USA - Tirso Lighting has installed an all-LED Elation lighting package for another Wahi Group club opening in northern Manhattan, this time Bar 151, an upscale lounge and performance space in the neighbourhood of Inwood, a quieter and more affordable enclave of New York City that has become increasingly popular of late.
Tirso Lighting has been around since 2009 and has been using Elation lighting since its inception. Nevertheless, Bar 151 was the design and integration company’s first all LED lighting project. “I was really looking forward to doing an all LED project and this was a good chance to realize that,” says Tirso Lighting owner Tirso Pelaez, who served as lighting designer on the project and suggested the green approach to the client. “Elation’s choice of products allowed us to put together an all LED lighting package for Bar 151 that can stand on its own.”
Bar 151 is an intimate venue with a capacity of about 300. Because it is tucked in a narrow space, Pelaez says it was important to keep patrons moving away from the entrance once they enter the club. His design therefore sought to draw people to the back of the club where the stage is, which doubles as a VIP area.
“We wanted to attract guests to the back, near the stage, and then fill the club in backwards from there,” the designer said. “We covered the stage and the area in front of the stage, which is the dance floor, with lighting to entice people to move deeper into the club and avoid congestion near the door.” As the ceiling height in the back of the club is high
Europe - Claypaky Mythos 2 fixtures have accompanied British alternative rock band Nothing But Thieves (NBT) on their extensive tour around Europe and the USA. The band’s long-term lighting designer Steve Bewley specified the Mythos 2 for the fixture’s versatility to help him to deliver a dramatic and dynamic set.
“I’ve used Claypaky on many occasions and I knew the Mythos 2 would be a great fit for the NBT show,” says Bewley. “I needed a multifunctional hybrid light to get as many looks out of the rig as possible. I used them to create bold beam looks, as well as spot and wash looks throughout the show.”
In spotlight mode, the Mythos 2 has a 4-50˚ electronic zoom range, while its advanced colour system consists of a CMY system based on three gradually fading colour wheels, plus 14 colour filters on three wheels and two CTO filters to offer designers both highly saturated washes and dense beams.
The Mythos 2 fixtures were rigged on both flown and floor trusses across the width of the stage, above and below the video screens. “The fixtures held their own against the video screen, and the white colours really punched through,” says Bewley. “I needed fixtures bright enough to work in both the smaller venues and arenas we were touring.”
Bewley works closely with the band during the design process. “They give me a brief, which I base my design on, and we develop it from there. They give me a lot of freedom in what I do. Knowing the music inside and out helps me build a beat-perfect show, which creates the drama fans have c
Nigeria - Based in Port Harcourt, Chicoco Studios is housed in The Shed, a community space built by the young residents of the city’s waterfront slums. The studio was designed and installed by the Collaborative Media Advocacy Platform (CMAP) in conjunction with the musicians from Chicoco Collective and is home to both recording and radio broadcast spaces.
Directed by ex-BBC engineer Ana Bonaldo, with technical mentoring and support from another ex-BBC engineer Colin Neal, Chicoco Radio is powered by a pair of Allen & Heath XB-14-2 compact broadcast mixers chosen, according to Neal for their “incomparable value and versatility. We found no other desk at this price point which features broadcast functions such as TELCO channels with clean feed, talkback and remote starts for playout channels.”
While Chicoco Radio was devised to give the residents of Port Harcourt’s waterfront their own voice, the studio and live performance area of The Shed offer a creative outlet for local singers, DJs and musicians. Both feature Allen & Heath digital mixing set-ups, with a Qu-16 model at the heart of the recording set-up and Qu-24 mixer and AR2412 AudioRack for live use.
“The Qu-16 was the first Allen & Heath desk we installed,” says Neal, “and I found it to be really well thought out and I liked the amount of facilities that it offered - the on-board effects, gates and compressors and so on. To get all these things in something so small and portable is impressive.
“The guys using the Chicoco music studio were soon quite at home
UK - The team at LSi will be taking a break now until the 2nd January 2019.
We'd like to take this opportunity to thank all our readers for following LSI Online news throughout 2018 and wish you a very happy holiday season - however you might be celebrating.
The daily online news will resume on Wednesday 2nd January.
USA - The announcement by American rapper Post Malone that he intended to stage his own festival at the Dos Equis Pavilion in Dallas, Texas recently, featuring himself, Tyler, the Creator and Travis Scott, created a wave of interest.
LD Ben Dalgleish has been using 36 of GLP’s X4 XL moving LED heads for Post Malone’s worldwide festival tour that started back in June, and he was keen to return to the brand, this time specifying 133 of the X4 Bar 20 battens as the feature light for Posty Fest.
Working with creative director Lewis James, whom he said “provided excellent creative direction on the look he envisaged for Post Malone’s performance”, Dalgleish said that the aim was to have the artist stand out as the headline act. “Other acts had a large LED screen, but this was removed during the changeover and revealed a large structure lined with GLP’s X4 20 Bars,” he stated. “For the rest of the festival I designed a simple but effective rig that the guest LDs for Travis Scott and Tyler the Creator could use.” The lighting for both stages was supplied by VER. Malone’s production manager Dennis Danneels was responsible for bringing all the production elements together for the festival.
Dalgleish rigged 114 of the battens on GT Truss that formed the structure - a full grid of lights with a box platform in the middle. A further 18 X4 Bar 20s were set inside the box on the floor: “These lights did double duty,” explained the LD, “they were used for lighting effects and also lighting Post Malone himself as a key light.”
Canada - For Canadian shows celebrating the 10th anniversary of Protest the Hero’s Fortress album, lighting operator/programmer Michael ‘Herk’ Herkimer deployed a comprehensive suite of Elation lighting fixtures. Provided by Hamilton-based Soundbox Productions of Canada, the rig was comprised exclusively of Elation ACL 360 Matrix panels, Cuepix Battens, Fuze Pars and ZW19s.
To say Herk maintains a busy schedule is an understatement. In mid-October 2018 he’d been touring for roughly 29 months, splitting his time between Rise Against, Billy Talent and Protest the Hero (PTH). With his previous knowledge of the PTH gig, Herk knew he’d require a lighting rig that was economical and utilitarian, with every fixture offering a high degree of flexibility. In all, the PTH light show consists of roughly 2,300 cues and Herk’s approach is to build intensity constantly, making the show look bigger and more impressive over the course of the night, with very little in the way of repetition.
“We really wanted to stay away from that. So you didn’t see any strobes or blinders in this rig. Don’t get me wrong, we wanted to tear people’s heads off, but in a unique way: breakdowns with really fast colour changes that switch spectrums to get your eyes to struggle with the image, ripping chases to mimic guitar runs, or by dropping all light on stage so it was just the guitar players for three seconds and then ripping back into the full rig to really knock you down.”
With Elation’s LED product line it was easy to achieve this, he says, while a
UK - Back in the late 1530s, Henry VIII dissolved the monasteries that had been familiar fixtures on the English landscape prior to the Reformation. Most of the stately buildings were destroyed, their material scavenged for other purposes. But one survived thanks to the intervention of Augustine Steward, Mayor of Norwich, who convinced the king to deed the impressive friary in his city to the people, so it could be used for fairs, feasts and other public functions.
Today, almost 500 years later, the monastery complex (the oldest surviving one in the UK), is still thriving as The Halls, a community cultural centre with architectural features that provide a dramatic backdrop for a variety of events. Among these performances was a recent high school choral concert sponsored by Norfolk Music Hub that was animated by an evocative lighting design featuring Chauvet Professional Ovation fixtures.
“The building is rather ‘gothic,’ so it lends itself to creating evocative settings,” said Matt Cross of Viking Stage Lighting, which supplied the fixtures and created the design for the multi-choir recital. “Lighting was a huge factor in achieving the right ambience. This is a large cavernous structure, and it can feel rather empty without the right lighting.”
Viking Stage Lighting relied on uplights to colourise the building’s columns and archways. For stage lighting, the design team called upon eight Ovation E-910FC colour-mixing ellipsoidals and an equal number of Ovation F-915FC colour-mixing Fresnel fixtures.
The Ovation E-910FC LED el
UK - Swedish rapper Yung Lean has recently completed his biggest UK headline show to date - Wings of Desire at London’s O2 Academy in Brixton, accompanied by an Allen & Heath dLive Wings set-up.
The full audio set-up - owned by FOH engineer Gustav Brunn - is used for both FOH and Mon duties and features a dLive C1500 surface fitted with a Waves 3 card at FOH position in conjunction with a CDM32 MixRack, fitted with a Dante card, and an IP6 Controller at stage position.
Brunn comments: “I was looking for a fly-in rig that we can take anywhere in the world when A&H released the new dLive series. It’s such a competent rig and really suits my needs - I can bring it with me anywhere on the planet.”
On stage, a DJ performs alongside the artists using Ableton Live with the outputs sent to the CDM32 via Dante. The IP6 is used to allow the production / stage manager to make quick adjustments to the monitor mix, DJ mix and musicians IEM’s.
Brunn adds, “This summer I went back and forth between several tours with Dante and MADI card and I love the flexibility of I/O with all the option cards. Real estate-wise it’s tiny, but inside it’s a total chateau.”
Brunn also makes full use of dLive’s built-in EQ, FX, and DEEP preamps and compressors, commenting: “Everything from patching to changing the order of EQ and compression is easily accessible and easy to understand.”
Canada - SC Media Canada and Ivan’s Audio-Visual recently outfitted Moncton, New Brunswick’s new Avenir Centre arena with a complete Harman Professional Solutions audio system.
Avenir Centre is an 8,800-seat multi-use arena that is home to the Moncton Wildcats hockey team and Moncton Magic and basketball team. Although it primarily serves as a sports arena, Avenir Centre also hosts performances by renowned acts like Keith Urban and Jerry Seinfeld in addition to speaking events, trade shows and more.
To provide exceptional sound quality for a wide range of entertainment and events, the arena needed a powerful audio system that could deliver even and highly-controlled sound coverage. To meet these objectives, SC Media Canada and Ivan’s Audio-Visual designed and deployed an end-to-end Harman system featuring JBL VRX line arrays, Crown DriveCore amplifiers, BSS BLU signal processors, and Soundcraft mixers.
“Hockey arenas require a robust sound system with a huge amount of SPL to overcome a crowd of more than 8,000 screaming fans,” says Brad Fox, account representative at SC Media. “We wanted the system to deliver as much energy into the seats as possible, while avoiding reflection off the roof and walls of the arena. You also need a lot of bass impact to give music extra thump and reinforce the energy of hits against the glass. Leveraging our expertise in arena installations, we delivered a cutting-edge Harman audio system that came in under budget, while also meeting the performance requirements of an NHL-level stadium.”
Brazil - Ivete Maria Dias de Sangalo Cady is one of the best-selling Brazilian female singers, with 15m copies sold from her six albums released with Banda Eva and seven more as part of her solo career.
For her recent DVD production Ivete Sangalo Live Experience in the Allianz Park in São Paulo, lighting designers Paulinho Lebrão and Guillermo Herrero used two grandMA2 full-size consoles, one grandMA2 light and four MA NPUs (Network Processing Units) to control a set with more than 800 fixtures.
Lebrão explains: “We have been using grandMA2 consoles since 2011, and the experience, knowledge and confidence we have in the system leaves us no doubt in the choice. When art director Gringo Cardia presented this project, the mission for us was create lighting that could show the big size, plus all the details of the scenography. Another request was to transform the stage during the show, going through moments of carnival, electronic, latin and romantic music. This was the main challenge for Guillermo and me as LDs.
“We ran the show with a multiuser system, with Paulinho operating lighting and controlling the levels for camera, while operator Laudecir Silveira was on the other console operating a Robe Robo Spot remote follow spot system as well as correcting the moving lights positions online, and we had a third console as backup”, adds Herrero.
Lebrão continues: “For me this project was special for several reasons. The main one, because I was working as an LD for the first time with Ivete Sangalo. grandMA2 started to reach the top
USA - In its first major renovation since 1987, the PepsiCo Theatre at Purchase College, part of the State University of New York (SUNY), now has a precision L-Acoustics ARCS WiFo loudspeaker system integrated by Southington, Connecticut-based integrator North American Theatrix.
Designed by set designer Ming Cho Lee, the mid-sized PepsiCo Theatre has a large stage allowing for exceptional adaptability. It also makes an ideal venue for film screenings, with comfortable seating, a rear screen projection bay, and fully digital projection capabilities. A $730,000 grant from locally-based beverage giant PepsiCo in 2016, combined with additional donations, allowed for the complete renovation of the theatre - from the seats and the carpeting to the sound, projection, and lighting systems to critical backstage infrastructure.
The new PA setup for the Performing Arts Centre of Purchase College’s second largest venue features three matching arrays of four L-Acoustics ARCS WiFo enclosures - two ARCS Focus over two ARCS Wide - flown in an LCR configuration through cut-outs in the theatre’s acoustical cloud and powered by a total of three LA4X amplified controllers housed in an LA-RAK in the third-floor catwalk.
In addition, four SB28 subs are hung in pairs on either side of the 55-foot-wide proscenium and driven by a single LA12X, while eight compact 5XT coaxial speakers powered by a fourth LA4X are used to address the rear of the 713-seat space’s under-balcony areas.
“The combination of the acoustical cloud and side platforms made finding a suita
Europe - American blues rockers Welshly Arms have recently completed their European tour with an Allen & Heath dLive system handling FOH duties. The latest tour supports their newest album release No Place is Home.
The band’s set-up consists of a dLive C3500 at FOH with a CDM32 fitted with a Dante card, placed centre stage. dLive’s Tie Lines patching option is utilised to provide a digital split over Dante to an additional console on monitors. Additionally, a DX168 expander is positioned stage-right for extra analogue I/O.
FOH engineer David Sievers comments: “When it comes to deciding on which desk and gear to use on tour, there are so many options now, but dLive really stood out against the rest. I chose dLive due to its flexibility, its great sound and the fact I can add a Waves card to the surface and a Dante card to the MixRack.”
Sievers adds: “I also like that dLive comes in a compact solution too and in the future, I’m looking to invest in a C1500 with two IP8’s for fly-in dates.”
The C3500 and CDM32 also handles the FOH mixes for the opening acts on tour, Sievers comments: “This tour includes both support bands using show-files on my desk and while one of the support acts has their own FOH engineer, the other needs to use the house engineers - most of whom have never worked on dLive before.”
USA - The Department of Theatre at Western Michigan University in Kalamazoo has added 12 Claypaky Axcor Spot 300 moving LED fixtures to its inventory. The lights serve three theatres in the department’s complex as well as an additional performing space elsewhere on campus. The spots are making their debut during the 2018-19 theatre season.
The Axcor Spot 300s replace ageing moving lights, which are at the end of their lifecycle. “I had been looking for LED-based fixtures capable of projecting patterns and with a varied range of colours,” says Matthew Knewtson, professor of theatre and lighting design. “I found the Axcor Spots in doing online research, and colleagues recommended the Claypaky fixtures as a viable option.”
The Axcor Spot 300s were purchased from BMI Supply in Queensbury, New York. ACT Lighting, Inc. is the exclusive distributor of Claypaky lighting in North America.
Professor Knewtson quickly deployed the fixtures on the fall production of Women on the Verge of a Nervous Breakdown, a musical for which he provided the lighting design. “I used the Axcor Spot 300s to create the effect of a taxi moving thru the streets of Madrid. I also used them for a motion picture effect as well as more mundane uses such as pattern and color wash,” he explains.
Since then the theatre students have used the Axcor Spot 300s for an automated fixture workshop in which each student designs the automated lighting for a song of their choice. Their productions are presented in two live performances for the rest of the theatre and the
A.C. Entertainment Technologies (AC-ET) has provided KCS Group with a Green Hippo Hippotizer V4 Karst+ Media Server to make Honda UK’s live event content stand out from the crowd.
KCS, an experiential marketing and events company, has worked with Honda exclusively for 15 years - providing them and their dealerships with the support to make every event a success.
KCS were asked to procure a media server and all necessary hardware to give Honda the ability to display varying content across different areas of their show stands, whilst giving them the option to link the screens together as well, to broadcast live content simultaneously across them all.
Gareth Coleman, project manager for KCS, visited PLASA earlier this year to research his options. He met Stuart Burdett, sales manager for AC-ET's specialist video sales division.
Coleman says: “After speaking with Stuart at PLASA along with other media server suppliers, Green Hippo stood out as being the most user-friendly and the most versatile platform. All the other options we looked into only offered a 3D working environment which is quite complicated to get your head round when you’re new to this type of technology. The ability to switch between a 2D and 3D environments means that no matter what type of experience you have you can build your project in Hippotizer V4+.”
The Green Hippo Hippotizer V4 Karst+ Media Server will be used to help Honda UK bring visual stories to life at any event required. This will range from internal conferences mixing live content with pre-recorded conten
UK - Working with production company Attention Seekers, LED Creative provided a selection of products from their Sigma LED range to help build the clean, modern look created for the semi-final of the McLaren Shadow Project.
Staged at the prestigious McLaren Technology Centre and streamed live via the project’s YouTube Channel, the event is a highly contested battle for a place on the McLaren E-Sports Team. Having been whittled down from over half a million applicants, the final eight ‘virtual drivers’ were tested over a series of racing challenges, competing at legendary tracks in iconic McLaren machinery.
The custom-built Shadow Project studio features eight ‘racing sleds’ configured specifically for the event. Sited on raised podiums edged with crisp LED Highlights, the ‘sleds’ house the individual drivers in cockpits fronted with a colour coded ‘V’ detail, formed using LC Sigma 60 mounted in Diffuze Conduit, the company’s new in-house designed channel system developed for use in the TV/broadcast industry. The intense illumination provided by the LED creates an edgy contrast against the stylish, subtle look created by LD Seb Williams, without distracting the gamers.
The linear theme is continued across the set with additional Pulse Wands placed adjacent to the commentary box located behind the drivers. Working in unison with the Sigma 60 and Pulse Wands, LC BYTE system allows precision ‘real time’ management over colour, movement and intensity, perfect for providing maximum artistic control in a live broadcast environment.<
France - La Seine Musicale is a venue in Paris that resides on a small island in the middle of the Seine. From its inception, there was a desire to have studio recording and rehearsing space facilities integrated as a permanent part of the building that hosts concerts, musicals, ballets, comedy and corporate events.
It quickly became clear that the best way to ensure easy connectivity from every potential recording space to the control room would be to install a building-wide network of Ethernet cables and connection ports. It was simply the ideal way to route high counts of audio channels between locations. An IP Audio solution was a must - and following careful considerations, the team decided to go for Audinate’s Dante protocol.
Arnaud Kalmes, the head engineer at the Riffx Studios in the La Seine Musicale building comments: “The implementation of a Dante Network was decided upon as soon as the building was conceptualized in full. All studios, rooms and concert halls needed to be linked through Ethernet.
“The Dante protocol simply seemed to be the ideal solution, as it would allow us to record in any room or concert hall in the building via a single Ethernet cable. If we had chosen a fully analog configuration, it would not only have been much harder, but also more expensive to be able to offer the same possibilities for our clients.”
To support this completely networked infrastructure, two rolling racks were put together, each holding a DAD AX32 and XLR connector panels, virtually making each rack a portable stagebox with high-qua
Europe - FOH engineer Matt West (Motorhead, Snoop Dogg, The Cure, Eminem) has specified Solid State Logic L500 live mixing desk for the latest tour of French indie pop band Phoenix.
The band's latest Album, Ti Amo, came out last year and has been the focus of their most recent world tour. While West has extensive experience on digital consoles, he says he has mostly used them for ergonomic reasons, rather than sound. "I'm an analogue engineer and I come out of that world,” admits West. “Perhaps it's semantics, but there's a warmth that you don't normally get with zeros and ones - at least that’s what I thought that until I came across the SSL.
"On previous tours I had an outboard rack that I'd carry everywhere with me, with some nice compressors like DBX160s, Distressors, 901s. All that lovely sort of stuff. During rehearsals I thought I’d try out the onboard dynamics. The console sounded great, so I don't use that rack any more, and I haven't missed it."
Phoenix takes a very creative approach to its live sound, and West is invited to be part of the performance, playing in filter sweeps, muting parts of the PA, and so on. "We have a great relationship, and the desk is all-important in that because that is my tool, my instrument," he says. "If I'm not able to do things on a console that we’re trying to reproduce then I find limitations. To date we've been able to do everything the band or I have thought of. And that says it all.”
UK - SSE Audio Group’s JBL VTX system was specified by Enrique Iglesias’ FOH engineer Brad Divens for the Spanish singer’s UK autumn arena tour.
Divens, already a seasoned JBL VTX user, fielded JBL’s flagship line array system for five arena shows in the UK and Ireland. All the shows were a complete success, due to careful preparation by SSE Audio Group, led by hire project manager Dan Bennett and system engineer Nick Lythgoe, with support from Stuart Strachan, application engineer at Harman UK distributor Sound Technology and Ed Jackson, senior application engineer at Harman EMEA.
The tour is a Sound Image account in the USA, and thanks to the collaboration between Sound Image and SSE through the formation of United Audio Companies in 2015, both companies are able to service their clients on both sides of the Atlantic with each other’s support.
The system for the tour comprised main left/right hangs of 16 VTX-V25-II-CS. Alongside these were nine VTX-S28 subwoofers flown on each flank, while the side-hangs comprised 14 VTX-V25-II-CS for the larger O2 and Manchester Arenas (reduced to eight box side-hangs in the smaller Genting, Hydro and 3 Arenas).
JBL’s VerTec VT4886 sub-compact line array cabinets were used as front-fills with three, two-high stacks per side on a riser, just off the lip of the stage.
24 boxes of JBL’s new flagship line array, VTX A12, completed the system in the two largest venues of the tour, Manchester Arena and London’s O2. Three arrays of eight boxes each served as delay hangs.
The bottom end
USA - In February 2021, NASA’s Mars 2020 Rover is scheduled to touch down on the Red Planet. The spacecraft will be able to capture imagery and sound as the Mars 2020 vehicle descends through the Martian atmosphere and lands on the surface of Mars. To capture sounds from the Red Planet for the first time ever, the Mars 2020 Rover will be outfitted with a selection of equipment from DPA Microphones.
The Mars 2020 spacecraft is currently being assembled at NASA’s Jet Propulsion Laboratory (JPL) in Pasadena and the DPA products will be installed onto the vehicle in early 2019. DPA’s d:dicate 4006 Omnidirectional Microphone will capture the audio while the MMA-A Digital Audio Interface will be used to record and send audio to a computer through its USB connection. Both mics will be paired with MMP-G Modular Active Cables, which act as ultra-transparent preamplifiers.
The microphone manufacturer won the contract based on its products’ ability to perform under demanding environments and deliver industry standard communication interfaces, namely withstand the extreme conditions, leave a small footprint and connect to a computer with a USB interface.
“These products will be in space indefinitely, which is a testament to DPA’s quality and resiliency,” says René Mørch, product manager at DPA. “We are honoured to be a part of this mission.”
The trip to Mars is expected to take seven months and will subject the Rover to extreme temperatures (environments could be -100°C/-148°F), travel pressure both in and out of the atmosphere and
USA - Tenth Avenue North released their gold certified Over and Underneath debut album in 2008, but the Dove Award-winning Christian band’s musical virtuosity stretches back much further in time. This is evident in their current Decade The Halls tour, which features a decade-by-decade cornucopia of Christmas music covering more than a half century.
Supporting this musical mix with richly coloured visuals that evoke images of different Christmases from times past is a Mike Marcario lighting design that features Chauvet Professional Rogue and Nexus fixtures, supplied by Bandit Lites. Marcario’s transformative lighting seems to move through time with the music, changing colours and the tempo of its movement to reflect the passage of holiday seasons through the years.
“This show is definitely fun to do from a lighting standpoint,” says Marcario. “We need to be able to create looks for every decade, while avoiding carrying gear from each one. We change up the kinds of colours and gobos we use for different decades. The show begins very warm with little movement, but as we approach the 1990s and 2000s, we have added more aerial effects and colour, also pulling out more tricks from the fixtures to create a contemporary feel, while still maintaining a holiday mood throughout the entire show.”
Making this feat especially impressive is that Marcario accomplishes it with a rig that fits in a bus trailer. To add to his challenge, the November-December tour stops at large churches, many of which have limited available power and riggi
Japan - Ayrton reports that Tokyo’s Studio Tanta chose the French manufacturer’s lighting products for its rehearsal studios. The successful installation includes 10 Ayrton NandoBeam S3 units, six WildBeam R fixtures and four Arcaline 2 100 battens which were permanently installed in Rehearsal Studio-C.
Studio Tanta is an impressive seven-storey building which took five years to build from planning to completion. It has two recording studios, a rehearsal studio, two artists’ rooms, and a restaurant. Hibino Lighting, Ayrton’s exclusive distributor for Japan, was responsible for the supply and installation of the Ayrton fixtures and a lighting console.
Takahisa Hasegawa, the owner and CEO of Studio Tanta, comments: “It has always been my long-term goal to build a large-scale studio in Tokyo so, before designing Tanta, we went on a study trip to visit famous studios in the USA. Because I invested a lot of time and effort in Tanta, I wanted to be sure to choose great equipment for my studios. When Hibino Lighting introduced Ayrton products to me, I felt that they would be the perfect match.”
As Studio Tanta is used for a wide variety of purposes, including live concerts, rehearsals, parties, events and as a recording studio, a lighting system was required that could handle all these types of entertainment. Hibino Lighting therefore suggested installing Ayrton’s Wildbeam-R for special effects, and the Nandobeam-S3 for easy spotlighting of the masters of ceremonies, and for musicians who like to move around a lot.
As Studio Tanta is
The Netherlands - Navarone, one of the best, most energetic and appreciated rock bands in the Netherlands returned to their home base in Nijmegen, launching their fourth studio album with help from the new CLF Orion hybrid.
Lighting designer Roy Baarslag was looking for an extensive floor setup to emphasise all the accents in Navarone’s dynamic musical style. “The band wants me to create a lively and energetic show with a lot of variety. I needed fixtures that offer a huge amount of effect versatility, so that’s why the CLF Orion definitely caught my attention.” A powerful light source and efficient optics enable the Orion to produce heavy mid-air effects. “Their output really surprised me, sometimes I even had to reduce it to achieve a balance with the house rig.”
In addition, the extensive feature package of the Orion was a useful tool for Baarslag. “I have created freaky effects with help of the animation wheel. While I also like the smooth CMY colour mixing and I’d like to draw attention to the zoom speed, which is really fast. When designing upcoming shows I would like to include more Orion fixtures. They are multifunctional, from a powerful beam all the way to a soft wash.”
The CLF Orion units were placed on vertical trusses, accompanied by CLF LEDbar PRO fixtures. “The LEDbar PRO fixtures allowed me to be very creative”, Baarslag comments. “The big reflectors resemble the look and feel of old fashioned strip lights, but add RGBW colour mixing. I love the intense colours of the LEDbar PRO. Together with the punch and sm
UK - Diwali is the Hindu, Sikh, and Jain festival of lights, which symbolises victory of light over darkness, good over evil, and knowledge over ignorance. The 2018 Diwali was celebrated with a huge event in the heart of London on 7 November with music, dance, workshops, foods, crafts, and, of course, plenty of lights from SGM Light.
“The brief was to create something that was both visual and memorable. We mainly chose SGM fixtures because of the outdoor usage, and Ethix has a very long relationship with SGM and their products, and an excellent record of support. The high IP classification in SGM’s products is very important to me as the majority of our projects are outdoors. Ensuring that a fixture is up to the job is paramount,” explained Paul Jones from production company Ethix Management.
For the project, Ethix used G-Spots, G-Spot Turbos, P-5s, and Q-7s. “We used the Q-7 to light the roofs of the marquees to create an even colour wash and soft colour changes across the whole of the marquees both inside and out,” says Jones. “Together with the Q-7, the G-Spot was perfect to light the national gallery using 2 gobo wheels and a 43 degree zoom.”
Diwali took place on the popular Trafalgar Square, where Ethix Management also used SGM’s P-5; a powerful and IP65-rated wash light luminaire perfect for any event that require an ultra-bright and super-long throw luminaire.
“We used the P-5 to light the base of Nelsons Column and the G-Spot Turbo to create effects on the column,” explain
South Korea - Star Events’ VerTech Ultra system provided for a production at Riot Games’ League of Legends World Championships final in South Korea.
The opening ceremony at Incheon Munhak Stadium, Seoul, used augmented reality (AR) to fit virtual/in-game band K/DA onstage, and across over 2,000sq.m of screens, for the first musical performance, alongside Madison Beer, Miyeon and Soyeon of (G)I-DLE, and Jaira Burns later in the show.
The 85-minute multi-player League of Legends final was broadcast across more than 30 platforms and TV channels and saw China’s Invictus Gaming beat Europe’s team Fanatic 3-0 to take the trophy and $834,375 in prize money.
Total production ‘frontage’ for the live event stage was 165m wide and 27m high, Star T-towers built on top of the Ultra structure lifting audio hangs fully clear of the screens with a hook height 32m above the ground.
Roger Barrett, Star Events’ special projects director, comments: “It was the first time we have fitted T-towers on top of an existing structure, something the Ultra system made it very easy to do.
“We put a regular VerTech stage frame in as a super-size ground support for the semi-final, at a sports centre in Gwangju, but the screen support in Seoul had to be more than four times bigger so VerTech Ultra was the perfect, flexible fit.
“Working in South Korea with 35 containers of equipment and without a traditional promoter had its challenges. There was quite a lot of new kit with no time to test build it so the main build at Seoul simply had to work