lighting from the early stages of the design and planning process explains ECC’s technical manager for AV, Thomas Herzberg.
“People in general are much more aware of the power and reach of lighting now, how it can affect thinking and attitude, so we wanted to provide this facility as part of our standard lighting and AV packages,” he explains.
Herzberg and his team chose the Eminere RGBA as the optimum fixture, complete with wide angle lenses as the fixtures had to be mounted close to the wall in each of the rooms.
As Estrel’s requirement was for ceiling mounting units, the factory was willing and able to provide a custom solution for the standard wall mounting
UAE - As many as 25 Italian-made Powersoft amplifiers are handling the audio demands of the award-nominated Italy Pavilion at Expo 2020 at the recently opened world fair in Dubai.
Over 28,000 people a day are expected to visit the Italy Pavilion, which centres on a spectacular 3D-printed, 1:1-scale reproduction of Michelangelo’s David created in Powersoft’s home city of Florence, over the next six months.
The pavilion, based on the theme Beauty Connects People, is one of the 192 stands competing for visitors at Expo 2020, which comes to a close on 31 March 2022. The Italy Pavilion is already proving to be one of the most popular attractions, with more than 200,000 visits in October alone, including the thousands who attended concerts by celebrated pianist Ludovico Einaudi and the Maggio Musicale Fiorentino orchestra conducted by Zubin Mehta.
Key to that popularity is the audio experience created by the pavilion’s all-Italian sound system, which complements a striking, sustainable visual design featuring two million recycled plastic bottles. Powering the system are 25 Powersoft amplifiers supplied by Pro Lab, the company’s exclusive distributor in the GCC countries and Lebanon, and installed by local systems integrator SIBCA.
Two of the five Quattrocanali 2404 DSP+D amplifiers are used in the main auditorium and restaurant areas, while another three are equipped in the first hull, the white space, and the skywalk (which offers visitors a panoramic view of the pavilion from an 11m skybridge). Two Quattrocanali 1204 DSP+D, the 2404’s 1
USA - Indie/emo band Foxing entitled their fourth studio album Draw Down The Moon. For the album release show at the Pageant theatre in St Louis, designer Gerry Dintleman reflected the mood of the music with a redolent, theatrical lightshow that drew on a collection of over 45 Chauvet Professional fixtures from the venue’s house rig as well as ten Nexus panels rented from Arch City AV.
“I wanted things to have this emotional power, with very dramatic highs and lows, using as little front light as possible, with the exception of specials,” explained Dintleman. “Since the album is called Draw Down The Moon, I added a moon gobo with my Ovation ellipsoidal for the backdrop. Overall, I just wanted to match the wide dynamics of the record and bring Foxing’s live show to a whole new level.”
Back, key and side lighting were critical to Dintleman’s plans to realise this vision for his lightshow. “I’m grateful to Foxing for giving me creative freedom,” he said. “Before I had any plans for this show, I knew I wanted tons of backlight and key light to set the desired mood. I used lots of hard saturated blues, red, and purples with accents of white. The dark monochromatic looks helped the white burst punch even harder; and the choruses, I used with multiple colours to make them look even bigger.
“The side lighting really wound up being the foundation of the rig,” continued Dintleman. “I supplemented most of my front light with side light, sometimes only using one side to get sharp shadows on the artists. They were in ev
Japan - A classic concert took place recently at the Tokyo Metropolitan Theatre Concert Hall, featuring Nobuaki Fukukawa. One of the world's most active horn players, he is also principal player in the NHK Symphony Orchestra and a major name in the orchestral world.
At this recent recital, Mr. Fukukawa had the clear desire to emulate his recordings from King Records and play the songs on it in the form of an eight-horn ensemble, by overdubbing himself.
Mr. Fukukawa and King Records consulted with Koichi Ishimaru, sound master at Tokyo Metropolitan Theatre, and he suggested “treating the loudspeakers as musical instruments”. His idea was that Mr. Fukukawa should perform live on stage to create the one part while the seven remaining parts should be played back one by one through the surround speakers, with the recorded source created in Pro Tools.
However, this was no easy task. The system had to be able to reproduce the accurate horn tone and unique localisation with natural sound. To solve this challenge, Mr. Ishimaru selected Martin Audio LE100.
He explains, “I was particular about coaxial speakers because they can accurately express the sound source of musical instruments. I was convinced it was going to be successful.”
Mr. Fukukawa stood in the centre of the stage surrounded by seven chairs, each of which supported an LE100, arranged facing in different directions.
“The bell of the horn is usually facing backwards when being played and so instead of pointing the speaker directly to the audience seats, I tried a similar
USA - San Francisco’s Outside Lands Music and Arts Festival now in its 13th year, returned to Golden Gate Park for a special Halloween weekend edition. For three days, more than 74,000 concertgoers flooded into the park’s vast lawns to experience sets by headliners The Strokes, Lizzo, and Tame Impala, along with more than 80 additional acts performing on four stages and in two tents.
Since the event’s inception, festival producer Another Planet Entertainment, Bay Area rental company UltraSound, and Meyer Sound have worked in close collaboration to provide a world-class audio experience.
Since the inaugural festival in 2008, Meyer Sound systems have supported the annual festival’s main stage, with strategic system designs meeting the duelling goals of providing clear, consistent sound and keeping the sound contained within the sprawling urban park, which is surrounded on three sides by residential neighbourhoods.
“In 2019 we did a system redesign, which really helped out with noise mitigation, which is something each year that we really work hard on to try and improve upon,” says Josh Osmond, director of operations at UltraSound. “This year we did a repeat of the same design, which includes a combination of Leo and Lyon main-hangs left and right and Lyon side-hangs. 1100‑LFC subwoofers are flown left and right, and we have a sub arc of 1100-LFCs in the pit and Leopard front-fills.”
The distributed system incorporates five delay towers. The front three employ Leo and Lyon loudspeakers, with the back row of two towers consisting