Grand Cayman - Seven Mile Beach gives visitors plenty of reason to smile. The famous landmark on the western edge of Grand Cayman Island was the site of the Humour Me Comedy Tent at the Kaaboo Cayman Festival. Supporting the likes of Saturday Night Live’s David Spade and Chris Rock Show alum Wanda Sykes was a collection of Chauvet Professional Maverick and Rogue fixtures, deployed by Chris Lisle Lighting Design.
“It was important for us to add colour and movement to the comedy stage that was consistent with the exciting looks we had on the two music stages,” explains Erik Parker of Chris Lisle Lighting Design, which was responsible for lighting all stages at the festival as well as its grounds.
The Humour Me stage rig featured Maverick MK1 Spot and Rogue R2 Wash fixtures, which were supplied by AI. Flown on a long truss structure that ran over the centre of the comedy tent, the Maverick units were used for downlighting and specials, as well as aerial effects, while the Rogues were positioned mid-stage and downstage and relied on for colour washing and audience lighting.
Wherever they went through the Kaaboo Cayman grounds, visitors were able to feel the upbeat festival vibe, thanks in no small measure to the ubiquitous and colourful site lighting. Roughly 500 Chauvet Professional COLORado fixtures, supplied by The Design Oasis, were positioned throughout the festival’s sprawling grounds and were used to bathe trees, outdoor art and other scenic elements in a lush variety of vibrant colours evocative of the Caribbean.
France - French restaurant and leisure destination Pirates Paradise has specified a Coda Audio sound system to enhance the venue’s immersive environment.
The pirate-themed restaurant, located in Neuville-en-Ferrain near Lille, is a family destination that regularly welcomes more than 500 guests during the weekends; entertainment and audio excellence is key to its success.
Owner Jérôme Descamps explains: “My dream was to create the best restaurant I could, offering great decor, furniture, atmosphere and food supported by a fantastic sound system. It was important to me to do everything properly, so I engaged a company that could help spec me the highest quality audio on the market."
Pirates Paradise engaged local company Public Address, with general manager, Gregory Devilder and head of technical, Benjamin Pauwels taking up the challenge. They recommended Coda Audio for the site. The system needed to cater primarily for background music during dining hours but also for speech reinforcement in what can become a very lively environment.
The main PA comprises two hangs of two Coda Audio CoRAY4i cabinets and a single G18SUB subwoofer flown head-on as the space is entered, L-R above a row of ‘drinking houses’. The pirate ship is housed on the right-hand-side as guests enter the restaurant and two more CoRAY4i cabinets and two G15SUB subwoofers are housed in this area. Opposite this is ‘the jail’ and it’s the same setup from Coda Audio - mirrored from the pirate ship side.
The G18SUB subwoofers are hidden among the scenery throu
Malta - The X Factor competition made its debut in Malta and quickly broke a long-standing record to become the most viewed programme on Television Malta.
Lighting for the series was entrusted to Nexos Lighting & Video who worked together with the rigging and technical team. Lighting designer Anton Borg Olivier joined the team to work on the live broadcast finals, helping to manage the increased TV lighting requirements and deliver that extra kick to the show.
Nexos Lighting & Video supplied 22 x Claypaky Mythos 2, 14 x SuperSharpy, 18 x A.leda B-EYE K20 and 16 Claypaky Sharpy for the duration of the series, with an additional eight Alpha Wash included for the final show. “The Claypaky fixtures were the backbone of the lighting rig,” says Olivier. “Claypaky fixtures were chosen for their rich colours, power and reliability.”
It was imperative that the design team used fixtures with a high output and high CRI to stand out against the 40m x 8m video wall. “The Mythos 2 impressed us with the richness of the colours, power of the beam and the fixture’s flexibility,” says Olivier. “The versatile characteristics of the luminaire allowed me to change from colour to white lighting to suit the TV cameras easily during the show.”
The versatility of the fixture is underpinned by its 4-50˚ zoom range and a fixed ‘pipe’ effect of 2.5˚. “We used the Mythos 2 for spot moving heads with gobos, as well as effects beams with impressive aerial throws,” says Olivier.
Rigged around the top video wall over the st
Australia - In celebration of their third studio album, Lo La Ru, five-piece Australian band The Rubens performed for audiences across the country last November and December. The tour saw the band play Brisbane, Sydney, Adelaide, Fremantle and Melbourne as well as eight regional cities across Australia.
Lighting designer Tim Beeston of Melbourne-based Flash Bang Productions was “delighted” to have Ayrton’s new Mistral-S spot luminaires on the tour, which were supplied by South West Solutions (SWS) of Yarraville, Victoria.
“I designed a ladder system incorporating mirror balls and small spot beams,” explains Beeston. “The Mistral-S with its small, light profile was the ideal fixture for my ladder system. We also compared it against a very well-known profile fixture and, with its flat field, the Mistral-S was definitely the better instrument.”
Beeston used eight Mistral-S fixtures, hung on four ladders along with eight mirror balls beneath each one, and used them either for beam looks, projecting onto the mirror balls to create big mirror ball bounces, or as the back spot for the show. However, for the first half of the show these were all hidden by a large Rubens silk backdrop to be revealed by a spectacular kabuki drop in song 10.
“Everything about the Mistral-S impressed me,” says Beeston. “They are so bright, but it’s the colour mixing that is most impressive. The deep colours you can pull out of them, without taking away too much brightness, is incredible. In fact, I was just dumbfounded on how a feature-rich an
Australia - The Eurovision – Australia Decides national final recently took place at the Gold Coast Convention and Exhibition Centre. The winner, Kate Miller-Heidke with her song Zero Gravity was chosen by the combination of a public televote (50%) and the votes of a professional jury.
Paul Collison, lighting designer for the show, voted for three grandMA3 light, one grandMA3 full-size, one grandMA2 light and five MA NPU (Network Processing Unit) for control, plus MA 3D for visualization of the show.
He commented on his choice: “We loved using the new grandMA3 hardware. Even though we’re still on grandMA2 software, the grandMA3 hardware has breathed new life into the well-established grandMA2 platform. The more ergonomic layout of the surfaces made the long days more tolerable, and incredibly accurate touch screens increased workflow efficiency.
“It is hard to imagine even trying to use a product other than MA to control a lighting system like this. Though it wasn’t an overly complex show, the seamless way that multiple users can be homogeneously integrated means that any operator could assist with the focus of lighting positions or make subtle changes from the various surfaces we had located around the arena.
“The idea of the show is simple”, continued Collison. “Make it look like the Eurovision Song Contest, with ten percent of the lights. We had a great set design from Mark Dyson and encapsulated 100 moving lights in it. Above the stage were four concentric circles of trussing that flew in and out on Kinesys
The world tour by Belgian tenor Helmut Lotti is one of the first to see the Rivage PM7 go truly global, accompanied by a Nexo audio system.
The five-month tour has seen Lotti promoting his latest album Soul Classics In Symphony with shows in Austria, Belgium, Germany, Scandinavia, South Africa and Switzerland. The tour’s audio rental company is Revolution Event Support, whose owner Bart Faut is the tour’s production manager and Front of House engineer.
For the tour Bart specified a Yamaha Rivage PM7 monitor console, with a CL5 mixing FoH sound. I/O is taken care of by Rio3224-D2 and Rio1608-D2 racks. The Nexo PA is a mixture of flown and ground-stacked Geo S12 and Geo M6 with LS18 and RS18 subs, powered and managed by NXAMP4X4s and NXAMP4X1s.
Lotti is backed by the Golden Symphonic Orchestra - a 22-piece band, including string and brass/woodwind sections, piano, two guitarists, bass guitar, drums, percussion and backing vocalists.
“When we were planning the tour we felt it was better to have everyone on in-ear monitors. However, the number of stereo mixes needed was greater than the 32 busses of a CL5,” says Bart. “I discussed this with Yamaha’s Stef de Pooter and he told us about the Rivage PM7, which at that time was under NDA. We were immediately convinced about what it could do for us.
“I have always been a big fan of Yamaha consoles - we still have a PM3500 in the warehouse. With plenty of busses for the in-ear mixes. the Yamaha sound quality, ease of use and reliability, we knew that the Rivage PM7 was the console we
UK - The 1975 toured in support of the release of their third album A Brief Inquiry into Online Relationships, which is their third consecutive number one album.
Lighting and visual designer Tobias Rylander enjoys a productive ongoing dialogue with the band - in particular lead vocalist and creative director Matthew ‘Matty’ Healy, whose thoughts and ideas are at the essence of every live show’s design.
This tour featured four dramatic moving elements – three large portrait shaped video cubes and a ‘blade’ piece derived from their logo – all of which were automated using a Kinesys system supplied by Christie Lites UK.
Tobias has worked with the band since 2013 and their first album release. At the time he was working with visual and lighting artist LeRoy Bennett at Seven Design Works in LA, and the band approached the team after liking Roy’s work for Nine Inch Nails.
They wanted something daring, different and innovative. Tobias took the brief and immediately clicked imaginatively and intellectually with Matty.
The 1975’s show designs will often have a visual thread to a previous iteration or campaign, and this gave rise to the three video cubes as an ‘answer’ to the monolith towers used on the road in 2015-16 for the ILWYS (I Like it When You Sleep) tour. He was thinking in terms of turning these inside out or upside down on this tour.
The Blade is a 1975 live show centrepiece and has been omnipresent in some shape or form as a vital element of visual identity, so they are constantly finding new and m
New Zealand - Packed houses greeted UB40 on their 40th anniversary summer tour of the Southern Hemisphere in January and February.
The band was doing so well and having so much fun on the tour that they added a final show on 8 February at the Central Energy Trust Arena Stadium in Palmerston North, New Zealand. Sourcing local suppliers, the band’s management contacted Sight & Sound Services, which provided them with a collection of Chauvet Professional Maverick, Rogue and STRIKE fixtures, supplied by MDR Lighting. It was a choice that met with the enthusiastic approval of UB40’s LD Brock Coddington.
“I was extremely impressed by the entire rig,” said Coddington. “It went really, really well. The Mavericks provided excellent punch, and the colours were fantastic. The Rogues were a great fit on that stage. The STRIKE 4s were great LED blinders. All and all, I was very impressed by the Chauvet range and would happily use them again.”
Coddington relied on his mix of 16 Maverick MK1 Spot and 16 Rogue R2 Wash fixtures to cover the range of emotions in UB40’s sweeping set, which covered songs from throughout the band’s celebrated career.
The Maverick and Rogue fixtures were positioned across the back of the truss totems, in addition to being flown overhead. Coddington distributed his Maverick units evenly across the stage, while keeping most of his washes stage left and right. From these positions, the Maverick and Rogue fixtures were able to create a captivating array of crossing patterns at different eye levels. This look, wi
UK - Absolute Motion Control has returned to The Bridge Theatre for the fourth time to provide the automation for Alys Always. The show started previews on 25 February, and has its press night on 5 March 2019.
The show is designed by Bob Crowley, whose set incorporates a large stage lift, a sliding floor palette and a cloth roller. As The Bridge doesn’t have a fly tower, any full height cloths need to run on a roller. In this production a roller is used as a ‘blinder’ to hide scene changes inside a large gauze box.
For the floor palette, Absolute has rented the production a zero-fleet winch. The compact zero-fleet design allows the winch to be used in a variety of situations. All Scene All Props, the production’s scenery contractor, built two custom decks that incorporated the pulleys required. These custom sections were then simply dropped into place, replacing two sections of The Bridge’s existing modular floor.
The stage lift, owned by The Bridge, is of a flexible design allowing it to be adapted in size for future productions. Absolute have provided two motors which move in synchronicity to raise and lower the lift. The lift is also protected by a safe edge and a safety enabling switch (sometimes colloquially known as a “deadman’s handle).
Absolute have provided a four-way control rack along with a three playback desk to run the production. Each motor or winch has its own IO Box, which connects to the rack using a single cable that carries both data and power. The IO Box can be placed in a convenient location. This me
UK - Ministry of Sound’s [MoS] orchestral tour, The Annual Classical, reimagines the Sony Music compilation, The Annual, the top-selling dance compilation, as a live production.
The live shows, mixed on a DiGiCo SD7 supplied by RG Jones, deliver mega sounds as much-loved chart toppers receive a classical reworking. Amongst the hits are The Chemical Brothers’ Hey Boy Hey Girl; Insomniaby Faithless and Moloko’s Sing It Back. At the helm of the complex live mix is sound designer, Phil Wright.
“In the last couple of years, we’ve seen all kinds of classical dance music shows take to the stage, but the design brief from MoS was to make this a genuinely live performance, meaning no playback,” says Phil.
With the brief in place, a collaboration between Coalition Agency and Raymond Gubby Ltd, which runs the 55-piece London Concert Orchestra, began with British composer Tom Player tasked with producing arrangements for the orchestra.
“It was always going to be me and a DiGiCo console,” Phil says. “I was thinking about an SD10, but it became obvious that I needed a bigger desk and therefore I decided on an SD7. It’s been the perfect choice and even on a console with the huge capacity of the SD7, I had only four busses and two channels not in use.”
The Annual Classical is no ordinary show, as Phil explains: “On stage, we have 55 people plus backing vocalists, guest singers and extensive effects. I’m running 12 FX racks in my SD7 and another six in Waves externally with my own DiGi
India - Technosales Multimedia Technologies recently deployed JBL Professional by Harman cinema surround systems in two theatres at the Sai Teerth devotional theme park in Mumbai to provide a more immersive spiritual experience for devotees.
Sai Teerth is India’s first devotional theme park, featuring immersive exhibits dedicated to one of the most worshipped secular saints of all time; Sai Baba. With four major audio-visual attractions, Sai Teerth is home to one of the largest cinema screens in the country, as well as an innovative 5D theatre.
After surveying the location, Technosales designed a custom cinema surround sound system that utilizes JBL Professional loudspeakers and Crown amplifiers.
“Sai Teerth asked us to provide a world-class audio system to make their exhibits more engaging and immersive,” says Rajesh Patil of Technosales Multimedia Technologies. “The biggest challenge was providing consistent coverage due to the size of the Giant Theatre and the interactive nature of the 5D Theatre. The flexibility and clarity of Harman cinema sound systems helped us overcome these challenges to deliver stunning sound throughout both theatres.“
The Sabka Malik Ek attraction in the Giant Theatre features a custom hour-long film displayed on a massive 36’ by 72’ cinema screen. In order to make the soundtrack as immersive as the visuals, Technosales installed three high-power JBL 5742 four-way ScreenArray loudspeakers. Six JBL 4642A subwoofers deliver a powerful extended low frequency response, while 18 JBL 9310 cinema surround l
USA - FedExForum, one of the nation’s premier arenas in the NBA and North America, recently updated its arena lighting with a lighting package designed and installed by Bandit Lites. Home to the NBA’s Memphis Grizzlies and the University of Memphis Tigers men’s basketball team, the installation comes as part of the arena’s recent updates.
Bandit Lites installed a package comprised of HES Solaframe 3000, Chauvet Rogue 3 Spots, Claypaky AXCOR 300 Beams and Chauvet Ovation E-260WW w/ 10° Barrels.
“As FedExForum was one of the earliest projects that I and Roth Edwards personally installed, I was thrilled to once again be a part of the team trusted to update their system,” says Bandit Lites director of sales and installation Chris Barbee. “Both John Cameron Carter and Roth did a phenomenal job reimagining the lighting system.”
Bandit’s team mounted four HES Solaframe 3000 on each side of the catwalk running the length of the arena, illuminating the entire court. Each fixture is outfitted with two custom team gobos which, when coupled with the fantastic optics and colours, offer vivid looks for the design team.
“With the high output that the Solaframe 3000 allows, it was a great tool to use within this system,” says Barbee. Other fixtures installed include Chauvet Rogue 3 Spots equipped with custom team gobos used in conjunction with the Solaframe 3000s to up the ante of dramatic looks.
“Coming in at under 40 pounds, I was thoroughly impressed with how much the Claypaky AXCOR 300 Beams could do when hung that many
Belgium - Woven in and out of English, German, French and Dutch language fables since the early medieval period, the anthropomorphic trickster Reynaert the Fox has succeeded in eluding capture for centuries.
Keeping the legend of the fox alive was Expedition Reynaert, an immersive bike tour in Belgium that culminated in a captivating museum experience, complete with an informative exhibition and engaging performances.
Central to bringing the legend of Reynaert to life was local design studio CREATE.eu, which specified 24 Chauvet Professional Ovation E-260WW, 8 STRIKE 1 and 12 Maverick MK2 Wash fixtures as part of their comprehensive visual concept. CREATE.eu relied on lighting to reflect the varied environments that participants experience during their visit to the museum. At the same time, the studio’s designers also made sure to provide theatrical lighting support during the live performance part of the event.
Central to providing illumination of the different houses within the central area - a mock-up village - were the Ovation fixtures, which were positioned from hidden ceiling trussing. Thanks to the 230W LED tungsten emulating light source, chief designer Olivier De Baere was able to create flat and even distribution over the facades, which succeeded in awarding the space with a theatrical touch.
“The Ovations were crucial elements providing highlighting of the different houses,” comments De Baere. “The diffuse filter came in especially useful to enhance the smooth warm swathes of light, thus providing excellent coverage of the
UK - White Light recently provided the lighting equipment for Gently Down the Stream which has opened at London’s Park Theatre.
Set at the turn of the 21st century, Gently Down the Stream is a delicate examination of the relationship between Beau; a 62 year-old piano accompanist from New Orleans, and Rufus; a 28 year old bi-polar lawyer, set over the course of 13 years in Beau’s London flat. It is written by Martin Sherman, directed by Sean Mathias and features a lighting design by Jamie Platt.
He comments: “The majority of the show is set in Beau’s apartment which is beautifully designed by Lee Newby. We wanted this to feel as real as possible so, as a result, most of the lighting for these scenes was committed to creating a totally naturalistic world. That said, Sean was very keen to make the monologues that are dotted throughout the play feel incredibly poignant and sentimental as they tell us of Beau’s history in dealing with homophobia, AIDS, loss and heartbreak. Therefore, the aim of these moments was to focus on Beau and try to make the flat disappear into the background.”
Having supplied a range of Platt’s shows throughout 2018, he approached WL once again to provide the lighting on this production. He explains: “I knew I wanted to use the expansive back wall of the Park Theatre as a blank canvas for the monologues. It lends itself so well to washes of colour, and WL offered me the PixelLine 1044 LED battens. These fitted perfectly into the rig and their multi-cell function also allowed me to close down gently t
USA - Professional Wireless Systems (PWS) handled all wireless microphone and IEM systems management for pre-game, half-time entertainment and post-game, along with the wireless microphone utilised by the referee, during Super Bowl LIII held in the Mercedes-Benz stadium in Atlanta.
This is the 22nd year that ATK Audiotek has tapped PWS to provide wireless support for the Super Bowl.
“It is pretty amazing to think about all of the changes that have occurred in wireless technology over the course of 22 years,” explains Jim Van Winkle, general manager, PWS. “This year was no different in that we implemented a number of new systems that helped us handle the exceedingly crowded RF environment in Atlanta - where the TV repack hasn’t even happened yet.”
As in previous years, PWS started planning back in October, with a site visit to Mercedes-Benz stadium. Van Winkle and Gary Trenda, lead RF technician for PWS, made the trip along with ATK Audiotek team members Paul Liszewski, Brett Valasek, Kirk Powell, and George Schwartz. The site survey provides critical information about the physical site and local RF environment that Van Winkle and Trenda need to design the game day wireless system.
This year, the main RF equipment location was on the NFC champions side of the field near the southwest 20-yard line. From there, the PWS team deployed the antennas necessary for the wireless microphones and in-ear monitors to provide state-of-the-art audio for one of the most-viewed television events of the year.
“With the available frequency spe
USA - Late January typically doesn’t bring the kind of weather associated with music festivals to central Massachusetts, but the bitter New England winter wind notwithstanding, the mood at the multi-stage Birds of a Feather Festival was as care-free as a summer beach party.
Thousands of fans crammed inside the 90-year-old Worcester Palladium for four straight hours of jam and alt rock sounds on Friday, 25 January, and although summer vibes resonated throughout the building, the reality was that being indoors, Birds of a Feather offered no visual variety beyond the stage.
With no mountain views, no surfside background, and no tall trees flanking the stage, eyes seldom wandered from the performance area. For Vin Pugliese, lighting designer for the Main Stage, which featured The Lizards, Jazz is Phish, lespecial and Pink Talking Fish, this meant focusing on creating visual variety throughout the evening. He accomplished this goal with help from a rig anchored by over 40 Chauvet DJ fixtures.
“We had over four hours of music on the Main Stage, so the challenge was to keep the show visually interesting and dynamic from start to finish without being repetitive,” says Pugliese. “One way I did this was to reveal all the different elements of the rig slowly over time without exposing all of my looks too quickly.
“This was possible because I had a wide variety of fixtures in the rig, from hybrids, zoomables, washes and spots, to RGBWAUV pars, battens and blinders. All contributed to the versatility of the show, but big game changer was the In
Spain - When one of the world’s largest night clubs puts on a special season-end event, its magnitude is difficult to ignore. Open since 1993 on the Spanish island of Ibiza, this mammoth club can host up to 10,000 guests at one time. On the season’s finale evening, Privilege Ibiza made the decision to employ the Clair Brothers C12 loudspeaker system, along with an assortment of more Clair Brothers gear, to cover the entire venue.
The size of the venue allows management to redesign facilities for individual parties and artistic shows. For this event, they didn’t hold back, calling on Clair Brothers’ Spanish distribution and rental partner, VTècnics, to recommend and design a sound system worthy of this special occasion.
Josep Maria Serra, production manager at VTècnics reports: “The Clair Brothers team understands the concept and value of global sharing between its partners. On this occasion four companies in southern Europe shared their equipment and knowledge which allowed us to achieve the best sound possible. My company, VTècnics, worked with other Clair Brothers partners Grupo Friends, also from Spain, Audio Concept from France, and Prase Media Technologies from Italy. It’s a total team effort of collaboration and pitching in together.”
Serra continues: “The venue does not have good acoustics because it has so many reflective surface elements. And the floor has a giant swimming pool with a cover on it, which unfortunately works as a big resonance box. What we needed to do was create a sound system that was strong on clarity,
UK - Indie rockers The Vaccines are back on the road in the UK, continuing their world Combat Sports album tour with lighting designed by Dan Williams and equipment supplied by Colour Sound Experiment.
The Combat Sports album cycle started in April 2018 and having already played extensively around the UK last year, Dan and the band wanted to treat fans to a new visual experience and ensure that the Vaccines - known for their enthusiastic and ebullient live shows - saw something different.
Last year’s UK tour design was inspired by the album track Nightclub, yielding lots of mirror balls and a tungsteny disco vibe.
For the festival section of the tour, Williams had a gold sequined drape made up with a large logo across the middle, and this evolved into the lighting look for this leg, which bridges front the nightclub into the fight club, matching the band’s combative high energy sets.
The band - in particular lead singer/guitarist Justin Hayward-Young and guitarist Freddie Cowan - are usually also bursting with ideas, and one of these was to give the stage some Las Vegas touches.
These came in the form of a row of Martin VDO Sceptron 10s along the front of the upstage risers and two large scenic palm trees framing the stage each side, together with some other foliage sourced from Event Prop Hire. This proved a good transition from the disco glitz.
All the touring lighting rig from Colour Sound was floor based, and they hooked into a local promoter provided ‘top’ rig at each venue.
The touring syste
UK - Pointing a microphone directly at a PA speaker is likely to generate feedback, but sometimes when you are trying to achieve a particular vision, you have to tear up the rule book and see what happens. This was the situation FOH engineer Simon Honywill found himself in when he was asked to tackle sound design for a new live music and dance production called The Nature of Why.
Using a combination of DPA microphones and EM Acoustics loudspeakers positioned in a circle around the stage, Honywill pulled off the task of creating an ambient acoustic ‘bubble’ for this unusual performance in which the audience is as much a part of the show as the musicians and dancers.
“I needed to make sure all the microphones I was using were as predictable as possible,” he explains. “DPA was the obvious choice - not just because they are always my first choice but because each microphone sounds exactly the same so you know you are starting from the same base point.”
Commissioned by Unlimited, The Nature of Why takes inspiration from the Nobel prize-winning theoretical physicist Richard Feynman and his search for meaning in the world around us. It features a cinematic live score by Goldfrapp’s Will Gregory that is performed by the British Paraorchestra, the world’s only large-scale ensemble for professional disabled musicians.
They are joined on stage by five dancers, choreographed by Caroline Bowditch, and the Army of Generals, an 11-piece string ensemble of non-disabled orchestral musicians that is famed for its dynamic energy-f
USA - Outdoor walking attractions that immerse guests in an experience have become increasingly popular, especially around the holidays. This past season south Floridians had the chance to experience NightGarden, a new enchanted walk-through experience at Miami’s Fairchild Tropical Botanic Garden magically illuminated by lighting designer Chris Werner. Produced by Kilburn Live under the creative direction of Max Painter, the attraction featured such magical curiosities as talking trees, fairies, and 10ft tall dandelions.
Werner has an abundance of know-how from lighting theme parks and Halloween attractions under his belt and knows what it takes to create an immersive experience. Responsible for lighting design, specification and programming for all of the exterior spaces within NightGarden, he created a variety of visually stunning experiences using light, colour and movement that both supported the story line and wowed guests.
With a tropical environment to contend with, reliable IP65-rated luminaires were a must. Werner specified multi-environmental Elation Proteus Hybrid moving heads and WW Profile IP ellipsoidals for the project as part of a larger lighting package supplied by 4Wall. He says there were a couple of factors that led him to the Proteus lights.
“Not only is it a humid and rainy environment, everything is surrounded by an irrigation system for the plants so everything got wet every day. In addition, availability of product was key. My involvement came only 6-8 weeks before load-in but 4Wall was willing to purchase
USA - Martin Audio’s new Wavefront Precision Longbow (WPL) system was recently purchased by two US-based live event production companies - Soundworks in Richmond, and Southard Audio in Mount Crawford - the first to acquire the large format line array worldwide. Both companies, who share a cooperative relationship within the Middle Atlantic region, purchased systems that include 24 WPL cabinets, 12 SXH218 hybrid subs and 12 iK42 amps.
Officially launched at ISE 2019 in Amsterdam, WPL is designed as a complete system with external iKON multi-channel amplifiers, automated DISPLAY optimisation software and VU-NET control platform that provides financial accessibility to the higher echelons of touring and installed sound. A three-way, bi-amped system, WPL’s very high output is achieved by utilising Martin Audio’s trademark horn-loading technology across all frequency bands - increasing the acoustic output of the low frequency section as well as the midrange and HF.
Soundworks founder and CEO Steve Payne reports: “Soundworks and Southard Audio have worked closely together since 1990 and we’d both been using the same model line array system since Mike (Southard) and I decided early on not to compete with, but support one another.
“Not long ago, we reached the point where we needed to upgrade our main line array system and auditioned a lot of different companies including all the major players. As part of the process, I inquired whether Martin Audio made Wavefront Precision with a 12” box and they didn’t at the time. So we were about to mak
France - The Paris Institute of Political Studies, commonly referred to as Sciences Po, is a French university with seven campuses across the country. The new Grand Auditorium at its Reims site features an Alcons Audio system.
Founded in 1872, Sciences Po quickly became a highly influential academic institution for the social sciences. Currently it has 13,000 students based at its seven centres throughout France. The Reims campus opened in 2010, with just 100 students, but a recently-completed €75m expansion has meant it will be ready to accept 1600 students in September 2019. A major part of the project is the new 650-seat, multi-function Grand Auditorium, which hosts conferences, lectures, presentations by guest speakers, live music and movies in 5.1 surround sound.
At Reims, a 5.1 Alcons system was supplied by Paris-based systems integrator Audiolead and installed by Videlio of Reims. It features a left-right system of three RR12 point source array modules per side, with a pair of QB363 modular low-frequency array columns beneath the stage and a centre cluster comprising two CRA24 Cinemarray scalable, medium-format line source screen units. The system is completed by eight CCS8 medium-format surround loudspeakers and is controlled and powered by three Sentinel3 and a Sentinel10 amplified loudspeaker controllers.
“The system needed to deliver cinema sound and live reinforcement for presentations and classical/jazz concerts equally well,” says Audiolead’s Bruno Ghidionesco. “We set up comparative listening tests for the client and they ch
USA - On Circa Survive’s recent tour in support of their Top Ten Billboard Rock Chart LP The Amulet, lighting designer Lenny Sasso devised ‘a perception-bending asymmetrical rig’ with Chauvet Professional fixtures, supplied by Squeek Lights.
“This was my second tour with the Circa Survive guys, and this one in particular has been extremely creative and experimental,” said Sasso. “I’ve never designed a true asymmetrical rig before, so it has been an interesting journey. It definitely took me a bit to get out of a very strict symmetrical mindset. I was still tweaking things around at the end of the tour, but I feel like the asymmetrical aspect of the show gave me endless possibilities.”
Critical to Sasso’s asymmetrical design was the positioning of the nine Rogue R2 Wash fixtures in his rig. He positioned six of these units stage right in an interesting staircase staggered step down pattern. The three other units were stage left in an offset triangle.
“Positioning the R2s this way, I was able to get some nice weird wash patterns,” said Sasso. “Then there were a few songs where I used the ring control macros and pointed the R2s straight into the audience for some cool eye candy effects during mellow parts of songs.”
The four Rogue RH1 Hybrid fixtures in the rig were positioned behind each band member.
“Basically, I approached this design with the idea that each band member would have his own personal lightshow happening behind him,” continues Sasso. “At the same time, though, I wanted to have the l
UK - December saw the ninth year of Huawei Technologies’ sponsorship of the London Winter Concert, held at London’s Royal Festival Hall (RFH) in aid of the Prince’s Trust. This event featured the Royal Philharmonic Concert Orchestra, conducted by Paul Bateman, and had a line-up led by tenor Joseph Calleja, with special guests soprano He Wu and young singing talent Beau Dermott.
Although the Winter Concert is long-established in the RFH calendar, this year saw a completely new approach to audio production, with L-ISA Hyperreal Sound delivering an extra frisson to proceedings.
Reactor Group has been supplying production management, sound design and its implementation to the Winter Concert for the past three years and, as technical director for the event, Reactor’s Jim Pollard explains they wanted to improve on its previous two, highly successful years.
“At Reactor, we don’t like sticking with something because ‘it was fine last time’,” he says. “Internal discussions with Martin Dineley, Front of House engineer for the event, and Craig Harvey, L-Acoustic application engineer, convinced me that using L-ISA would offer an even more qualitative experience. What a great decision it was. Honestly, I was blown away and I’ve never heard quite so much positive feedback about audio on any show I’ve ever worked on.”
“This was my second year looking after the audio for the Winter Concert,” adds Dineley. “Last year, we used a standard stereo system and it worked really well, but at about the same time I was working on my firs