UK - Since the National Theatre’s initial investment in 42 MAC Encore Performance LED moving heads for the Olivier Theatre in May 2018, a planned roll-out has seen the venue on London’s Southbank install MAC Encores in the Lyttelton and Dorfman Theatres and add further units to the Olivier. In total, 156 MAC Encore Performance and Wash fixtures are either permanently installed or held in shared lighting resources.
Selected for their feature set, durability and near silent operation, the roll-out has been supplied by a number of Martin dealers including White Light, Stage Electrics, Hawthorn and Flashlight - all themselves supplied by UK Martin distributor Sound Technology.
In the Olivier Theatre - the largest of the three theatres within the National - lighting supervisor Jack Williams is preparing to install additional MAC Encore Performance CLD fixtures as the process of replacement and updating continues. “We did a shoot out of a number of CLD fixtures and found this to be the best,” he says.
The Olivier Theatre alone now hosts 16 MAC Encore Performance CLD, 31 MAC Encore Performance WRM and 32 MAC Encore Wash WRM - installed both above stage and front of house.
“Our biggest change was 18 months ago when we swapped the TW1 at FOH for WRM Encore Performances and that gave us a lot more control of the lighting than previously.” Jack continues. “The Martin fixtures are always consistent - they are workhorses and really reliable in terms of positioning. For productions requiring a really intimate feel, the MAC Encores with their
UK - CPL supplied full technical design and production for show producers Pandora Events, who delivered Tropic Skincare’s 2019 Glambassador motivational event, a high-energy day action-packed with new product launches, presentations, awards and live entertainment, complete with a gala dinner.
The extravaganza for 2,500 people - themed Carnival of Colour - was staged in Hall 4 at the NEC, Birmingham, UK.
CPL’s production and project manager Lee Gruszeckyj worked closely with Pandora’s Vanessa Carter and a crew of 27 technicians specialising in all the disciplines who started with the installation of a 20m diameter circular stage in the centre of the room. The inner 10m diameter section was a revolve.
Above this, four large screens were installed, which were fed by Barco UDX high-powered projectors, giving 360° viewing angles.
The stage was a full custom design and build for the event, with a Steeldeck base covered in bespoke ply pieces to make up the spherical shape and the revolve machinery installed in the middle, completely flush with the outer section, so not immediately evident to the eye. The whole surface area was finished in white gloss vinyl.
The four screens flown above the central stage each measured 16m wide by 4.5 high, and each was fed by a pair of doubled-up Barco UDXW32 32K lumen projectors which were positioned on the largest of three concentric circular trusses flown - chandelier style at slightly staggered heights in the roof.
On the two lower trussing circles, 70 x 1.2m by 100mm wide Roe pixel stri
Germany - After the successful opening of the Rathausmarkt Open Air in Hamburg Germany last year, the classical music event with general music director Kent Nagano and the Hamburg Philharmonic Orchestra returned in August.
For the first time the Farao Studios from Munich provided the acoustics at the event and started with a complex concept, that combined acoustic measures on stage with elements of virtual acoustics and a high-resolution pro-ribbon sound system from Alcons Audio.
The concept, originally developed for Audi’s ‘Vorsprung Festival’ in 2014, was brought by the experienced team of Farao Studios at the Hamburg Rathausmarket square this year.
A setup consisting of 15 Alcons LR28 large-scale pro-ribbon line array systems (l / r) and 14 Alcons LR18 as centre cluster was installed. A total of 20 of the powerful BC543 3x 18'' cardioid subwoofer systems provided support in the low frequency range.
The monitor system consisted of four 3 LR7 micro line-array and four VR8 compact monitor flown in the stage roof. 33 Sentinel10 amplified loudspeaker controllers drove the system, with 132 channels in total. Uwe Biesgen from Ceativsound in Berlin, an experienced Alcons system engineer was on-site in Hamburg. The Alcons systems were supplied by PM Blue from Hamburg.
“We deliberately opted for a large-format system and also for tall arrays,” explains Florian Rauscher, who was responsible for the mix during the open-air together with Farao-Co managing director Andreas Cämmerer. “When working with an orchestra, we want to keep the
USA - Brian Wilson recently wrapped another tour with a lighting system from Bandit Lites. The tour showcased the Beach Boys classic album Pet Sounds as well as featuring the 1960 album Friends. The Zombies opened the show by performing Odessey and Oracle in its entirety.
“Bandit has had a very long and positive relationship with Brian Wilson and it is a true honour to work for him and the entourage that handle his production,” said Bandit Lites vice president Mike Golden.
“In this day and age, I am so fortunate to work with so much real talent on one stage,” explains lighting designer Chris Stuba. “Brian is in a big band with a lot of amazing soloists, so there has to be a good amount of isolation so each band member can be highlighted.”
Stuba balances his design by focusing on where the lighting falls and, more importantly, where it does not, designing in WYSIWYG which allows him to see what works and what doesn’t before he even hangs a light.
“With the Zombies opening, we needed to differentiate the look of their sets,” says Stuba. “We had a pipe and drape system to hide Brian Wilson’s back line, which in turn became the Zombies backdrop. I had very little floor lights because of the logistics of putting two large bands on one stage.”
When lighting the show, Stuba received the set list early to get a feel for the show, and with many songs originating from the 1960’s and 1970’s, Stuba drew on colour palettes and draperies to invoke the old variety shows of yesteryears.
Italy - Rental company CLS has upgraded its Martin Audio inventory by investing in a new Wavefront Precision Mini (WPM) PA rig. The sale to the company, which was set up in the Florence region last year by Duccio Mitola, was handled by Audiosales, Martin Audio’s Italian distributor.
However, Duccio’s experience of the brand extends back seven years earlier when he was operating a W2 as his PA; when he started CLS Martin Audio was again his first port of call as he purchased a Blackline S15 and F10 rig (along with some EM series speakers). As the company expanded its work base he upgraded to a W8LM Mini line array, and it is this that the new technology of the WPM has replaced.
Explaining the purchase Duccio says he had initially been looking to extend his stock of W8LM and approached Audiosales. “But they said ‘why do you want to take the old W8LM when there is now the new Wavefront Precision technology?’”
After being impressed at the demo of the new system, Duccio took the decision to sell his older system in favour of a 16-box WPM purchase, along with two SX218 subwoofers, which will reinforce his existing stock of six WS218X. At the same time CLS added six LE100 stage monitors and some Blackline X. These were also supplied by Stefano Rocchi’s company, whose Audiosales team supported the sale throughout.
“We wanted another compact solution and the WPM also sounded great,” says Duccio. “This will be perfect for the range of shows we do, such as rock, jazz, theatre - anything where good quality sound is required.”
UK - For the 14th year running, dbnAudile has installed the technical infrastructure for the Sacha Lord/Sam Kandel promoted Warehouse Project pop-up, through its various venues in Manchester.
Originally working under separate guises, before dbn Lighting merged with Audile, the technology specialists recently put in infrastructure at the Project’s latest home, the 10,000 capacity Mayfield Depot, which sits adjacent to Manchester’s Piccadilly Station; this includes large quantities of GLP X4 Bar 20 battens and JDC1 hybrid strobes in the main room for the four-month season which runs until January 2020.
Starting life at the old Boddington’s Brewery, the event now sees high-profile dance acts including MK, Diplo, Disclosure, Aphex Twin, Soul II Soul and Hacienda Classical performing under a lighting rig designed by dbnAudile director, Pete Robinson.
He says the venue is a popular choice. “When I asked what the load limit was, since we had designed 2-tonne rigging brackets, I was told not to worry as directly overhead there were two platforms which would take 100-tonne trains each, as the building had originally been a freight depot for Mayfield Station.”
He continues: “We did a one-off event in this space last year as part of the Manchester International Festival and lighting designer Stuart Bailes suggested we use X4 Bars. This worked so well that when we came back here we decided to use them again, and this time have upped the quantity to 52 X4 Bar 20s.” At the same time they acquired 32 JDC1s, which have also been pressed into ser
Brazil - Sao Paulo-based R3 Estudio Movel has chosen a Calrec Artemis Ray audio console for its OB truck ‘PowerTruck’.
Isaías Rosa, R3’s recording/mixing engineer and multi-Latin Grammy nominee, says: “The Artemis met all our requirements. The truck is set up for mixing and recording music. The Artemis Ray has excellent sound quality; we use it in a 72-fader configuration, which is great for mixing live music as we have the faders set up on one layer.”
R3 Estudio Movel uses two Waves cards, one Dante card and six MADI cards in the truck. The on-stage setup includes 128 mic pre-amps and two MADI cards. The company creates about 40 music DVDs a year - including one recently for Sony Music’s Brazilian funk artist Nego do Borel, in addition to its work on live broadcasts and streaming.
“This project is a great example of how the Artemis console can really spread its wings with different types of broadcasts, including live music,” says Mike Reddick, international sales manager at Calrec. “It’s a testament to the console’s power, versatility and superior sound quality. We’re delighted that R3 Estudio Movel is reaping the benefits of all that the Artemis has to offer.”
UK - Lighting designer Derek Jones utilised the Vista by Chroma-Q lighting and media control system to meet the diverse stage lighting needs of New Wine’s United 19 summer worship conference.
Held at the East of England Arena and Events Centre in Peterborough, the annual two-week event gathers together thousands of church members to celebrate God with daytime and evening worship and entertainment activities.
With the varied programme encompassing seminars, evening entertainment, and a live TV broadcast around the site and online, Jones needed a flexible lighting control system that was able to handle structured cue lists in addition to live busking scenarios.
As a Vista user for nearly a decade, Derek was an early adopter of the next generation Vista 3 software. He recently upgraded from his Vista S3 console to the recently launched Vista EX and Vista MV control surfaces.
Jones explains: “By upgrading to the new Vista surfaces, I have condensed the functionality of my Vista S3 into a much smaller footprint which is more convenient and portable. In addition, the new surfaces give me a lot more hands-on control, which is really advantageous when busking live. Now I can achieve more in less space.”
The stage lighting design was based around a centre circle surrounded by four fingers of truss. Martin MAC Viper AirFX, MAC Aura and Claypaky Sharpy moving lights provided dynamic lighting and effects during the live music performances, as well as key lighting for performers and speakers. The trusses were toned with Prolights StudioCOB fu
Australia - Splendour in the Grass has quickly risen to become one of Australia’s premier music festivals attracting a 30,000+ crowd over the weekend around Bryon Bay.
Rental company Creative Productions from the Gold Coast looked after house lighting on all five main stages supplying Robe moving lights for a line-up of local and international music artists.
In three days, over 100 acts embraced every conceivable music genre on those five main stages and numerous other sites across the North Byron Parklands.
The house rig for the main Amphitheatre Stage featured 11 Robe BMFL Blades and 36 Robe BMFL Spots, with other Robe products added for floor packages, many of which were also supplied by Creative Productions.
Tame Impala’s extensive specials package was one such example, with 12 Robe BMFL WashBeams and 12 MegaPointes providing huge punch for a bunch of moody, dramatic silhouetted looks created by LD Jon Derrington.
A further four Robe BMFL WashBeams were installed - complete with custom gobos - on the delay towers left and right of FOH to provide liquid oil-style projections over the band and crowd. LED Bars, strobes and lasers capped off the design.
Chameleon Touring Systems supplied the Childish Gambino floor package that featured its own unique stage risers and custom LED panels.
Further Robe BMFLs, MegaPointes and Spikies were part of their main touring package, most of which stayed for the festival set, with Cory FitzGerald’s design being managed on the road by Sarah Landau.
Two Robe RoboSpot remote fol
USA - Life is Beautiful Festival organisers posed a challenge to lighting designer Rob Ross in the run up to the 2019 event in Las Vegas – get more attendees to use an alleyway corridor to travel between stages instead of the over-packed main street thoroughfare. Ross succeeded with a 450-ft long, immersive environment that featured alluring lighting effects from Elation Professional Proteus series luminaires.
Getting festivalgoers to use an alternate path however was no small task as the main street between the festival’s main stage and ancillary stages was lined with vendors and art installations, which naturally attracts people, and besides, the alleyway was a longer route, uninteresting and somewhat dimly lit.
“The festival came to us and asked us to make the alleyway feel cool and more exciting so people would want to walk that way instead of along the overcrowded street,” explains Ross, head of Rob Ross Design, a national full service lighting design and production company that handled site and VIP lighting for the 3-day festival as well as the art install project. “They were wonderful and gave us an open invitation to basically do whatever we wanted as long as we came up with something extraordinary that people would be attracted to.”
Life is Beautiful (Las Vegas, 20-22 September) featured headline acts Black Keys, Post Malone, Billie Eilish, Portugal The Man and Chance the Rapper.
Ross worked with New York composer Elisheba Ittoop to create a 10-minute soundscape, which was programmed to work with 66 Proteus Beam and 34 Pr
USA - Celebrated for its relentless touring and engaging live shows, San Diego's Slightly Stoopid has been out on the road for a good chunk of 2019 in support of its 13th and most recent album, Everyday Life, Everyday People.
To visually bring its shows to life in concert, Slightly Stoopid now turns to Pulse Lighting, which supplies a full complement of Avolites gear, including a Sapphire Touch console, Ai software, and the lighting manufacturer’s new Synergy feature set.
“Every design starts with a conversation. The more we interact with our artists, the better the design translates,” says Mikey Cummings of Pulse Lighting.
As a lead designer at Pulse’s Nashville headquarters, Cummings has designed for a long list of Grammy-award-winning artists, including Brandi Carlile, Jason Isbell, and Old Crow Medicine Show. Every tour he designs goes out with Avolites control.
“A majority of our tours use the Sapphire Touch, Arena, or Tiger Touch II,” he says. “With lots of video, colour-mixing lasers, and LEDs in Slightly Stoopid’s design, we knew this would be a great opportunity to dive into Avolites’ new Synergy software alongside the Ai software we were already planning to use.
“We designed the rig for their Mexico festival. After its success, they asked us to do some one-off designs for festivals and shows in the spring. Basically, we were creating independent lighting designs for each show based upon what local vendors could provide. They were pleased with everything we had done, so they asked us to present a ful
UK - White Light has supplied the lighting for A Day in the Death of Joe Egg, which has recently opened at Trafalgar Studios in London’s West End.
First performed in 1967, the play tells the moving and heart-warming story of a couple trying to keep their family together whilst raising their only daughter who has cerebral palsy. Directed by Simon Evans, this latest revival stars Toby Stephens and Claire Skinner and features a lighting design by Prema Mehta.
Prema comments: “Having discussed the script with Simon, it became clear that my brief was to ensure the lighting design supported the naturalistic setting of the family home, with juxtaposed moments of characters directly addressing the audience. We knew these two visuals of naturalism verses direct address had to have a completely different feeling to help the characters tell their story and form a relationship with the audience, as well as show their relationship with each other.”
Prema worked closely with the show’s designer Peter McKintosh who created a naturalistic set of a small Victorian room which required naturalistic interior lighting along with the outside winter light which developed throughout the piece. With the show being set at Christmas, this also had an influence on Prema’s design. “As the LED rimmed set revolved to reveal the home, the very notion of the movement made me want to capture the feeling of a child shaking a glitter snow dome, and looking into someone else’s world. I was inspired by the shards of light and reflections from tinsel to Christmas bau
Argentina - Known as ‘El Chaqueño Palavecino’, in reference to being born in the province of Chaco, Oscar Palavecino undertook a recent theatre tour, with an inventory of sound, lighting and LED screens provided by Buenos Aires-based Caio Sonido, and including a large number of fixtures from PR Lighting.
The tour comprised in excess of eight shows in different cities — all within the province of Buenos Aires.
The lighting rig was scalable, depending on venue size, but the full inventory of PR Lighting fixtures comprised 16x PR Junior BWS 350; eight XR1000 Spot and eight XRLED 590. These conformed to the rider prepared for the tour between Chaqueño Palavecino’s production team and Caio Sonido.
On the production side, the team responsible were lighting engineer, Cristian Saieg, supported by Caio Sonido’s president and founder, Ricardo Olivares and Guillermo Wheeler.
Stated Caio Sonido’s Juan Olivares, “The powerful lamp of the PR Junior BWS 350 created a constantly mesmerising lightshow so that sometimes you forgot about the artist and were transfixed just watching the performance of the lights.
“The PR 590 LED Wash also helped build the atmosphere. We used cold colours to recreate the clarity of the environment and warm colours to recreate the heat of the Province of Chaco.”
Summing up, Juan Olivares said the selection of PR Lighting fixtures had been a logical choice. “PR Lighting’s portfolio provides everything an artist needs to enhance their image onstage.”
UK - Blackpool’s Empress Ballroom provides an elegant setting for events. The 3,000-capacity venue also offers lighting designers a magnificent canvas on which to ply their art. Ollie Wilkinson of ArranPaul Audio and Lighting Design took full advantage of this recently when he lit the 2019 Enterprise Vision Awards at the century and a half old ballroom with a rig anchored by 22 Chauvet Professional Maverick fixtures.
Drawing on the output, gobo capabilities, and zoom range of 14 Maverick MK2 Spot, and eight MK2 Wash fixtures, Wilkinson created an enchanting atmosphere in the cavernous room. "The thing about lighting the Empress Ballroom is that I like to let the venue talk for itself," he said. "Once we start lighting the beautiful pillars, the extravagant ceiling, and other aspects, such as the balconies, the venue really starts to come to life."
To ensure the large room was sufficiently lit from a whole manner of angles, the powerful 440W MK2 Spot units were positioned along a 16m- long central trussing beam above the stage. While four of the Maverick MK2 Spots provided custom gobos for the stage and the venue floor, the rest of the units were used for the creation of star field gobos, projected magnificently throughout the venue, including on its high domed ceiling.
"I used the star field gobo effect to create an ethereal look within the venue; and it looked stunning to say the least," said Wilkinson. "We also had four custom gobos for the main sponsor of the event projected onto the stage. The clarity and focus was second to none."
UK - The Royal Academy of Art’s new Benjamin West Lecture Theatre in London presents some unusual acoustic challenges.
Ensuring high quality sound is a prerequisite for such a prestigious building and it was therefore imperative that the right microphones were chosen – ones that could cope with the unusual acoustics and with the wide variety of uses that the lecture theatre covers.
“DPA microphones have proved to be the ideal solution because they allow any technician or engineer to jump in and achieve quality sound.” says Benji Fox, AV events manager at the RA. “We are using a selection of the company’s products in a number of different ways, including acoustic mics for lectures, belt packs and lapel mics for panel discussions and the new 6066 CORE Subminiature Headset Microphones for smaller panel discussions, filming and live streaming.”
Opened in 2018 as part of the RA’s Burlington Gardens’ landmark redevelopment to mark its 250th anniversary, the Benjamin West Lecture Theatre signals a new stage to the RA’s heritage of rigorous and lively debate. Hosting events such as the Festival of Ideas, this space has become a haven for celebrated thinkers from across the arts to come and share their ideas and opinions. As well as being double-height, the Benjamin West Lecture Theatre also showcases bespoke seating and modern design.
The Lecture Theatre’s DPA inventory now includes two 4018 supercardioid microphones, which are positioned on custom lecterns at the front of the room.
“These are ideal for lectures because
UK - This year’s Hackney carnival was the biggest to date, with its attendance expected to be confirmed as well above the 60,000 who attended in 2018. The borough was awash with colour as the streets played host to dancers, entertainers, food stalls, children’s areas and sound stations.
, with seven sound stages around the Hackney Central area, one of which was supported by online radio station NTS and Island Records. The stage was located in a large supermarket car park on Morning Lane and featured artists such as Wiley, Donaeo, Ms Banks, Lil C, Felix, Kemal, Rockers LDN And Dubplate Pearl.
NTS approached Pioneer Pro Audio with a view to providing a top quality sound system for what was effectively a day-festival briMusic played an integral part in the eventef, covering a broad range of live music styles. Keen to help, Pioneer Pro Audio in turn consulted with The Audio Group who set up and managed the sound throughout the event. The nature of the line-up demanded a system that was punchy, clear and could deliver plenty of rich bass and Pioneer Pro Audio’s XY Series comfortably took care of business.
The front of house system comprised six XY-3B 3WAY Bi-amp speakers, complemented by 10 x XY-218HS dual 18-inch horn loaded subs, whilst the DJ booth was equipped with two XPRS 12 full range active speakers and two XPRS 115 reflex loaded active subs. A further XPRS 12 was used in wedge mode for MC monitoring.
NTS and Island Records were very pleased with the outcome - Rory Bowens, head of radio production at NTS Radio commented: "The Pionee
South Africa - Johannesburg-based Sound Stylists was founded in 1987 to provide full technical turnkey solutions in event production, and has become one of South Africa’s most respected rental companies.
Kevin Glover’s company has had a long association with Nexo, but recent line array technology from the French manufacturer has really hit the spot for Sound Stylists’ projects and clients. Glover has invested in the new Geo M6 and M10 compact and mid-size line array systems, which are being rolled out for a wide variety of clients.
For a corporate event at the Thornleys club in the spectacular Drakensberg Mountains, Sound Stylists deployed a stacked configuration comprising of the Geo M10 mid-size line array. Main PA was eight M1012s, two M1025s and four MSUB15s with four LS18s, and six M6 compact cabinets, used as delays. The M10s were powered by two NXAMP4x2Mk2s, with one NXAMP4x4 for the LS18s and another NXAMP4x1 for the M6s.
“They worked really well in a stacked configuration,” reported Glover. “We used the wide box at the bottom of the stack. The one major requirement of this show was that the PA couldn’t be in front of the LED screen, so, even though the PA was out wide, we still had really good front coverage. The M6s were used as delay for speech reinforcement.”
Main entertainment comprised of a drumming duo called Drum Machine which the system handled beautifully. “There was a lot of power in the low end with a big boomy kick drum, and overall high SPL. The M10 showed again that it can really handle large corporate
USA - Founded and organised by Eric Clapton, the Crossroads Guitar Festival is a two-day music event and trade show that benefits the Crossroads Centre substance-abuse rehabilitation facility in Antigua. The 2019 edition was held at American Airlines Centre in Dallas, with the indoor arena augmented by an all-day outdoor Village Stage featuring special guests and surprise performances in a master clinic format, sponsored by Ernie Ball.
The sound system for the Village Stage was an Electro-Voice X-Line Advance X2 line-array loudspeaker system, powered by the latest Dynacord DSP amplifiers. Notable performers included John Mayer, Eric Johnson, Joe Robinson, Andy Timmons and Paul Reed Smith. The system was supplied by Gulf Coast Sound (Rayne, LA), with owner Larry Habetz doing most of the mixing for crowds of up to 5,000. Electro-Voice applications engineer Mike Reynolds was on hand as system tech.
The main PA consisted of twin nine-box arrays of X2-212/120, supported by eight ground-stacked X12-128 dual 18” subwoofers. Two EVC-1082 loudspeakers were deployed as front fills. The system was powered by seven of the new TGX20 DSP amplifiers by Dynacord, which enabled 96 kHz Dante audio with full redundancy. System monitoring and control were handled via Dynacord’s new SONICUE sound system software. Two Dynacord IPX10:8 multi-channel DSP amps powered the stage wedges.
On stage, the microphone deployment was also Electro-Voice based, with ND76 and ND86 dynamic vocal mics, and the ND44 handling the critical guitar amp duties. Drum mics included the ND44
USA - The epic Utopia concert by Latin American music superstar Romeo Santos broke the all-time concert gross record for a performance at the MetLife Stadium on 21 September. At the heart of the show’s rich visual design, Yamil Charif and Richard Vicens of YC3 Lighting Design specified more than 100 lighting fixtures from Vari-Lite.
Lining the wide stage and multiple walkways were Vari-Lite’s VL6000 Beam fixtures. These were partnered for the first time by the new VL6500 Wash fixtures, making their world debut on Utopia, positioned around the sides of the stage.
“We were very strict about the walkway and stage fixtures being the VL6000s and VL6500s,” said Charif. “They were the only fixtures in our rig that were non-negotiable. There is literally nothing else on the market will give us that effect.”
High power was essential as almost every surface of the 260ft stage was covered with bright LED screens, and lower powered fixtures would have been lost against this background. “We chose the VL6000 Beam for the walkways because of its unique look and its intensity. We knew it was going to look great on camera and have the punch that we need in a stadium like the MetLife.”
He added, “Being the first to use the VL6500 Wash was very exciting. It’s similar in size and output to the VL6000 Beam, but looks like the old school VL5, with those blades. The two fixtures work very well together. It’s a super-cool look.”
UK - The start of the new academic year at Sherborne Girls School in Dorset has seen a welcome addition to the impressive school campus. The Merritt Centre – a new arts centre is now fully operational.
Students will be able to take full advantage of the facilities including the Gransden Hall - a new build recital hall which has been fitted out with 12 custom-designed Triple E VariRoller variable acoustic banners.
Triple E responded to architect Burrell Foley Fischer’s request to provide a full project service for the install which included the design, manufacture, construction, testing with bespoke laminated fabric and installation planning.
“The brief was to produce effective acoustic baffling to ensure the hall was tuned for a variety of performance types as required by Sherborne Girls’ extensive music programme throughout the year,” explains David Edelstein of Triple E. “We also had to ensure that the design and finish of the banner assemblies reflected the aesthetics of Burrell Foley Fischer’s design for the brand new recital hall. Our VariRoller system formed the basis of the design. To meet this requirement we manufactured bespoke veneered boxes to house the VariRollers, which were profiled to fit neatly into the angled roof space.”
Mark Foley, Burrell Foley Fischer adds, “Triple E provided a cost effective and good quality solution for us in the new Merrit Centre at Sherborne Girls School, where the live acoustic of this voluminous recital hall needed to be attenuated to levels that were acceptable for speech and rec
Germany - The European summer music festival season wound up with a few notable events including Lollapalooza Berlin, which returned to the Olympiastadion site for the second year with a line-up including the Swedish House Mafia, UFO361, Kings of Leon, Rita Ora, Hozier, Twenty One Pilots, Billie Eilish and many more.
Robe moving lights were in evidence site-wide, supplied by a number of different companies including TSE AG (Main Stage North) and Black Box Music (Main Stage South) both from Germany and Colour Sound Experiment from the UK which delivered lighting and video for the dance-orientated Perry’s Stage.
For Main Stage North, a production design / top rig was created by Marco Hoch from TSE AG which allowed artists bringing in their own specials packages ‘underneath’ to be quickly and painlessly accommodated, and have a good, versatile all-round compliment of lights in the roof ready to be hooked into their consoles.
This year’s house rig included 90x Robe moving lights – a mix of BMFL Spots, BMFL WashBeams, Spiiders and MegaPointes. These were joined by strobes and blinders and lots of fog and haze, all controlled through two grandMA2 full sizes.
Ludwig Laudan, the Main Stage North house LD / operator who also provided technical assistance for guest LDs, commented, “BMFLs are currently simply the festival fixture of the moment. Their strong output and excellent colours make them ideal.”
They created the lighting plot offering BMFL Spots and Spiider LED wash beams familiar to all of the guest LDs, complemented by BMFL
The Netherlands - Dutch megastar Marco Borsato recently played a stream of sold out record breaking shows at De Kuip stadium. The set included a large scale canvas in the form of a 1,000sq.m LED screen.
To power the impressive visuals needed for this event, Michael Al-Far of MalfMedia and Jo Pauly of Visual Solutions turned to disguise servers. Six disguise vx 4 and four disguise gx 2 media servers played key roles in the production, driving the video content and facilitating real-time IMAG grading of the live feed and the integration of Notch VFX and multicam AR in the massive main screen graphics.
“As an artist and photographer Marco felt the time had come for him to be involved in every step of this exciting project, so we had creative freedom, but he had the final say. Together with set and lighting designer Carlo Zaenen we created the content book in which we outlined the look and feel of every song,” says MalfMedia founder Michael Al-Far.
“Marco Borsato was adamant that the live feed would be treated to fit better in the cinematographic content,” Michael notes. As a result, MalfMedia approached Lewis Kyle White to apply his vast experience in IMAG grading for live shows on this project.
The outdoor show posed a number of challenges: starting in daylight and transitioning to night; a canvas that was by some measures the largest screen ever used for an arena rock concert; the IMAG live feed embedded into the content and not shown on side screens; and a set list of 37 songs that all needed to have the same standard of quality.
UK - As is now customary, Hyde Park played host to the final weekend of its long season recently, with Proms in the Park on the Saturday making way for BBC Radio 2 Live in Hyde Park the following day.
This also brought the curtain down on a successful summer at the Park for Capital Sound, and their MLA PA from Martin Audio, following its 10-day stint at British Summer Time two months earlier.
Designed to coincide with Last Night of the Proms at the Royal Albert Hall, headliner, Barry Manilow was, supported by Bonnie Tyler, the Pretenders’ Chrissie Hynde, Jack Savoretti, Gabrielle and soprano Aida Garifullina. Bigger ensembles included two choirs, while the cast of Les Miserables also shared the bill, and the 60-piece BBC Concert Orchestra, conducted by Richard Balcombe, performed the traditional Last Night of the Proms anthems - including Pomp and Circumstance and Land of Hope and Glory.
The following day, BBC Radio 2 presenters Zoe Ball, Ken Bruce, Rylan Clark Neal, Sara Cox, Gary Davies, Trevor Nelson and Jo Whiley introduced a galaxy of stars, including headliners Pet Shop Boys to the 50,000-capacity crowd.
Working the event for the sixth year, Capital Sound were again contracted by promoters, Festival Republic, with production in the hands of Dick Tee.
Capital has already evolved an optimised sound, with a main PA hang comprising 16 x MLA and an MLD Downfill per side, and 12 x MLA on each flank as side-fills. Sub frequencies were reproduced by 26 MLX subwoofers in a broadside cardioid array - 17 forward facing
World - Green Hippo reports that its Hippotizer Media Servers are driving the on-stage stage screen visuals for Noel Gallagher’s High Flying Birds (NGHFB), as their 2019 World Tour continues.
Production manager Michael O’Connor and lighting/video designer Rod Clay turned to event production supplier OneBigStar to service the tour’s media playback and control requirements. “We were delighted when Rod approached us to provide the control package for NGHFB,” says OneBigStar’s Steven Yeardsley.
“We’ve worked closely with Rod on a number of occasions over the past few years and he’s very familiar with the equipment we stock. OneBigStar have always looked to Green Hippo and their range of media servers as a first choice for our rental inventory. The quality of the product and the support we receive is second to none.”
The media servers on this tour, two Hippotizer Karst+ with Datapath capture cards, are controlled by Clay himself, with support from lighting and video technician Matt Compton, from an MA Lighting GrandMA full-size console, via CITP. Flexibility, both in the updating of content and the mapping of outputs to displays, was an essential requirement. “The ease of setup and connectivity between the lighting console and Hippotizer servers was crucial,” says Yeardsley.
The upstage LED screens display a variety of content, including custom-made material to match the themes of each song, and additional content added on a show-by-show basis. For one special performance – the leaving dinner for departing Manchester City