Japan - Founded in 1946, Ikegami Tsushinki Co is a manufacturer of high quality professional broadcast equipment, particularly known for their television cameras. Indeed, Ikegami introduced the world’s first portable hand-held TV camera which debuted in the US in 1962 when CBS used it to document the launch of NASA’s Aurora 7 crewed space flight.
In 2022 the company, which is actively working on next-generation broadcasting standards with IP workflows, is celebrating its 75th anniversary – a milestone that has been marked by a comprehensive renovation of its office buildings in Tokyo, including a sophisticated new seminar room equipped with Smart IP loudspeakers from Genelec.
Today the world of broadcasting is in the midst of dramatic change with the advent of Internet broadcasting with IP transmission. Ikegami is actively pursuing its development along these lines to accompany traditional terrestrial broadcast techniques, and the choice of Genelec Smart IP loudspeakers for their new seminar room underlines their commitment to developing IP workflows.
Ms. Akiko Kurazumi, manager of the General Affairs Group within Ikegami, relates that actually, Ikegami didn’t have many large rooms to hold company events until now. "We used to rent nearby public facilities for training sessions or other corporate events," she recalls. "When the pandemic hit, we were obliged to move things online, but the idea was raised of having our own facility for the future. The timing was perfect as it coincided with the office renovations, so we built a new seminar ro
Thailand - For the eighth season of The Voice of Thailand, the show’s lighting designers used Cameo spotlights for the first time. More than 180 moving lights, spotlights and LED bars were used in the studio and live shows in Bangkok. The lighting solutions were supplied by Cameo’s Thai distributor, L&E Lighting & Equipment PCL.
“Cameo is a relative newcomer to the Thai event technology market,” explains Arocha Kittivittayakul, product manager at L&E. “We are therefore all the more pleased that those responsible – Pat Jareeyatana, managing director of EXIT365 Company Limited, the owner of The Voice All Stars Thailand licence, and the lighting designers Arthorn Luempetch and Junchay Baomaroeng – showed great interest in the spotlights and ultimately decided on Cameo as a brand.”
For lighting in the TV studio, the lighting designers used 48 OPUS H5 beam spot wash hybrid moving heads to effectively set the scene on stage from the background. Nine OPUS SP5 profile moving heads were aimed at the coaches, while 28 F2 FC and 16 Cameo F4 FC Fresnel spotlights were used as additional stage components for front and audience lighting. Furthermore, 18 PixBar 500 Pros were installed on the floor to showcase the characteristic The Voice hand figures.
Meanwhile, 22 PixBar 650 C PRO LED bars at various markup points in the adjacent rooms provided atmospheric staging of interviews with the talented performers, family members and friends, and 42 wash lights from the Cameo ZENIT Series were also positioned in the interview, backstage
USA - Bandit Lites partnered with 46 Entertainment to provide the lighting package for the American sports and comedy group Dude Perfect 2022 summer tour. The group boasts more than 58m subscribers and 14.6bn views.
Production manager/designer Mason Felps of 46 Entertainment crafted a new design based around the core fixtures from the last tour, working with creative producer Lauren Charboneau and Bandit lighting director Chris Noll.
“We knew we needed a ton of key light to cover all of the playable area,” said Felps. “I started there and worked my way backwards.
“With Dude Perfect being social media based, it's really important to keep everything to brand: be it tour branding or artist branding,” said Noll. “This tends to influence colour selection or overall feel of a given segment.”
Noll worked with Gordon Droictcour of Cour Designs (content design/creation), Dan Fletcher of Dark-Matter (pre-production D3 programmer) and Justin King (rehearsal D3 programmer) when it came to the video side of the production, as video was also operated off the MA console. In fact, most everything was operated off the MA.
“The running joke on this tour became ‘if it wasn't a motor or a microphone,’ it was fired by lighting and they weren't far off,” said Noll.
Moving away from the standard, straight box design, Felps overhauled the design with a 52ft-wide curved LED wall and more than 100 feet of Tyler Truss curving over the house and main stages. The main visual element of the rig was a 140’ long ¾ circle built over th
Canada Toronto’s Harbourfront Centre Theatre (HCT) is the jewel in the crown that is the city’s famed waterfront park. Seating only 350 patrons in its normal configuration, the theatre has impressively hosted intimate performances by A-list musical artists like Celine Dion and Julio Iglesias, top theatrical performances including the musical STOMP, and its own 2001 World Leaders: A Festival of Creative Genius which featured appearances by Quincy Jones, Frank Gehry, and Stephen Sondheim.
Music, dance, theatre, or spoken word, the HCT hosts it all, and now it has a sound system that can cover every base - a new L-Acoustics A15 system designed by Toronto-based Engineering Harmonics and installed in late-2021 by Solotech.
The venue’s new PA typically comprises 19 L-Acoustics A Series enclosures arranged in a flown LCR configuration - seven A15 Focus for the left and right arrays, with four A15 Focus over one A15 Wide in the centre - plus six SB18m subs hung three per side behind the left and right main arrays. Four coaxial X8 are spread out across the stage lip as front-fills, while an A15 Wide atop a KS21 sub on each side of the stage provide deck-fill and additional LF reinforcement.
A total of 30 ultra-compact 5XT deliver side-fill coverage to all three levels of seating, while a single centrally-hung A15 Wide provides upper-balcony delay-fill. Eight LA4X amplified controllers power the main arrays, with four LA2Xi for the side/balcony-fill speakers.
The system had to be flexible: the venue can be transformed into various seating
Denmark - Roskilde, Denmark’s largest and highest profile international music festival, celebrated 50 years this year with a fantastic line-up across multiple stages, with Robe moving lights playing a major role on the famous Orange Stage and in the expansive Arena Stage venue.
The 50th anniversary had been due to take place in 2020 but was delayed two years due to the pandemic, and while a small version of the festival took place in 2021 in one of the barns on its site just south of Copenhagen, this edition had an extra special resonance in addition to guests being able to enjoy the dynamics of live music and real human interaction again.
Lighting designer Sune Verdier and his team once again ran production lighting for this stage, ensuring that all visiting lighting designers, directors, and operators were well accommodated and that all artists on the stage - bringing their own LDs or not - looked great.
Due to the substantial ground support at its core, the Arena Stage tent can accommodate the largest amount of flown production elements - and the greatest headroom - of all the performance areas on site. The production lighting design featured 40 x Robe MegaPointes and 48 x Spiiders at the heart of the rig, positioned on 10 automated trusses plus front and back fixed trusses and left and right side-ladders. This setup meant that even if a single performer was onstage, like a singer-songwriter or a DJ, the space could be filled with lights.
Verdier has been heading up the Arena Stage lighting team since 2013 and
UK - To facilitate students with a space for drama production and rehearsals, the Wimbledon campus of University of the Arts London has dedicated two large studio spaces to acting and performance. Currently undergoing a major site re-development, the Wimbledon college has high-end rehearsal spaces now fitted with quality audio-visual equipment, thanks to Flipside AV.
Previously built for a Print and Time-Based Media programme, the Wimbledon studio spaces are spread across two floors. The downstairs space, being more enclosed, can split itself into two rooms for workshops and independent rehearsals, while the upstairs room provides an ideal performance hub the with sky light installations to let the room bring in natural light and air and church-like wood panels on the ceiling for acoustical balance.
Being simple, flexible enclosures; the acting and performance students at UAL have free range to use the rooms as they please. But with such diverse requirements comes a PA system needed to adapt and simultaneously connect the rooms together. “The team needed an infrastructure that could be used to do anything with any equipment they involved,” recalls James Cooper, managing director at Flipside.
“Their contractor did the initial specification designs which we then interpreted to our spec,” he adds. “We added in a PA system split across two floors of studio space with main patch panels feeding out to lighting bar locations using fibre, DMX and Socapex cable extensions, all populated with Neutrik connectors – so a pretty technical project to w
Saudi Arabia - The King Abdullah University of Science and Technology, referred to colloquially as KAUST, is a science and technology. It takes its name from the former King of Saudi Arabia, Abdullah bin Abdulaziz, who decreed its foundation, intending it to “serve the people of the Kingdom and benefit all the peoples of the world
The Museum of Science & Technology in Islam (MOSTI) was created later, on campus. MOSTI seeks to highlight the plethora of contributions made by Muslim scholars to science and technology during the first Golden Age of Islam (650-1650) and demonstrate how these contributions shaped the world as we know it, laying the groundwork for modern civilisation. Interactive technology leads people through the exhibits, forming an immersive exploration of the various artefacts and relics.
formula D_, an experienced design company that specialises in impactful visitor experiences, secured the tenure for the technological curation of the site, and brought in Stage Audio Works (SAW), who helped specify, supply, and integrate the equipment. RenderHeads Limited created all the custom-made software used in the exhibits.
“We’re grateful that formula D_ brought us in on such a prestigious project,” explains Nathan Ihlenfeldt, SAW’s CTO. “We’ve built up a strong working relationship with them over the course of a few projects as we deliver very complementary services. For MOSTI, they took the lead with the interactive and immersive vision, and we helped to materialise it from a technical perspective.”
The last time th
Canada - The lighting rig that George Gorton designed for Dallas Smith’s Somethings Never Change tour took on a life of its own over the course of the early summer, seeming to expand, contract and morph in new directions with every show.
After a 19-month pandemic-caused hiatus, the Juno Award winning multi-platinum country star (12 of his songs have reach the top of the charts in Canada), took off to play some live music on 24 May, and invited some friends to join him. A total of seven different acts have supported Smith on his 24-show, five-week tour. This diversity made it essential that Gorton devise a rig with an organic-like quality to grow and change.
“There was a constant dialogue with the band,” recalled Gorton. “We had multiple guests joining Dallas, so we were constantly building and updating the show as the tour progressed and got new songs in the mix. The musical direction was flawless and extremely helpful for me to continue to grow the show design. It was rewarding to make improvements each night.
“Gordon Huxter, who was the programmer on the show, was a master at adapting. I was also very fortunate to work with Andrew Dawson, the LD for James Barker Band, the supporting band, as well as the entire team Kevin Mosdell, Andrew Balzer, and Laura Smith.”
Through all the changes though, the distinctive architecture of light that Gorton created over the stage remained the defining feature of the show’s personality. Configuring truss in a series of geometric patterns that reached their apex over the centre-stage area, his
USA - Rock band Halestorm is back on the road with Bandit Lites and screaming they’re ‘Back from the Dead’, which is both the name and title track of their latest album released in May.
Years ago, when lighting designer Craig Richter first started touring with Halestorm, he found himself at a state fair armed with an array of lighting carts. Staring at a house system comprised of an out-of-date 180K PAR 64 system, Richter naturally wished for a rig full of movers that would better suit the overall look of the show. During the hours before the evening’s show, Richter took the opportunity to make some chases and “program” the par system into the programmed show.
“Once the sun went down and the band went on, I was blown away by the fact that the par can system looked awesome and played very well the vibe and style music of the band,” said Richter. “Ever since then, I have always wanted to do a modern take on the old school PAR system.”
Now in 2022, Richter’s vision became a reality with Bandit supplying modern LED PAR Fixtures in old school, PRT double hung lamp bar truss, while movers ride in old style tech truss that matches up with the PRT. Bandit provided Martin MAC Viper Profiles, Claypaky Sharpys, VL 3500 Washes, Elation Color Chorus 48, Chauvet ColorDASH Accent 3, Chauvet Nexus 4x4, Elation CuePix Blinder WW2, Elation CuePix Blinder WW4, Martin VDO Atomic Bold, Martin Atomic 3000 LED Strobe and two grand MA2 full consoles.
“With every album cycle, Halestorm wants to push things a little more on the production sid
Israel - Reality TV singing competition, Rising Star, has upgraded its audio system to a flagship DiGiCo Quantum console, to take advantage of the range’s capacity and flexible architecture. The console is required to manage a challenging run of live shows featuring multiple performances, and servicing FOH and monitors demands from one surface.
Between season 2 and 7, the winner was given the opportunity to represent Israel in the Eurovision Song Contest. Due to its success, the programme became a global phenomenon in the reality TV sphere with many international television stations buying the rights to produce the programme.
DiGiCo is the brand of choice for the show's head of sound, Yossi Edri, who has used DiGiCo consoles in all of his recent projects, including the major live TV productions, the Israeli-hosted 2019 Eurovision Song Contest, and the annual national Dancing With The Stars TV series.
“Quite simply, Quantum feels like home! The first feature that amazed me when I initially used the console was the seemingly endless number of MADI connections, and the fact that it has perfect integration with the Optocore fibre network, which is a familiar platform for me, and is, in my opinion, the best network protocol the audio industry has to offer,” says Edri.
“It was the logical choice to specify DiGiCo for the next series of Rising Star. In this production, the ability to add racks, consoles or any other stream to and from a broadcast van is simple and can be done in a matter of minutes. Sometimes we needed to accommodate
USA - 2022 was one of Louisiana State University’s (LSU) most successful beach volleyball seasons in programme history. With 27 regular season wins and 32 overall wins, both school records, LSU had five pairs earn AVCA honours and one player – Melia Lindner, became LSU’s first beach Elite 90 Award winner.
These winning ways weren’t just on the court – they include the courts. Over the past few years, LSU has completed major upgrades unveiling a new beach volleyball venue in the heart of campus in 2019.
The new stadium, formerly a tennis facility, features six competition courts with 24-inch-deep sand. The facility also features energy efficient LED lighting, seating capacity for 450 spectators, new scoreboard, and a brand new Danley Sound Labs system.
“Over the years, many of our facilities have received upgrades or we’ve needed to replace systems,” said Terrance Bold, director of audio and visual services at LSU. “This installation was new unlike those prior projects.”
The design of the new system was completed by AJP Consulting and Sound Advice from Baton Rouge, Louisiana completed the installation.
Danley Sound Labs western sales manager Kim Comeaux was also involved in the project. “Danley SH96HO and GO2-8CX loudspeakers were the perfect choice for this installation,” said Comeaux. “We also used Danley TH412 subwoofers for the low end of the system. Just like all of the Danley Sound Labs’ systems on campus, this one brings an appropriate ‘punch’ to their sound and really creates a festive environment
UK - An old cowshed with flagstone floors has been transformed into a home dance studio fit for a competitive dancer, thanks to Le Mark Group. Caroline de Grey, who competes in ballroom as well as a social Argentine tango and Latin dancing, needed a home rehearsal studio for the hours of practice she puts in each day.
Work on the barn conversion began at the end of 2021 and was completed in June 2022, with Caroline now boasting a space that allows her to glide seamlessly through her routines on a new vinyl floor laid by Le Mark.
“The project started in October. I got in touch with a production manager for Holland Park Opera who creates temporary dance floors. He created a frame which sat over the flagstones, before installing a wooden floor on top. He then recommended Le Mark Group for a vinyl to lay over the ply,” explained Caroline.
Caroline did her research online and narrowed her selection down to two companies. “I felt drawn to Le Mark as it markets itself as a very reliable family business. It is also a well-established company, and I felt they were professional from the word ‘go’ and very proactive; I didn’t get the same impression from the other supplier.”
The 20sq.m floor space needed a very specific sort of floor. In ballroom dancing, there is a drive action that requires the dancer to be able to push off and glide across the floor. Too slippery and the dancer goes flying; not slippery enough and the dancer won’t move. Similarly with the Argentine Tango, the dancer must be able to pivot and the floor beneath their fee
USA - There is no denying the immense popularity of esports and video gaming around the world. Entire sports arenas sell out for fans to watch their favourite gaming stars compete. But what if this gaming technology could be used as a purposefully constructive educational tool for the local community? What if the technology and creativity that goes into creating a video game could be transitioned into targeted curriculum disguised as entertainment?
This is the vision of the team behind Whitaker Center in in Harrisburg, PA and Ted Black, president, and CEO of Whitaker Center, for the newly created, 7,000sq.ft PNC Innovation Zone.
Says Black, “We saw an opportunity within gaming for a perfect vehicle into learning.” The PNC Innovation Zone is a first in its category – a venue dedicated to experiential learning in disciplines such as science, technology, engineering, arts, and math for kids eight years and up, plus teens and others who may be “aging out” of the current offerings of the science centre here.
“Our vision was to create a purposeful gaming studio that attracts younger audiences and engages them at higher levels and to develop a space that fits more with Whitaker Center’s traditional initiative of bringing arts and science education together under one roof. The new PNC Innovation Zone does just that and then some.”
Whitaker Center partnered with Lititz, PA-based Clair Global Integration and nationally recognised, PA-based, educational architectural firm Crabtree, Rohrbaugh & Associates (CR&A) to create, design,
UK - First announced in 2019 and opening its doors fully later this year, Sky Studios Elstree is a joint project between Sky and NBCUniversal. The 27.5-acre, complex located just north of London houses 13 sound stages, with media operations provider Xytech Systems offering total operational and financial control by streamlining the new film and TV studio’s internal processes across quoting, resource scheduling, cost management and reporting.
“Not long after Sky Studios Elstree was given the go-ahead in 2019, we started searching for a media operations solution that would meet the strict demands of our cutting-edge studios catering for high-end TV shows and films,” said Tom Avison, director of operations at Sky Studios Elstree. “Sky already had an excellent, long-standing relationship with Xytech Systems through its Transmission solutions installed at the Sky facilities in Italy, Germany and the UK. We also knew Xytech was already servicing other major studios across the UK, so we naturally approached them to see what they could offer us.”
Avison notes how from the early discussions and right through to the implementation and go-live phase, they found both the solution and the expertise offered by the Xytech team to be “highly flexible and responsive to the requirements of our operation and our ambition to use the system from quote to invoice and at every point in between.”
Xytech’s Media Operations Platform now manages the studio’s scheduling requirements, including studios, ancillary room and equipment bookings.
USA - Summer festivals are always full of surprises for anyone working in production, and not all of them have to do with unpredictable weather. Set to light Rolling Loud’s high-profile Snipes Stage where Money Man, Big30, Sleazyworld Go, and Curren$y (who helped start the hip-hop bash back in 2015) would be performing, Abbas Ritscher expected to have spotlights for front lights, but that was not an option.
Undeterred, Ritscher and his team at The Design Oasis, grabbed 12 extra Chauvet Professional Maverick Storm 1 Wash fixtures from their inventory and hung them “as far down the stage as we could” to create a clean front wash.
“We wanted to have a consistent wash throughout the stage, given who was performing here and because we need a camera friendly setting,” said Ritscher. “The Storm I was our work horse.”
Flown on eight rows of overhead truss, two of which were positioned on each side of the stage with the remaining structures running over its center from upstage to downstage, the high-output RGBW washes, colorised the stage in even fields of vibrant hues, that stood up well against the large video wall and video-fronted DJ booth that dominated its centre. A pair of horizontally oriented video wall strips ran down each side of the stage along with the truss.
“We had a pretty substantial video presence on the stage, and the lighting complemented it very well,” said Ritscher. “There were times when we had mostly dark space on the stage, and light from just a few of the panels and fixtures – the effect was very dramatic
USA - Jack White –one half of The White Stripes – is back on the road with the topically named “Supply Chain Issues” world tour, currently playing its first US leg. The artist is presenting two critically new albums Fear of the Dawn and Entering Heaven Alive.
Matching this creative excellence on the visual design side is Matthieu Larivee from Montreal-based LUZ Studio.
Matthieu specified over 100 Robe moving lights to help him achieve numerous aesthetic goals, with 63 x BMFL WashBeams, 18 x Spiiders, 36 x MegaPointes and three BMFL Follow Spots running on one RoboSpot system, all supplied by Solotech.
Challenges have included creating a workable and scalable design to deal with both arenas and the smaller more intimate theatre spaces that Jack White loves to play. Also, there is a different setlist each night drawn from a vast catalogue of songs … so Matthieu and his FOH team had to programme for every possibility and to spontaneously recall and run song cues at a moment’s notice.
The essence of the design concept was to present an all-encompassing show look that works in conjunction with several different aesthetic ‘blocks’ of lighting and video, so the order of the set fits whichever numbers are played in whatever order.
This set design is a ‘stage-on-a-stage’ with double level risers that move downstage during the second number so Jack White and the band are both close together and nearer the audience. This also enabled the full stage setup to be installed upstage of theatre fire irons.
UK - Void Acoustics embraced the energy and vibe of their first major presence at Glastonbury on the 50th Anniversary edition of the festival.
Glastonbury’s long-awaited return to this year’s summer calendar saw the addition of two new stages in the popular Silver Hayes area of the festival. One of these new stages was the Lonely Hearts Club – an arresting addition to this club-goers paradise.
It was from the art deco styled Lonely Hearts Club stage that Void Acoustics made an impressive visual and sonic impact in this part of Glastonbury throughout the long festival weekend.
NSL Productions (long-standing rental and integration partner of Void Acoustics) installed this festival stage for Team Love who were the festival production team behind Silver Hayes this year.
“Although we have worked at Glastonbury previously, this was our first year working in the Silver Hayes area,” explains Tom Broughton, director, NSL Productions. “Our engagement was a result of the great relationship we have built with Team Love from working in close co-operation with them at other festivals including Love Saves the Day in Bristol where the Lonely Hearts Club first made its debut.”
Tom continues that “given our previous large-scale stage productions with Team Love, we got involved in this project from the very early stages as some careful planning was required.”
The brief was precise, and with the 40ft high structure, it was clear to Tom that the robust Void Acoustics Arcline 8 line array modular system “was the perfect solution f
UK - Absen’s versatile Polaris series of rental LED displays supplied visual flair for the recent NWG Innovation Festival, which returned to Newcastle Racecourse (UK) after a two-year hiatus.
Organised by Northumbrian Water Group (NWG), the 2022 NWG Innovation Festival featured live music, comedy, tech demos and wellbeing events, as well as design sprints, hacks, workshops and activities aimed at solving difficult problems around topics such as climate change, cyber-security and water scarcity. The theme for this year’s festival, which took place from 12 to 15 July, was ‘Untapped Potential’ and focused on bringing together untapped talent from different sectors, backgrounds and locations.
For NWG Innovation Festival 2022, Sam Gordon, director of Big Purple Group (Big Purple Productions/Big Purple Events), specified the Polaris LED panels in two configurations: two PL4.8 displays were used on either side of the (indoor) main stage, while one PL3.9 was deployed outside and displayed rolling social-media coverage of the event.
Like the rest of the Polaris range, the PL4.8 and PL3.9, which were configured as 4 × 2m screens, offer high contrast, brightness and colour uniformity, supported by technologies such as HDR10 and UltraBlack, while the PL series’ integrated curve connection block system allows for high levels of alignment accuracy in both flat and curved (from -7.5° convex to +10° convex) configurations. With a panel weight of just 14kg – 10% lighter than conventional rental displays – and an automatic vertical locking system, Po
Belgium - The 177th edition of Gentse Feesten drew some 1.6m visitors to the port city of Ghent over 10 days in July.
More than 3,000 different acts, both local and global, representing a wide range of music genres, performed at 14 different city squares at Gentse Feesten. Helping Ghent glitter throughout the festival while also supporting the artists on stage was an impressive collection of Chauvet Professional fixtures and video panels, including the new Color STRIKE M.
At the main stage on Sint-Baafsplein, the Euro P.A. team put together a power-packed rig that featured eight Color STRIKE M fixtures and eight STRIKE 1 blinders, as well as 24 Maverick MK2 Wash and 16 Maverick MK2 Spot units. Run with a ChamSys MagicQ MQ500M Stadium console, this collection of fixtures delivered searing intense looks with generous servings of audience lighting along with aerial effects that played off beautifully against the historic church steeple for artists like Cookies And Cream, Tessa Dixon, Metejoor and Sandra Kim.
A short distance down the Belforstraat from Sint-Baafsplein, the big Trefpunt stage at Sint Jacobs played host to a wide range of folk and rock performers, under lightshows created with Rogue R3 Wash and Outcast 1 BeamWash fixtures run with a ChamSys MagicQ MQ500M Stadium, all thanks to Deltarent.
Among the more picturesque settings at the festival was Polé Pole where EBS and HMA Design deployed 16 STRIKE P38 high output single pod warm white fixtures to outline the edges of a stage on the banks of the Graslei that welcomed acts like the Be
Canada - The Montréal International Jazz Festival roared back to life in 2022, reinforcing its distinction as the largest jazz festival in the world. With 350 concerts scheduled over 10 days - two-thirds of them free - the festival once again drew audiences numbering in the hundreds of thousands to downtown Montréal, where AVL supplier Solotech had equipped eight indoor and outdoor stages - including the Scène TD main stage - with Meyer Sound reinforcement systems.
The resounding success of audio at this year’s festival can be credited to the work of festival technical coordinator Dan Meier and his team from L’Equipe Spectra. Meyer Sound and Solotech worked closely with Meier and his team to develop and deploy the sonic experiences at the festival.
The enthusiastic response came as no surprise to director of R&D and technological solutions David Brazeau, who was responsible for overall supervision of AVL systems on behalf of Solotech. “We’ve heard only great reviews on the performances from people who were there and from the media. There was no particular mention of the sound, but then the whole idea is to make the reinforcement transparent, so it’s not noticed. When the sound is perfect you don’t hear anything about it.”
The Scène TD stage system comprised main front arrays of nine per side Leo linear line array loudspeakers, with focused low end from end-fire arrays of six per side 1100‑LFC low-frequency control elements. Front-fills were Mica line array loudspeakers, with MSL-4 loudspeakers as out-fills. First delay was tw
Venezuela - Puerto Rican singer-songwriter Kany García visited Caracas, Venezuela, for the first time where she played two shows in the Ríos Reina Hall of the Teresa Carreño Theater. Production manager Jorge ‘Mosquito’ Redondo of Caracas-based OZ Shows selected Claypaky Sharpy Plus fixtures for the concerts, which were provided by Touch Me Marketing in Caracas.
García, whose songs tell the stories of 21st century women through reflective lyrics and expressive performances, is a five-time Latin Grammy winner. She partnered with AGTE Live Entertainment and Conecciones Entertainment to deliver a show that made such a hit with fans that she plans a return visit to Venezuela this fall.
The initial design for García’s Caracas show came from the artist, her lighting designer Will Rivera of WRDesigner in San Juan, Puerto Rico and the design and technical teams at OZ Shows led by Jeremy Danis and Redondo. The original plan was then adapted by OZ Shows to best suit Ríos Reina Hall.
“Kany’s lighting designer, Will, created a design in which the lighting was very well distributed and thought out to deliver the journey of emotions the artist wanted to take with her fans,” says Jeremy Danis, technical director at OZ Shows.
“We decided to include Sharpy Plus in the rig for its versatility and its truly hybrid kit with CMY colours so vivid they could only be achieved with their kit model,” Danis explains.
“The performance of the luminaires was extraordinary. Colours, gobos and optics are incredible on this Claypaky fixture, and
USA - It’s been a busy year for lighting and production designer Chris Lisle and his company CLLD. The production design firm recently wrapped up work on Lollapalooza, their sixth major event back-to-back, and turned to an Elation rig, including Proteus series IP65 luminaires, to light the festival’s popular Perry’s Stage.
“Weather is one of the biggest factors we face on a festival and if I can predominately get IP65 fixtures in a rig I have a better guarantee that they’ll be working day after day,” Lisle stated. But, he adds, it’s not all about the IP rating. “I also want something with a feature set that I know LDs will like - solid colours, a good gobo package, nice strobe, fast fixtures - something I know they will be happy with, can clone quickly and then are good to go.”
Flanked by a towering skyline and the shores of Lake Michigan, this year’s festival took place 28-31 July in Chicago, its permanent home since 2005. Produced by C3 Presents, some 100,000 revellers filled Grant Park each day for a celebration of live music across nine stages.
Lollapalooza 2022 was Lisle’s fourth year working the event and CLLD fulfilled several roles. On the festival’s two main stages, Lisle and his team worked with headliners to mesh each act’s touring rig with a festival lighting plot that CLLD had created earlier in the year (one used on several festivals that C3 produces this year). For EDM and dance music fans however, the Perry’s Stage is where the action is and here Lisle served as production designer, developing the entire
USA - To provide Spring Studios with versatile, high-output lighting for a myriad of events and productions, IMCD Lighting selected and installed Martin MAC Ultra Performance fixtures, provided by Christie Lites.
With studios in both New York City and London, Spring is a 360 agency that provides a variety of communications services for fashion, lifestyle and luxury brands. The New York studio is a multi-level space with a comprehensive backend for photoshoots, video productions and live events, attracting a diverse range of clients - including the Wall Street Journal, New York Fashion Week and the WNBA among others.
When the studio required new light fixtures with modern features and brightness that could compete with the sunlight from the studio’s massive windows, the Martin MAC Ultra Performance was chosen.
“At Spring Studios, we do anything from high-end corporate meetings like Goldman Sachs, Microsoft and Google to standard galas, parties, product releases and big weddings,” said Joe Hodge, designer, IMCD Lighting. “Having western-facing windows, the sun is always a major player in the space; flexibility, intensity, and consistency was always an issue with the stage lighting. Previously, we used Martin MAC Vipers followed by MAC Encores, but we wanted something with greater intensity to compete against the natural light. When I first saw the Ultra, I knew it would work perfectly in my venue.”
With up to 46,500 lumens in projection, a 1:7 zoom-range and an extensive feature package, the MAC Ultra Performance offers the output an
Europe - The Rolling Stones Sixty tour is utilising Austrian Audio microphones. On 15 July, The Stones rocked Vienna’s Ernst Happel Stadium. “It was an unbelievable experience,” says Austrian Audio’s CEO, Martin Seidl. “Of course, I’m probably The Stones’ biggest fan, so just seeing them live again was really cool. But hearing our mics on stage - that was unreal.”
That the concert took place in Austrian Audio’s hometown made it an even more unforgettable evening. “It doesn’t get bigger than this,” Seidl says.
For Sixty, Dave Natale, the front of house engineer, is working once again with The Stones to make sure their sound is as excellent as their fans expect. Natale is known for his work with Prince, Tina Turner, Stevie Nicks, Yes, Motley Crue, Fleetwood Mac, Van Halen, and many more A-list artists.
Natale specifically chose to use the OC18 and CC8 cardioid true condenser microphone for both the No Filter and Sixty tours. He messaged the Austrian Audio team about the mics from last year's No Filter, saying: “We love them. I really like the fact that they weigh a lot. They are a really nice piece of functional engineering artwork.”
Austrian Audio’s AR manager Walter Rührig states: “I’m more than excited to have seen the Stones live. It’s just really amazing to hear the technology in such a larger-than-life environment. We developed Austrian Audio’s signature Open Acoustics technology right here in Vienna, and now we’re hearing Steve Jordan playing the drums for The Stones through our CC8s. It’s just