The Netherlands - Prolights’ own architectural brand ArchWork has been used by Dutch company Lumen Solutions in their installation in the award-winning Bijlmerpark theatre in Amsterdam.
Lumen Solutions were approached to provide their technical expertise in designing and implementing a dynamic architectural installation for the theatre.
ArchWork fixtures were chosen due to their IP rated nature and proven durability in other installations throughout the Netherlands.
In total, 171 ArchWork Arcshine6 fixtures were used as linear wall washers, each featuring six 8W RGBW LEDs engineered specifically for outdoor installations.
The ArchWork ARCSHINE6 luminaires were selected due to their slim design, outstanding brightness levels and pixel controllable features allowing the theatre to project a wide array of colours, textures and media with no need for other fixtures.
UK - Adlib provided design services, lighting, audio, custom drapes and staging elements for the most recent UK leg of The Specials’ Encore album tour, as the record topped the UK album charts, providing the band’s first ever number one album.
Adlib’s Simon Pettitt was back as lighting designer, having lit the band since 2014. Simon was also instrumental in developing the stage design, and he was joined by their regular audio engineers, Marcos Ferrari at FOH and Marina Martinez Sebastian on monitors. Adlib’s lighting account handler was Dave Eldridge, while Phil Stoker looked after all things audio.
Adlib offered the use of its full tour prepping facilities - a designated pre-production space in the company’s massive new Knowsley warehouse – to ensure that the production left the warehouse ready to roll.
Simon received an outline brief from the band. This was mostly on the dynamics of the set and that the overall look should be “theatrical”, and he further evolved the production design from there into the full show. The band were having a selection of eye-catching protest signs made as the main scenic element, so Simon helped organise a design of complementary drapes and flooring that would help them stand out.
The scenic elements were one basic starting point for the lighting, and another was having eight musicians onstage. For overhead lighting positions, three standard trusses were utilised.
Martin MAC Viper Performances were the main profile moving lights - distributed on front, mid and back trusses, with eigh
UK - A.C. Entertainment Technologies (AC-ET) has supplied the Acorn Theatre in Penzance with a Prolights LED lighting upgrade.
For over 40 years, the Acorn has hosted a wide range of arts practitioners and art forms, including live music, theatre, poetry readings, story-telling, dance, film, lectures and the visual arts. These acts can scale all the way from international tours down to school plays.
Looking to upgrade their house lighting rig to LED, theatre manager at the Acorn, Richie Cawley, researched all his options and found that the extensive Prolights range best met both their needs and their budget. Andy Mahaffey, external sales at AC-ET, visited the Acorn to discuss their requirements and show the Prolights fixtures that would be best suited to their venue.
Impressed by the quality of the LED fixtures, and their ease of use, Acorn invested in a number of Prolights Eclipse Fresnel Juniors, Eclipse Junior Zooms and StudiocoBs.
When asked about the fixtures Richie comments: “They have been totally brilliant. We are receiving loads of positive comments from visiting Artists and Theatre companies alike about the vast improvement.”
USA - Heavy metal rockers Lamb of God have been on four tours over the past year as support for thrash metal band Slayer’s long-running farewell tour, the latest leg in May beneath a rig of Elation lights. Lighting design was by Steve ‘Cowboy’ Stemac with lighting supply and support by Gemini.
Stemac started with Lamb of God in May 2018, as lighting director, inheriting a stage set-up designed by tour manager Brian Griffin. After earning the band’s, and Griffin’s, trust over the following legs of the tour, the designer began to evolve the show, a process that eventually led to fixture changes.
For the latest leg, a 16-date trek across, Stemac chose to reinforce the band’s signature sound and stage presence using Elation DARTZ 360 LED beam/spot fixtures and Elation ACL 360 Bars.
“Lamb of God like a lot of backlightthe southern U.S. states and up the east coasting with not too many revealing hues,” Stemac says of the type of lighting required for the Grammy-nominated veteran rockers. After respecting their parameters, he says he simply approached it as a fan, asking himself, “What do I think would look right for this song?”
As direct support for Slayer, and following death metal act Amon Amarth, who Stemac says had a formidable lighting package, the LD strove for differentiating the show from theirs as much as possible, while still keeping it appropriate for Lamb of God's music.
“On top of that, I had to keep an eye out for Randy as he's a terrific frontman and I didn't want him drowned in shadows,” he says. The b
South Africa - The Voice is now in its third season in South Africa and is proving as popular as ever. It has just entered the ‘live show’ phase, broadcast from Mosaiek Teatro in Fairland, Johannesburg and aired on M-Net, DStv 101.
This year, this section of the TV show is bringing a new audio experience to its studio audience, courtesy of L-ISA Hyperreal Sound technology by L-Acoustics and DiGiCo mixing consoles, provided by the show’s full technical supplier, Mutli-Media.
Multi-Media has worked with The Voice since the popular competition hit Africa four years ago. During this time, the company has grown and become more involved in live events. At the beginning of this year, it decided the time was right to invest in a top-end audio system, initially purchasing 30 L-Acoustics Kara, 12 SB18, four KS28 and seven LA12X amplified controllers, adding a further 18 Kara, four SB18 and five LA12X for the Mosaiek Teatro L-ISA configuration.
Early in his career, Multi-Media audio engineer Adriaan van der Walt recognised the limitations of stereo systems when trying to create a natural sounding mix. He became interested in how technology would develop to achieve a closer representation of how sounds are perceived by the human ear.
“I always jumped at the opportunity to work on quadrophonic and surround shows,” he says. “These were few and far between and some had greater levels of success than others. There was generally very little correlation between the setup in a studio and a large format PA system - it was really hit a
UK - Grammy nominated punk rock hip-hop band Fever333 recently took the Electric Ballroom in Camden by storm. The Californian band commissioned lighting designer Hayden Borgars to design the atmosphere and electrifying show.
Hayden has has worked with acts including as Hoodie Allen, Symphony X, Gang of Youths and Glassjaw.
Having used Prolights fixtures on numerous occasions before, he was already familiar with the fixtures and explained how he found them “really reliable and innovative” therefore it was no surprise that the package featured a number of the compact-yet-powerful Prolights Diamond7 washes.
Hayden reports, “The notes sent to me outlined specific moments and effects they wanted to achieve, particularly at the start. There were moments that required erratic and chaotic lighting and others where the lighting needed to be contemplative and moody.”
“The Prolights Diamond7s were the first fixture that came to mind where I would have individual pixel control and some pixel animation effects at my disposal to accomplish the desired look. Along with the flexibility of using the Diamond7’s as a wash light, I could also use them for some tight beam looks as well as the individual pixel control which was a huge benefit.”
When asked what Hayden thought of the performance of the Diamond7's in relation to the venue, he commented: “The size & output of the fixtures were impressive; there is very little that is comparable to the Prolights Diamond7 that had both the zoom range and pixel control. The Diamond7’s performed
France - For one month out of every year, the rhythm of life in French Polynesia becomes even more blissful as locals gather for Heiva, a rich and colourful celebration of ancient Polynesian customs. This May, as it has for the past six years, the spirit of this traditional holiday leapfrogged 15,706K over two oceans and one continent to create a vibrant display of South Pacific culture and community at Heiva i Paris.
Started by Tahitian singer Ken Carlter, this combination festival and dance contest attracts visitors from throughout France and Europe, as well as from as from as far away as Japan. This year, over 200 people participated in its Heiva dance competition, a highlight of the event.
Providing an immersive and supportive visual setting for their choreography as they swayed to the evocative sounds of traditional Polynesian music was a lightshow designed by David Seligmann-Forest that featured Chauvet Professional fixtures.
Seligmann-Forest used 12 Maverick MK Pyxis and eight COLORado Solo Batten fixtures, supplied by Phase 4 Company to light the dance competition. These fixtures were arranged on totems and on the stage deck. From these positions, they lent dynamic visual support for the dancers, while also creating a camera-friendly setting for video cameras.
“I have worked with Serena Forgeas-Carlter and Ken Carlter, the event organisers, before and share their design philosophy,” says Seligmann-Forest. “This called for the lighting to help place the dances in a scenography that highlighted them without distracting. When I star
USA - The 2019 Billboard Music Awards’ lighting designer Jon Kusner specified 140 Solaris Flares and 58 Solaris Flare LR Linears for a visual display, worthy of one of music’s most important nights of the year. The show broadcast last month on NBC, live from the Las Vegas MGM Grand Garden Arena.
“Flare LR linear fixtures made up a heavy part of our side walls in the performance stages,” says Kusner. “The Flare family of products - Flare, Flare Jr and LRs - in my mind has cracked the code. We also got some new Flare Rayzrs from Tony Ward at PRG to use offstage and we’re excited about having Flare performance in this new ultra-thin ‘blade’ format. Flares are the ideal LED product, and to find Flare technology in a smaller, discreet shape is a total plus.”
“Solaris Flares have become a staple in our inventory,” says Tony Ward of PRG. “Whether for concert tours, special events, or TV shows, Flares have become the preferred fixed-focus LED Wash product for many of our clients. Demand continues to grow for these fixtures, and the multiple fixture sizes and types give our clients better options to fit into new and creative lighting and scenic spaces. We can’t keep enough of them; they’re always busy, making the return on our investment in Flares really outstanding.”
Canada - The Empire Theatre in Belleville, Ontario, recently invested in a new audio system built around Adamson’s IS-Series and sourced through London, Ontario’s The PA Shop Productions.
The building, originally erected as The McCarthy Theatre in 1938, was purchased by Mark Rashotte in early 2002 with the goal of returning it to its original use. In September 2003, The Empire Theatre was open for business, and its team has been working hard to advance their shared vision of enhancing the community they serve ever since.
In the autumn of 2018, ahead of a special show commemorating 15 years of operations, Rashotte and his team decided to invest in a new audio system to better cater to visiting productions and invited several manufacturers to demo their array systems in the Empire’s 700-seat auditorium.
Kyle Schroeyens, VP and production manager with The PA Shop Productions, teamed up with Adamson to audition the IS-Series.
“The Adamson out-performed everything and made our decision an easy one,” says Wayne McFaul, the lead audio engineer for the venue. “Not only is it powerful, but it delivers extremely accurate and clean sound that’s consistent from the front row to the very back. Without prompting, everyone that uses it says that it’s a real treat to mix on and that they love the room.”
The system now anchoring The Empire Theatre’s auditorium boasts main arrays of nine Adamson IS10 two-way, full-range array enclosures beneath a single IS119 subwoofer per side. An additional six IS119s are built into the stage - two e
UK - Since their initial investment in Outline point source systems in 2017, growing rental and installation company Novum AV has been deploying its Vegas 12CX and 8CX inventory in a wide range of work around the UK from their base in Tamworth, Staffordshire.
Tim Jacques, managing director of Novum AV, explains the reasons for that investment: “Back in 2017, Outline was very new to us and a surprise choice. We ran blind tests with seven different manufacturers and Outline was unanimously chosen by our six technicians who all thought they had selected their preferred brands. The system has changed how we operate and design certain jobs as not only is there a like-for-like weight saving compared to our previous point source enclosures, but the HF throw is so great and the sound quality so clear that we have often needed fewer speakers to achieve the required results. The purchase made sense technically, but on reflection has also given us commercial benefits.”
With an eye firmly fixed on the future success and expansion of the company’s capabilities, the next step was to replace Novum’s existing line array system with a new solution. All options were on the table and after exhaustive research, Outline was again under consideration.
James Lawford of Outline’s UK and Ireland distributor, CUK Audio, proposed a system based around the Mantas 28 array; a proven design featuring two 8” drivers with a 3” HF driver coupled to the patented DPRWG waveguide which is common to Outline’s large format GTO family as well as the recently launched med
Canary Islands - Around 600,000 people attended Las Palmas de Gran Canaria’s carnival this year. The Drag Queen Gala event, which had A Night in Rio theme, utilised a large complement of Claypaky fixtures to fill the stage with light and colour. Stonex is the official distributor of Claypaky lighting in Spain.
“The Drag Queen Gala is seen everywhere in the world by large audiences,” says lighting and technical director, Jonay Diaz, who is a partner in RGB Canarias S. Coop. “This is reason enough to be careful when choosing lighting equipment.”
Diaz selected 30 Claypaky Mythos, 16 Super Sharpy 2s, 16 Sharpys, 30 A.leda B-EYE K20s, 20 Claypaky A-leda B-EYE K10s and 16 Stormy CCs for the 21 shows that took place on the gala’s main stage. Jacinto Cabrera and Iban Negrin operated the grandMA2 lighting console.
Diaz opted to use LED moving heads, citing their performance, low power consumption and greater creative possibilities. “LED devices give us better image quality, especially on TV, by eliminating hotspots almost completely,” he says.
As an operator and programmer Diaz says he looks for lighting instruments that are “100% reliable: I want everything to be seen during the show as I programmed it.” As a designer he also looks for “fixtures that are very versatile and compact since we do not always have a lot of space - again, Claypaky fixtures filled the bill on all of these points”. GAM Eventos was the lighting vendor for the gala.
USA - Laredo, Texas has broadcast its city council meetings via public access cable TV since 1984. The city updated its 10-year-old conference system with a DICENTIS Conference system from Bosch, providing significant upgrades in control, sound quality and ease of operation with IP connectivity.
The public access centre manager of the city, Gerardo Leal, is responsible for operating the conferencing system during meetings, and porting the audio into the video feed. The programme is aired on large video screens within the meeting room, which accommodates about 100 people. In addition, the meetings are streamed online and aired on the city’s public access channel. Audio, data and power for the discussion devices all run over a computer-based IP network using Bosch-developed OMNEO media-networking technology.
Laredo’s set-up features 16 DICENTIS Discussion devices with voting for council members and staffers. Each device is controlled by a single button for request to speak, mute and relinquishing the floor. A green light on the microphone indicates a request to speak, then begins flashing when that person is next in line. Once recognised by the chair, the mic status light changes to red to indicate it is active.
The device’s five color-coded touch buttons light up when voting is open. Votes are tracked and tabulated, with the results then displayed onscreen for attendees and TV/streaming viewers to see. Each device also features a volume control and headphone jack, with onboard feedback suppression and data encryption.
The mayor/chair u
UK - Technical event specialists Light Fantastic Production Services partnered with FUTR Summit to produce its recent event at London’s Business Design Centre.
Billed as Europe's only annual summit focused on fresh thinking and progressive change in the future of retail, marketing and commerce, FUTR brings together a diverse mixture of international brands and retailers.
Featuring over 200 guest speakers, this high-profile event required planning and delivery of a comprehensive audio, video, scenic and technical support solution, to create the perfect environment in which to welcome both presenters and delegates.
Keeping the main stage presentations crystal clear within the venue’s bright central atrium, LFPS deployed their new Panasonic RZ 12K laser projectors.
In tandem with a main stage auditorium, the company also created a pair of ancillary stages. Located on the venue’s lower level surrounded by highly reflective glass on all sides, these secondary stages presented a number of acoustic challenges requiring a cautious approach to the design and installation of the audio system. With the sound taken care of LFPS designed a further two stage sets featuring large format branding, with inset 98” LED displays for added visual impact.
To assist in the smooth running of the event, LFPS also handled all content management, liaising with the large roster of guest speakers, providing them the opportunity to preview and amend their presentations prior to taking the stage. In facilitating this, LFPS installed a networked solution betwe
UK - The White Rock Theatre on the Hastings seafront is a historically significant cultural landmark in East Sussex, with origins dating back to 1927. As one of the region’s largest receiving houses, the theatre accommodates 1,066 seated and nearly 1,700 standing.
Marquee AV recently installed an EM Acoustics EMS Series point source system to bring the audio up to the standards demanded by modern audiences.
Adam Harkin, the venue’s technical and building manager says: “Sound is everything - without sound, there’s no show. Our new EM Acoustics system stands head and shoulders over what we had before which was old and no longer fit for purpose by modern standards. What we have now is simply amazing - it’s a proper theatre system and has made a huge difference - everyone can hear everything regardless of where they are sat in the venue.”
When the decision was made to change the existing sound system, the job was put out to tender. Two bids from high profile manufacturers were retained along with the bid from Marquee AV with EM Acoustics. “Marquee AV turned up with two speakers on sticks for the demo, and it filled the auditorium. We thought, ‘Wow! If that’s what they can do with two speakers, what will a full system be like!’ And so that’s why we went with EM Acoustics - it was just better than anything else we heard.”
The final system comprises a cluster of three EMS-122s flown per side and two for the centre, two EMS-215 subs per side and a circle delay system of five EMS-121s. “The venue is extremely wide and shallow
Europe - Following the success of two acclaimed, chart topping albums, singer-songwriter George Ezra continues the momentum with a sold-out UK and European arena tour (see LSi May 2019).
Created around a concept devised by Ezra himself, the aim of the production was to bring an intimacy to arenas, as if inviting the audience into the artist’s living room, with the show tracking his day from sunrise to sunset.
Translating Ezra’s vision into a workable touring solution, show designers Bryte Design developed the idea, applying their creativity across all aspects of the lighting, staging and visual content to deliver a stunning, immersive audience experience.
Central to the design, three giant upstage LED ‘windows’ displayed a vibrant mix of custom created animations interspersed with live footage. In powering this eclectic blend of imagery, the production team utilised two Hippotizer Boreal+ Media Servers paired with a rack mounted PC running ZooKeeper, all programmed and operated via a grandMA2 Lite.
Speaking about the application of Hippotizer to help build the show, Bryte Design’s video design and production manager, Simon Harris says, “Hippotizer’s functionality is the reason we use it time and time again. On this production we made great use of FX, VideoMapper and ColourBlocks, amongst others, to give us the ability to fin
USA - The Hollywood Casino Amphitheatre near St Louis, Missouri seats 7,000 people under its roof, but another 13,000 can sit on its vast lawn. However, the previous line arrays that covered the lawn - and thus the vast majority of patrons for a well-attended show - strained to provide the necessary volume, irritated neighbours and literally rotted under the stress of the summer humidity and heat in St Louis.
Rather than replace the failed system with an equally doomed solution, Logic Systems Sound and Lighting completely re-conceptualised the entire approach. They installed four clusters of two point-source Danley Sound Labs J7-95 Jericho Horns each and opted for Danley’s fully-weatherised version that can be left out, not only all summer but, all winter as well, with no ill effects.
“The Hollywood Casino Amphitheatre was on its third lawn sound reinforcement system, and like the ones before it, it had completely rotted from exposure,” explained Chip Self, president of Logic Systems Sound and Lighting. “The boxes weren’t even safe to hang, despite the fact that the owners went through the $10,000 per year expense of removing and reinstalling them for every season.
“They asked us to come out and propose a new system. At first, we thought about it like all of the other contractors who were given the same request: what’s another line array that we can put in the same seven spots to give the folks on the lawn a few more years of decent, but not excellent, sound.”
The Danley solution solved several problems at once. First, technic
UK - Illumination specialists, LED Creative supported the creative team behind series 1 of There’s Something About Movies, produced for Sky One by CPL Productions.
Filmed over six episodes before a live audience at Pinewood Studios and hosted by comedian Alan Carr, the show features a pair of celebrity teams led by guest captains Micky Flanagan and Michael Sheen competing to determine which side are the champions of showbiz trivia.
Working alongside production designer Andrew Gates and award-winning LD Chris, LED Creative provided a selection of proprietary products, including their Sigma 60 and Alpha 60 flex, which the crew applied to the construction of the spectacular set.
Created with a nod to the architecture of the golden age of cinema, the design is a salute to the classic art deco style, framed with elaborate neon highlights and vibrant colour. The bright clean lines and neon glow contrasting with the studio lighting to add sparkle to the highly polished surfaces featured across the set.
LED Creative project manager Ges Smith says: “The design on this project looks fantastic. The use of our Alpha Neon to help form the art deco façade really does look amazing. A perfect backdrop to the show.”
In forming the design’s architectural contours, the team used LC Sigma Neon to perfectly replicate the art deco look, thus circumventing the need for traditional glass neon with its far greater power requirement plus lack of colour changing and limited dimming abilities.
The further creative application of low energy LED
Europe - Muse have embarked on their Simulation Theory’ World Tour in support of their eighth studio album. The tour began in February 2019 in Houston, Texas, playing 53 dates across North America, Europe, Asia and South America before concluding in Santiago, Chile in October 2019. A disguise gx 2 media server, provided by PRG, drives video and real-time Notch content for the show, which is currently on its European leg, playing at stadium venues.
Creative director Jesse Lee Stout of Metaform Studio partnered with the band, and Muse’s frontman and lead vocalist, Matt Bellamy, on the concept and style of the tour based on the recent album. Sooner Routhier and Robert Long are the show’s lighting designers, Aaron Luke the lighting director, and George Reeves the production manager, with Tom Kirk as the video director.
“Creatively, this show is a world of retro-futuristic design, a sort of blend between Close Encounters of the Third Kind and something in the future that doesn’t exist yet,” says screen producer J.T. Rooney of Silent Partners Studio. “Muse has done just about everything possible in the past with their massive technologically-advanced shows, so this one is themed more about experience and environment with performers, special effects, and a giant inflatable robot.”
Rooney explains: “Most scenes feature a combination of Notch generative content, or effects, paired and composited with real-time elements to allow for some really interesting moments.”
Stout approached Silent Partners Studio for most of t
Belgium - Tumult, the Sanzaru Order techno/rave parties, are adding passion, energy and excitement to Belgian night life. Organised by Skippen Dam, Tumult events travel from club to club, with non-stop music by leading DJs. Adding to the immersive effect of the Tumult experience is an intense lightshow featuring Chauvet DJ Intimidator Hybrid 140SR fixtures, supplied by Sound & Co.
“This is the fifth annual edition of Tumult, and the second year that we have lit the parties,” says Jonas Bellemans, CEO of Sound & Co. “Skippen Dam invests a great deal in bringing a lot of DJ talent to these events, which limits the budget for lighting. At the same time, you need a lot of intensity to support this kind of music. So you have to find fixtures that give the right balance.”
Bellemans notes that the 140W Intimidator Hybrid 140SR, with its intense output, motorized zoom, gobo capabilities and all its other features, allows him to deliver the looks his client needs and a price that fits within budget.
In addition to appreciating the affordable price and numerous performance features of the Intimidator fixtures, Bellemans prizes them for their versatility. Having fixtures that are able to perform many different roles is especially important at Tumult parties, which often take place in urban clubs with relatively tight quarters and limited rigging options. This makes it critical to select moving fixtures that are not only compact, but also multi-functional, since it allows a greater variety of looks to be created with fewer fixtures.
USA - Clearwing Productions once again selected Harman Professional Solutions’ JBL Professional loudspeaker, Crown amplifier and Martin lighting products to kick up the excitement at Summerfest 2019 in Milwaukee.
The deployment at Summerfest comes months after Clearwing made a significant upgrade to its audio inventory with a multi-million-dollar purchase of JBL VTX A-Series line arrays.
More than 200 JBL Professional loudspeakers, fills and subwoofers are featured, including the new JBL VTX A8 and A12 line array loudspeakers. The Martin MAC Allure made its debut this year, along with support from the Martin Atomic, VDO, and RUSH lines.
“We are really enjoying the flexibility that the new JBL A8s offer for our various stage configurations as well as the versatility that we’ve come to enjoy from the A12s,” comments Bryan Brunclik, Clearwing Productions Milwaukee general manager. “The B18s and G28s ensure our low end is also more than capably taken care of. No matter which stage, venue or configuration we are using them for, JBL and Crown products continue to ensure never worry reliability and that all of our artists will sound their very best, night after night.”
“Our lighting needs are constantly evolving from set to set, artist to artist, and venue to venue but knowing we have the Martin MAC Allure, Atomic and VDO fixtures on board again this year, we know every set will not just be a performance but a complete lighting show from start to finish.”
On the Harley-Davidson Roadhouse Stage this year, Clearwing deployed a c
USA - The recently-opened Mandrake has already established itself as a popular staple of the Miami Beach dining and nightlife scene. In addition to a variety of sushi and pan-Asian cuisine prepared by executive chef Jimmy Gallagher, the restaurant is known for its over-the-top décor, including a life-sized gorilla to greet the patrons and bright fuchsia-coloured lighting. Equally important for the restaurant’s ambiance, it also features a Martin Audio CDD sound system installed by Miami’s AVL Innovations (AVLI).
Asked about the audio component, AVLI’s James Reed explains: “Mandrake has several floors and multiple rooms. There’s a sushi bar in the front room where we used eight Martin Audio CDD8’s mounted on the wall along with four SX210 subwoofers built into the banquettes; then there’s a hallway leading to the main dining room with two CDD8’s.”
The main dining room and bar features six wall-mounted CDD10’s with four SX210 subwoofers also built into the seating. The programme material is essentially high-quality background music earlier in the evening, which converts to more of a nightclub atmosphere with dining and dancing later on. A patio area complete with garden is served by four CDD8-WR’s and two CSX212-WR subs.
Continuing the Martin Audio CDD theme, a lounge bar area upstairs has six wall-mounted CDD-LIVE12’s - four for the room and two positioned alongside the DJ booth on a small stage for monitoring, along with four CSX-LIVE118 subwoofers. There is also a DJ setup downstairs in a corner of the main dining room that
Spain - With over 50 albums recorded and the unusual distinction of being awarded a ‘uranium’ disc, singer Raphael is one of the most successful Spanish performers in in the country’s recent history. Still touring in his mid-1970s, a Yamaha Rivage PM7 digital mixing system is currently showcasing his greatest hits in a new orchestral tour.
Since his career began in 1962, Raphael’s distinctive voice and performance style have made him an iconic figure amongst Spanish performers. 50m sales of compilation album Ayer, Hoy y Siempre saw record company Hispavox award him a ‘uranium’ disc for the achievement. Having performed in most of the world’s leading venues over nearly 60 years, he is still a very popular live performer. His current RESinphónico tour began in December 2018 and is booked to continue into 2020, with shows at major venues in Spain, Russia, South America, the US and the UK.
Performing his greatest hits accompanied by a full symphony orchestra, Raphael’s long-term Front of House engineer Miguel Angel Garcia chose a Yamaha Rivage PM7 to meet the challenging task of mixing the orchestra and accompanying ‘electric’ musicians - 60 in total.
Miguel Ángel has used a Yamaha CL5 console on previous tours with Raphael. “The CL5’s quality, reliability and popularity have more than proved themselves,” he says. “We used it in a variety of live formats, including an earlier symphonic tour. But when we started designing this tour, we realised that we needed to take a step up with the of number of channels and deli
South Africa - Wireless LED lighting manufacturer Astera has announced DWR Distribution as its exclusive distributor in South Africa.
It is understood that the agreement will include other southern and central African countries.
DWR is headquartered in Johannesburg and has bases in Cape Town and Durban as well as extensive contacts across southern and central Africa. The company is headed by Duncan Riley, Robert Izzett and Bruce Riley and supplies an array of brands and products and equipment for the entertainment and architectural sectors which includes lighting, audio, AV and staging.
“I am hugely excited,” comments Astera’s sales and marketing director, Sebastian Bückle. “I think the African and South African markets are vibrant and full of potential and I have heard so many great things from around the industry about DWR and their incredible customer service! I am looking forward to a great working relationship with Duncan, Sherryn and their dedicated and very enthusiastic team.”
Duncan Riley is also looking forward to working with Astera. He sees the products being popular for film, TV and photography due to the high TLCI and CRI of 96 as well as in the staging market with the smooth colour mixing and dynamic pixel control. “I really like the full flexibility that is inherent in all the Astera product designs,” he stated.
“I’ve just got a feeling about Astera” confirms Duncan Riley. “They seem to be ‘all about the people’ which is a direct fit for us and seeing some of their projects around the world was
USA - Dustin Klein has the philosophy that the primary goal of a lighting designer is to bring music to life by creating a visual space for the band.
For his recent work on Papadosio’s second annual Summer Sequence at the Pisgah Brewing Company, part of creating this space relied on weaving the lighting around the band’s music to tell a visual story.
Klein relied on a variety of Chauvet DJ fixtures to transport the audience to another dimension, one ruled by the genre-bending music of the band.
Placing six Chauvet DJ Intimidator Wash Zoom 450 IRC fixtures on the upstage truss facing outward allowed for an even spread of wash that created depth and shaping on stage.
“I ran the Intimidator 450s in their highest channel mode, in order to chase the individual pixels and tie together the different sections of the light in full rig color wipes and dimmer chases,” says Klein. “My intention is to build an atmosphere that enhances the relationships between the performers and the audience, and a big part of doing this is by creating an exciting, dimensional backdrop that works as the base for all the other lighting elements to play against.”
Klein clustered six Chauvet DJ Intimidator Spot LED 350 fixtures on the mid-stage truss to add extra power to the band and back wall lighting, and to create aerial effects with gobos and prism through the haze above the crowd. Klein utilised split colours to open up a variety of looks, relying on the dimming capabilities on the fixtures to create fast, punchy colour fades that became an i