UAE - Qasr Al Hosn is the oldest and most significant heritage site in Abu Dhabi. It was built after more than 11 years of restoration and the site has now reopened its doors as a museum to the public, showcasing the development from a community reliant on fishing and pearling to the modern Abu Dhabi.
Creative Technology Middle East (CTME) were on hand to deliver 9,750sq.m of projection for the historical event on behalf of client, People.
The Qasr Al Hosn Inauguration was opened by Sheikh Mohammed bin Zayed, the Crown Prince of Abu Dhabi on 5 December 2018. The large projection show featured content supplied by Fly Studio, showcasing the UAE’s heritage and the history of Qasr Al Hosn Fort. The content was delivered across three buildings, the Musalla, the Cultural Foundation and the Qasr Al Hosn Fort. The projection covered such a large area of the event that the only way for the audience to follow the full story was from the central revolving grandstand which slowly rotated as the show progressed across the large site.
CTME used 34 Panasonic 31K laser projectors and 46 Panasonic 21K projectors installed into 20 bespoke towers strategically placed to cover all three main aspects of the projection areas. CTME’s senior project manager Dan Hughes says: “We use Panasonic projectors due to their reliability, brightness, optics and are a perfect product for the job in hand.”
CTME used its internal Octopus application to control switching of backup feeds on the matrix. Hughes explains: “Octopus is an application created internally by ou
Europe - Capital Sound recently completed one of their more unusual mini-tours when they provided sound reinforcement, including Martin Audio’s MLA, for three shows by Japanese ‘android diva’ Hatsune Miku. The ‘Vocaloid’ music sensation uses a computer generated voicebank developed by Crypton Future Media.
This virtual persona is actually a 16-year-old blue haired girl, who is seen onstage as a 3D hologram projection. Her repertoire is entirely original and she has over 2.5 million followers on social media.
The Expo 2018 Europe tour came to Capital via Jamal Chalabi of Proper Productions, with whom they work frequently. Since the London date was the densely populated Kensington Olympia, a hugely noise sensitive site, it was obvious that only MLA would offer the level of containment necessary while reaching the considerable levels required by the Japanese production.
In addition to Olympia, Capital supported the tour in mainland Europe at La Seine Musicale, Paris, and Cologne’s 18,500-capacity Lanxess Arena.
With three such diverse venues, according to Capital crew chief Amy Newton-Smith, selecting MLA had been a ‘no brainer’. However, it required the genius of system tech Ben Turnbull to deliver a consistent and first class sound - particularly when confronted with sound that would be running at 102dB.
However, according to the crew chief, the shows were exceptional, in part due to the live backing band, comprising two guitars, bass, keys and drums, all playing to a click track, with Hatsune’s vocals triggered by Pro T
UK - Pearce Hire regularly collaborates with corporate production specialists Hawk Audio Visual on large scale events. This successful partnership recently provided a circus themed entertainment and dining space for over 1,000 company staff and stakeholders at the BGL Awards Ball held at Manchester Central.
BGL Group is a financial services company based in Peterborough and the biennial event which celebrates and rewards staff achievements, was also part of the company’s 25th anniversary celebrations.
Pearce Hire’s project manager John Huson provided some insight into the support and co-operation between Hawk and Pearce Hire. “Hawk Audio Visual has been a client of Pearce Hire for over 20 years and during that time we’ve actually partnered with them on four previous BGL Balls alongside many other events which usually averages 15 to 20 jobs every year. Hawk Audio Visual was the main technical producer for the BGL Ball - we supported them by providing lighting, audio and staging equipment and a dozen crew members on site.”
The brief was a simple, yet challenging one - to produce an event which was both visually stunning and sounded great, and all to be worthy of the desired circus theme.
As well as project managing for Pearce Hire, John was appointed as the BGL Ball lighting designer, a challenge which he relished. With the evening combining many elements of dining, awards presentation, circus cabaret performance and live music, his design had to be flexible and adaptable to each aspect of the evening.
“I wanted to create a
USA - British musician and singer-songwriter Steven Wilson is about to wrap the 2018 leg of his To the Bone Tour (see LSi May 2018), named for his fifth studio album. Bandit Lites provided the lighting package for the production, helping to provide a layer to the visuals of the show while keeping the emphasis on Wilson’s music.
Lighting designer Tellson James credited the visual experience to the video footage produced by Steven Wilson, Lasse Hoile and Jess Cope, lighting the scene around the video and song accordingly, all the while paying special attention to the mood each song suggestions.
He utilises Claypaky Sharpy washes on the front truss, illuminating the band and Wilson, while the back truss is comprised of Martin MAC Vipers and Claypaky B-EYE K20s for backlight special and general lighting.
Bandit also supplied additional Vipers for cross light on the band, GLP JDC1 Strobes for effects and more B-EYE K20s upstage giving rear ground lighting behind the band. “The GLP strobes are great to use for their intensity,” says James, “and the B-EYES are great to use as they are so bright, have gorgeous colours and beam effects.”
“We began this tour in April and it’s been an honour to work with this organisation,” said Bandit Lites vice president Mike Golden.
Belgium - The Jacques Brel musical La Vie Est Brel captivates a blend of classic and contemporary, both in its songs and in the powerful lighting design that supports them.
Created by Revolution Event Support, the design relied on the intense output and versatile performance features of 12 Chauvet Professional Maverick MK2 Spot fixtures.
“The general idea of our lighting concept was retro, going back in time to the period Brel was performing his shows in the 1960s and 1970s,” says Revolution Event Support’s Bart Faut. “As a result, the look of the stage retained a classic and minimal feel, with a lot of classic visual elements such as warm white lighting required to create the appropriate atmosphere within the auditorium in Ostend.”
Hung on downstage and mid-stage truss as well as stage left and stage right booms, the 440W moving fixtures created a bright classic concert look on stage. However, given that the fixtures are relatively compact LED units, they were able to deliver faster and more varied looks than would have been possible a generation or two ago. The wide zoom range and smooth 16-bit dimming made it easier to change coverage areas to provide visual variation during the show. These features also were helpful in focusing attention on individual performers like vocalist Olivier Laurent, who sang against the backdrop of a sumptuous old-school red velvet curtain.
“The Maverick Spots were the ideal tools to create the retro atmosphere,” says Faut. “We wanted to keep the feeling like it was 40 years ago, as famous
UK - At the end of 2017, Pete Tong, Jules Buckley and the Heritage Orchestra, treated UK fans to a live production of his acclaimed album, Ibiza Classics. Such was the reception that dates for the outing in the run up to Christmas 2018 were booked almost immediately. While the essential elements of last December’s tour remain the same, changes have been made.
“For me, what has made it different this time around is the change of musicians, with different players in the orchestra; their physical technique affects how it looks and feels and consequently where I place the cameras,” explains video director Mark Davies, pointing to one area that has been refreshed. “That’s a subtle distinction but when you get to an instrument the size of a cello posture and playing technique has a big influence.” Paddy Hocken Productions are once again using the services of Video Design to support Davies’ work; they too have been effecting change.
“I’ll give you one small example,” says Davies. “Last time out - and thanks to the intervention of Video Design’s boss Alex Leinster - I was given the chance to use a prototype remote operated tracking camera from BR Remote. Small, discrete and deck mounted, it gave me those all-important dynamic camera angles from across the front of stage without the intrusion of jibs or cranes spoiling the audience’s view. Now, just eight months later they have practically redesigned it.”
Davies is too modest to say so, but part of that process was following feedback from himself and Leinster. “They hav
USA - With a nod to Game of Thrones, the Vegas Golden Knights hockey team now enters the ice through a 20ft, 2,375-pound medieval jousting helmet accented with 60m of FloppyFlex Digital LED neon.
Originally conceived for the Stanley Cup, the team’s entrance is now a standard feature for all home games at the T-Mobile Arena. Designed and built by Water FX, the large helmet features lighting by Sean Guarino, with the FloppyFlex provided by PRG Las Vegas.
“Outlining the helmet to create a portal worthy of the team required something cooler than conventional LED tape,” says Golden Knights LD, Sean Guarino. “I wanted this to pop, and Tim Brennan of PRG suggested FloppyFlex Digital, which exceeded my expectations. Using the pixelated Digital RGB version, I can create spectacular multi-colour chases. The colours are bright, vibrant and warm, and installation was a breeze, especially with the help of excellent support from PRG and TMB.”
Guarino adds: “We use three ProPlex FloppyDrive Digital DIN Rail units to drive three 15-meter runs of RGB FloppyFlex Digital. This is way more than adequate to highlight the giant helmet; it can be seen from the farthest points of the arena and really stands out in broadcast shots. We use two solo spot washes to create the ‘eyes’ peering out from inside the helmet. To keep things interesting for the arena’s 18,000 fans, we use a grandMA console to create a different programme for each home game.”
Guarino’s company, Sexy Lites, specialises in lighting designs and programming for concerts an
Mexico - Lighting designer Pablo Gutierrez utilised 52 of Robe’s Pointe multi-functional moving lights for the launch of Mexican singer Fey’s new Desnuda (Nude) tour.
The tour kicked off in full-on style at the 18,000 capacity Arena Ciudad de México (Mexico City Arena) in the country’s vibrant metropolis.
Fey is a multi-talented Latin Grammy nominated singer, songwriter, designer, dancer, record producer, director and actress who has recorded seven successful studio albums and was massive in the 1990s following the release of her first album Fey in 1995. The proactive celebrity wanted to make maximum impact for her singing and live touring comeback, so her management team asked Gutierrez to create a suitably high impact production design for the show.
As well as being spectacular, the design had to be scalable for an arena tour which follows in 2019 and for potential festival appearances. Gutierrez was recommended independently by three different people for the job of designing Desnuda.
For this Arena Ciudad de México gig, audio, lighting, staging and all aspects of technical production - including video from La Catrina Films and rigging from TYM Riggers - were managed by Live Entertainment a company Gutierrez also runs together with Soho Avila, who was this high-profile show’s production manager.
The Pointes were arranged on a series of six trusses above the stage forming a trapezoidal shape - wider at the top. Each of these trusses moved in and out individually on an automation system.
“Fey wanted to r
UK - S+H Technical, specialists for LED visual effects, drapes and starcloths, supplied around 350sq.m of its LED Animation cloth and 450sq.m of standard RGB starcloth drape for the BBC’s 2018 Children in Need telethon, broadcast live on BBC One and BBC Two.
Featuring a star-studded line-up, the event raised over £50m for the 2018 appeal in what was the crescendo of this year’s fundraising activities for disadvantaged children and young people in communities across the UK.
The telethon production design was created by Alex Craig - working on his 10th Children in Need - and this new look for 2018 featured some threads from the previous design to keep a strand of continuity, together with some spectacular new elements including lots of LED and a large upstage LED wall, 14m wide by 5m high, which split in the middle and opened for performer entrances and exits.
“The look was modern, clean and now,” explains Alex, adding that his brief from executive producer Leanne Witcoop was to ensure the space looked integrated and a contrast from last year where there were three distinctive different performance areas on the one set.
The stage was all on one level, punctuated with curves and spheres which defined its general shape, complete with the spectacular long multi-layered curved LED screen set piece upstage, finished in gold shimmer disc material and outlined with LED strips.
This was flanked by two smaller semi-circle curved screens, also edged with several lines of LED - like a giant geometric spirograph design - and clad in chrome s
UK - London-based LD Dan Saggars had the opportunity to put Elation’s new Artiste Picasso LED profile to the test on the new Park Theatre drama, Distance in September.
Saggars required a flexible light that could both wash wide to cover the stage and isolate for dramatic specials and placed the units in overhead and side positions to achieve the desired result. “I was able to get massive coverage with the overhead units,” the designer states, “and then extremely specific specials from the sidelights that were able to perfectly isolate areas, people, even body parts.”
Distance, which played 5-29 September in the theatre’s intimate Park 90 space, is a powerful examination of the trials and tribulations of mental illness. Male suicide provides the context for the play, an intense dramatic experience played out on an express train and through a series of flashbacks.
With a snug setting and an audience in close proximity to the emotion being played out on stage, an important criterion was a muted lighting fixture. With the low sidelight units placed only about a meter in front of the audience, fan noise was a concern. “I sat as close as I could to a sidelight Picasso unit for one of the performances and was extremely impressed with how silent it was,” Saggars comments. “I was very pleased to be able to watch the sound designer put her ear right up against the unit in search of the source of loud fan noise, only to find it coming from the sole projector up in the rig.”
When laying down colour, Saggars says he was a
France - Pirates Paradise, a pirate-themed restaurant in Lille, offers more than an array of delectable dishes as well as an interior complete with shipwrecks, treasure chests, mysterious coves, and live shows.
Lending colour and excitement to this immersive spectacle is a Jocelyn Morel lighting design that features Chauvet DJ Intimidator, COREPar and EVE fixtures. Morel, whose impressive body of work includes the renowned Au Bonheur des Dames cabaret, was contacted by Grégory Devilder, the CEO of Public Address, the company that owns the 500-seat venue, to create a versatile lighting design that would enhance the restaurant’s shows as well as its unique themed flourishes.
“I know Grégory quite well and understood what he was looking for from the lighting design,” explains Jocelyn. “The lighting system here must do more than merely illuminate the room, it must also contribute to the theatrical looks of the live shows that happen several times during the dinner portion of the day. Of course, while doing that, lighting must also contribute to the mood of the setting by making the scenic elements come alive with colour and movement.”
For effects on the stage and throughout the venue, Jocelyn is relying on eight Intimidator Wash Zoom 450 IRC and eight Intimidator Hybrid 140SR fixtures. Colorising the live performances, as well as the scenic elements located throughout the restaurant, are six COREPar 80 USB and 10 EVE P-130 RGB fixtures.
A collection of 18 Ovation H-605FC fixtures is also used at Pirates Paradise for house light
USA - The Bellamy Brothers play over 150 shows, large and small, annually. Several years ago, pro audio veteran Tim Thomas stepped up as act’s production manager via his production company, ShowPro, LLC. With the help of just two Danley SM80F loudspeakers and a Danley DNA 20k4 Pro amplifier (with integrated DSP), Thomas works his magic to give the brothers consistent sound regardless of the circumstances or venue.
“Apart from some big festivals where the PA is provided, the Bellamys typically play shows for between 500 and 3,000 people,” explained Thomas, who, in addition to all things live-sound, has headed ShowPro, LLC. his full production and installation company, for over two decades. “House systems are always hit or miss depending on the venue. We were traveling with our own system, but as they started to get more outdoor dates, I knew we needed something that had better throw.
“I’ve known Mike Hedden, Danley president for a long time, and I agree with him that line arrays are not the end-all-be-all sound-wise. Nor did I want myself or my small crew to spend all our time pinning boxes together and then struggling to make them all sound the same. Mike told me about the Danley SM80F when it came out recently and assured me it could easily cover 3,000 people.”
Thomas had previously run live sound for Guy Penrod, among the world’s greatest gospel singers, using four Danley SM80 loudspeakers and two Danley TH118 subwoofers, so he knew that Danley’s patented point-source technologies could deliver. After a demo, he committed to jus
USA - The 19th Annual Latin Grammy Awards Show, held on 15 November at the MGM Grand Garden Arena in Las Vegas and broadcast live on Univision, brought together Latin music’s future and past.
What they all had in common was the audio, thanks to the deployment of four DiGiCo consoles for the show. Comprising two SD7 FOH desks, two SD10 consoles for monitors and eight SD-Racks, the equipment was supplied by Firehouse Productions whose VP Mark Dittmar and system technician David Crawford designed the event’s sound system, with Luis Espinal serving as a system tech. FOH music mixer Ron Reaves and production mixer Andrew ‘Fletch’ Fletcher both used SD7 consoles, while monitor mixers Mike Parker and Mike Bove used the SD10 desks.
“The DiGiCo consoles are a very powerful platform to work from on shows like this, where the engineers are potentially confronted with complex workflows,” explains Dittmar, who also assigns DiGiCo desks for Firehouse Productions’ support of the Grammy Awards and the Video Music Awards shows, among other broadcast events.
“The SD consoles have so many features that make workflows simpler and let the engineers focus on the sound.”
Production mixer Andrew Fletcher used an SD7 to bring 56 inputs of introductions, acceptance speeches, stage patter, and music bumpers into the house. These came everywhere from the four podiums on stage (two wireless and two pop-ups, the last a backup podium) for the event hosts Carlos Rivera and Ana de la Reguera, four handheld microphones, and a full music backup of Reaves’ c
USA - Microphones and wireless systems from Audio-Technica were employed at the Country Music Association’s CMA Country Christmas broadcast event, shown on ABC on 10 December.
Audio-Technica’s third-generation 5000 Series frequency-agile true-diversity UHF wireless system powered the vocals for the event: Dustin Lynch sang through an A-T ATW-C6100 capsule, and Michael W. Smith and The Isaacs both used the A-T ATW-C5400 capsule.
The show, which was taped on 27 September, also used an assortment of wired A-T microphones, including eight A-T AT4050 large-diaphragm condenser microphones used on the choir, an AT4050ST large-diaphragm stereo condenser microphone used for the backline grand piano, and an AT5045P cardioid condenser microphones (stereo pair) on Diana Krall’s piano.
Clean Wireless Audio Owner Jason Glass, the wireless RF coordinator for the CMA on this and other events, managed the wireless systems.
“This was the third time I’ve done the wireless on the CMA Country Christmas show, but the first time I’ve used the third generation version of A-T’s 5000 Series system, and all I can do is rave about how good it was to work with,” observes Glass, who has also run wireless RF microphone systems for the annual CMA Awards as well as festival shows at Nashville’s Nissan Stadium, including the annual CMA Fest.
The RF system employed Glass’s own RF helical antennas located on trusses approximately 40ft in the air with 125ft coaxial looms connecting to the RF system, “and the RF service room was located across the cor
USA - Evanescence’s latest album Synthesis is a dramatic, orchestral-backed reworking of many of the band’s most beloved songs, plus a few new ones thrown in for good measure.
To properly preserve the atmosphere of the recordings on a live tour supporting the release, the band performed its shows accompanied by orchestra members that were hand-picked in each city and brought together by the tour’s conductor, Susie Seiter. Furthermore, fans of the group got a special treat on the most recent second North American leg when violinist Lindsey Stirling joined as a co-headliner, featuring songs from her album, Brave Enough, and acted as an electrifying extra member of Evanescence for specific songs like Hi-Lo.
LMG Touring of Orlando has worked with Stirling extensively in the past and served as the full-service audio, video, and lighting provider for the double-bill Synthesis Live trek. To sonically capture both the muscle and punch of the bands as well as the subtle nuances and complexities of the orchestral elements, LMG Touring specified a full L-Acoustics K1/K2 loudspeaker system for the shows. In addition to audio, LMG Touring also provided FLED 11MM LED screens, Catalyst Media Servers, and a full lighting package.
“For Evanescence’s set, there were 28 orchestral musicians on stage, plus the band, which consists of six musicians,” says Chris Bloch, who mixed FOH for the orchestra each night, while Eddie Mapp and Rob McWhorter mixed Evanescence and Lindsey Stirling’s group, respectively. “The same orchestra
South Africa - Comic-Con Africa, a three-day event showcasing comic books, science fiction/fantasy related film and TV, as well as similar popular arts, was hosted for the very first time in South Africa at the Kyalami International Convention Centre in Midrand, Johannesburg. MGG was appointed as the main technical supplier for the sold-out event, enjoyed by over 45 000 superheroes, villains and sidekicks.
Geeks, gamers and superheroes were spoilt for choice with an enormous exhibition area and were enthralled by gaming panel discussions, cosplay contests and a chance to rub shoulders with celebrities like Travis Fimmel of Vikings fame.
MGG meticulously executed the technical setup for Comic-Con Africa, that included a main stage, four pre-screening rooms, two VS gaming areas, kids’ entertainment area, an MTN outdoor stage which included a VIP and screening area, and lastly, audio for both multiple exhibition floors and the food zone. Professional gear was utilised all round, which included Robe and Claypaky lighting fixtures, Prolyte trussing, Absen LED screens, L-Acoustics PA and DiGiCo audio consoles that both amplified and magnified an exhilarating event.
“Getting these shows and putting them together really excites me,” said Timothy Templeton, MGG’s technical production manager for Comic-Con Africa. “For me, 80% of an event depends on pre-production planning. This is also where you rely on the crew, and we would not have been able to accomplish, what I feel was a professional and seamlessly executed event, without them. The crew are
Indonesia - The Indonesian Choice Awards 5.0 NET, presented by the NET TV Network, aimed at families and youth audiences, is one of the leading entertainment events in the country.
“For an entertainment and music event of this magnitude and size,” explains Sadat Effendy, technical director at Total Audio, the company that produced the show, “there is only one sound system we had to consider. That’s Clair Brothers. The Indonesian market loves Clair Brothers speakers because they always deliver.”
This event always coincides with, and marks the anniversary of, the NET TV Network. This year is its fifth anniversary and the Indonesian Choice Awards show did not disappoint. Performing for an audience of 9,000, local and international musical acts filled out the evening of awards and tributes for the best in movies and music.
Effendy says: “An event of this proportion is always challenging, especially with regard to the PA, when trying to create a coherent sound acoustically.”
Wayne Grosser, managing director, Clair Brothers Australia and sound design consultant for the award show, elaborates: “I advised the production team that if too much delay was put on the main PA, the sound will not be coherent with the stage noise. The result can be unwanted slap delay, and that’s no good. So, in order to prevent that, I suggested a change to the layout of the side PA to assure timing with the main PA. The solution was the alignment of four Clair Brothers i212 8-cabinet line arrays.”
The event’s main speaker system was a combination
USA - Located in Melborne, Florida, Church at Viera holds four modern worship services in two different venues each week using Allen & Heath dLive, GLD and SQ Series mixers for FOH and streaming broadcast and a ME-1 Personal Mixing System for monitoring.
Production director Eli Higginbotham, alongside technical director Brock West, leads Church at Viera’s production team. “We had an older digital mixer with reliability issues,” says Brock. “So, when I came on board, I looked for a replacement. We considered several brands but there wasn’t another console in the same class and price range as the dLive.”
The church has standardised on Allen & Heath digital mixers for FOH, broadcast and their Youth Centre. “The architecture is very similar so it’s easy to train a volunteer to mix in one space and then move them to another,” says Eli.
Church at Viera’s dLive includes an S7000 Surface and DM64 MixRack both located at FOH. Two DX168 Expanders accept sources on stage. Wireless mic receivers, audio from video and Ableton Live tracks connect to the DM64 at FOH. An SQ-6 Digital Mixer serves the church’s Youth Centre supplemented by an AR2412 AudioRack. A GLD-112 Digital Mixer mixes streaming broadcast for the church’s website. Dante cards in each mixer implement audio networking throughout the church’s systems.
Twelve ME-1 Personal Mixers with a ME-U Hub are what Brock and Eli describe as “a killer rig” monitoring system. Six ME-1s, located backstage, feed wireless IEM’s for vocalists who can adjust their mix du
USA - On Sunday 30 September at Pine Trails Park, the Actions for Change Food and Music Festival Fundraiser took place. Born out of the tragedy of the 14 February Stoneman Douglas shooting in Parkland, FL, its goals were to provide healing by bringing love, light, and hope through the arts, register people to vote, raise national awareness about gun violence, and raise funds for organizations committed to helping all our nation’s youth.
There was a good mix of speeches in addition to both live and recorded music to keep the action going and, to ensure the best audio performance, a loudspeaker system drawn from the Aero Series 2, Action, Road, and UX catalogues of DAS Audio was utilised.
Dynamic Productions USA of Orangeburg, NY, a full-service events production company, was contracted to handle the sound reinforcement requirements for the festival. Brian Rosenblum, the company’s president and CEO comments: “As an outdoor event with an audience of approximately 3,500 people, it was crucial that we provide a setup that not only had the ability to deliver both a high level of speech intelligibility and solid music reproduction, we had to ensure even coverage throughout the area.
“To accomplish this, we deployed a sound system consisting of DAS Audio Aero 40 active, 3-way line array enclosures, Aero 20A active compact line array enclosures, Action 12A point source loudspeakers, along with UX-218 and UX-221 subwoofers.”
The primary setup involved ten Aero 40 enclosures per the left and right sides - flown on motors from truss. For front-f
USA - E-sports - the world of competitive video gaming - has become an international phenomenon, with millions of fans watching both in person and on Internet livestreams, rooting for players that might take home millions of dollars in winnings. Where better to build a premium Esports venue than in the gaming capital of the world - Las Vegas?
That’s what Allied Esports International set out to do, with a new venue in the Luxor Hotel on the Las Vegas Strip. “Our mission was to build a turnkey infrastructure to do many different live events, as well as produce content in a style and quality that meets or exceeds current broadcast standards,” says Drew Ohlmeyer, head of content, Allied Esports International and Esports Arena Las Vegas. To repurpose a former nightclub space, Allied hired CBT Systems to design and build an A/V system tailored for high-availability streaming video broadcasts.
Darrel Wenhardt, president & CEO of CBT Systems, knew from the start that the space’s previous audio system was insufficient for the demands of Esports. CBT chose a Lawo mc²36 console for front-of-house duties, and a second mc²36 to power the streaming broadcast production control room.
“We’ve worked extensively with Lawo, who have developed consoles specifically for these types of challenges,” explains Wenhardt. “[They] are used around the world to manage major global events including sports, live performance and networked production infrastructures. Lawo was an easy and obvious choice and provided exactly what was needed, while also being able
UK - With the festive season now upon us, theatre stages up and down the country are being filled with dames, beanstalks, flying carpets and glass slippers. White Light is once again suppyling a range of pantomimes this Christmas.
Pantomimes are many venues’ biggest production of the year, with these classic childhood stories often starring household names. An all-time favourite is Aladdin and, this year, WL is supplying several versions of the show, including one at Hackney Empire which is lit by David Howe. He comments: “Hackney Empire’s Aladdin evolved a lot in the rehearsal process, with a lot new music being written specifically for this production. My brief, as ever, was to enhance the whole look of the show and help the audience focus on each story-telling moment.”
WL is also supplying Aladdin in Cambridge, Crawley, Norwich, Yeovil and Swindon, with the Wyvern Theatre production starring EastEnders’ Adam Woodyatt. The lighting programmer for the show is Eden Thornton, who comments: “I’ve now worked on ten pantos over the last six years. They can often be hard work as you’re trying to create a big show in what’s not a great amount of time. That said, it’s very exhilarating. It’s also important to have a good team around you as well as the services of a reliable hire company; hence we try and use WL whenever we can.”
Other popular titles that WL is supplying include Snow White in Bolton and Malvern, along with The Wizard of Oz at the Birmingham Rep and Bolton Octagon. Cinderella is goin
UK - For International Day of Persons with Disabilities, also known as #Purplelightup, installation company CSR Lighting illuminated various of Microsoft’s UK internal offices as well as the exterior of their Reading office. For these eye-catching purple illuminations, CSR Lighting decided to use SGM fixtures.
“We have continued to invest and specify SGM products as they work for us in every environment we visit,” says Gary Willn from CSR Lighting.
“To allow the client to get the most from the #Purplelightup, we used SGM’s G-Profile Turbo to frame the client’s logo on the front of the building in the pure white available from the Turbo. We have had G-Profiles in hire since their launch and it made total sense to go with the new Turbo version of the fixture to have the extra light output from the same sized fixture,” says Willn. “The building was lit overnight, so as the staff arrived the next morning, they had the full impact of the installation. As expected from SGM, every fixture ran faultlessly.”
The exterior of the distinctive Microsoft office block was lit with six of the powerful P-10 lights using Elliptical lenses to give a rich punch to the purple colour across the entire building.
“The P-10 gave us a powerful output from a small footprint, without having the area scattered with lighting across the front of the building. This saved the client valuable parking spaces, which worked for us and the client,” explains Willn.
The big weather changes during this installation was no issue to the IP classified fixture
Kuwait - In a move that has significantly enhanced the meeting and conferencing experience of its corporate customers, the Sheraton Kuwait has upgraded to the latest wireless conferencing system from Sennheiser.
Implemented across the property’s two large ballroom-style conference facilities as well as its many meeting rooms of varied sizes, the audio specialist’s ADN-W system delivers crystal clear audio conferencing with the convenience of flexible and secure wireless connectivity.
Intuitiveness and customer satisfaction were priorities as Eng. Mohamed Monieb, maintenance manager at Sheraton Kuwait explains: “Our hotel’s world-class facilities meet the needs of very large to extremely intimate gatherings and the wireless conferencing system allows the equipment to also be ‘right-sized’ exactly as per customer requirements.”
Beneficial for Eng. Monieb and his team has been the system’s ability to eliminate the RF interference issues that plagued the microphone system they had previously utilised.
“Prior to selecting Sennheiser, we conducted a test between ADN-W, our existing system and another manufacturer’s solution and this not only demonstrated vastly superior sound quality, but also convincingly addressed our concerns around interference,” he explained. It is the ADN-W’s ability to hop between frequencies in the 2.4GHz and 5GHz ranges that makes this performance possible.
Robust and reliable wireless connectivity was also assured through the direct involvement of Sennheiser’s team in the design and deploy
UK - River Audio has installed a new Martin Audio WPM line array in the main hall at Plymouth University.
The university wanted to replace its small vocal PA in this location with an upgraded system that would be suitable not only for speech but also music and drama performance. When a delegation of the University’s AV technicians attended a live sound training course with the local Base Sound, to improve their mixing capabilities, they were introduced to Martin Audio’s signature sound, and were immediately impressed.
After reviewing various systems they opted for the WPM line array and chose Base Sound sister company, River Audio, to supply and install six of the WPM tops, flown each side of the proscenium, with and a pair of WX218 subs on the ground, all running from a pair of Martin Audio iKon 8-channel amps.
As the two clusters are trimmed around 6m from the ground, they have also installed five Martin Audio CDD6’s, running in mono, on the front of the stage, to deliver infill clarity for those sat underneath the main clusters.
According to River Audio’s owner, Howard Williams, it had been an easy decision to recommend Martin Audio. “I have used their equipment since 1995 both for live events and on installs and have always liked their broad range of live and installation products. I also use Martin Audio to teach live sound engineering on, and it has now become my speaker of choice for installations. “
The university is delighted with the sound quality and coverage of the system and is enjoying using if for both pres