USA - Following a successful limited run world premiere at the Oriental Theatre in Chicago in March and April of 2018, Pretty Woman – The Musical made its expected move to Broadway in the summer of 2018 enhanced by a comprehensive point source audio system from KV2 Audio.
Based on the 1990 film Pretty Woman, the book for the musical was written by the film’s director, the late Garry Marshall, and screenwriter J.F. Lawton. The musical opened on Broadway in August 2018, directed and choreographed by Jerry Mitchell and featuring an original score with music and lyrics by Bryan Adams and his songwriting partner Jim Vallance. Orchestration was by Will Van Dyke with sound design by renowned Broadway sound designer, John Shivers, and long-time collaborator, sound designer and audio engineer, David Patridge.
Having used KV2 Audio gear for more than 10 Broadway musicals - including the audio refit of the Lion King - Shivers and Patridge once again chose KV2 because of the high quality, definition, ease of deployment and economy. They specified a system based around KV2s SL412 point source speaker system for the centre and two actively driven, narrow-footprint full range ESR215s at left and right and supplemented by a variety of application-defined loudspeakers from the KV2 portfolio, including the passive ESD Series and the active EX Series.
According to Patridge, “Working in Broadway theatre is always a challenge physically. Locations for speakers are often dictated by architecture such as box seats and sight lines. Fortunately, t
UK - Technical production specialists Light Fantastic Production Services supported S2 Events with a comprehensive lighting, audio and support package for a spectacular Havana nights themed event.
The networking reception was a key date in the dynamic schedule at Focus/18, the six-day celebration of design excellence that welcomes enthusiasts from around the globe. Held at the Chelsea Design Centre, London, the Focus/18 brief was to assist in the delivery of a magical guest experience, inspired by the season’s new collections; playful, bold and confident.
Delivering a rich mix of crisp lighting effects, deep colour washes and clear audio, the on-site LFPS production crew, headed up by project manager Andrew Maxted, built on the Havana theme, filling the Design Centre’s three grand atriums with a vibrant mix of tropical colour and spicy salsa rhythms.
To match the stylish nature of the venue, LFPS specified fixtures from their extensive inventory of specialist white lighting and audio products to discreetly blend against the aesthetic of the designer backdrop, providing maximum effect with minimal visual impact.
Lighting the event, the team used a selection of Robe 600 LED Wash, Mega Pointe and DL4X LED automated heads, rigged above the first-floor walkways and at roof level. The audio installation featured a distributed d&b Audiotechnik system, the smart, white finish ensuring all equipment remained inconspicuous to the guests on the ground floor.
From highlighting the oversize exotic birds and butterflies suspended in the centr
USA - Central Florida’s Action Church is on the move, with three locations already established and another set to launch later this year, all of which rely on Allen & Heath dLive systems.
First opening its doors not much more than four years ago in Winter Springs, the fast-growing upstart christened its second location two years later in nearby Oviedo, spanned out further in 2017 to another in Sanford, and is set to lay out the welcome mat at a new location in Winter Park later this fall.
John Williams, the church’s music director, also steers the development of the audio systems in use at all locations. Working in conjunction with volunteers and the Bradenton, Florida-based Crown Design Group, Williams installed Allen & Heath’s dLive systems based upon their versatility, sonic quality, budget-friendly price point, and the unified approach they brought to the church’s diverse needs and environments.
“Our production demands are extensive and demanding,” Williams notes. “That’s probably why one of the things we value most is flexibility. With dLive, the options in our toolbox have grown without having to make additional investments.”
The dLive consoles bring a level of portability to the church helping to fuel its rapid growth. Among the four existing systems in use, three can be moved about freely. At the Winter Springs location, operations are spearheaded by an S7000 control surface equipped with a gigaACE card and a DM64 MixRack outfitted with a Dante card.
Currently the site of broadcast operations as well,
South Africa - Cape Town-based Audio Engineering took delivery of their new Absen LED Screens just in time for the Lamborghini Urus launch, followed by the launch of the new Porsche Studio situated at the Cape Town Waterfront.
“We didn’t even have a moment to unbox the panels at our offices,” says Marcel Bezuidenhout, owner of Audio Engineering. The Absen gear, comprising of 84 panels, four senders, two scalers and flying gear, went straight to the Lamborghini dealership in Century City, where DWR Distribution’s Bruce Riley and Bradley Bruchhausen were on site to help set it up for the first time. DWR are the distributors of Absen in South Africa.
“Once the Absen was up, everyone was over the moon,” adds Bezuidenhout. The positive feedback continued at Audio Engineering’s next event, the launch of Porsche’s new home at the V&A Waterfront, and a couple of other corporate productions.
“The training and set-up went very well,” Bruce Riley from DWR confirms. “It was easy thanks to Marcel’s extensive knowledge in all technical aspects.”
Germany - Audio rental specialists It’s A Bird, under the direction of Cornelius ‘Conny’ Vogel, are off to a flying start with their newly-purchased Nexo Geo M10 mid-size line array.
Now entering his 20th year as a Nexo rental user, Conny Vogel added the Geo M10 system to inventory, seeing it as an alternative to the Geo S12 array that he has been using since 2008. “The new M10 weighs half as much as the S12 system, and it has significantly easier rigging,” says Vogel. “We notice a longer throw, especially for vocals, and a significantly better performance in the vocal range. Because it has a much better rear rejection, there are fewer feedback problems on stage.”
A good example of Vogel’s observations was a sell-out concert by the internationally-successful German singer Ute Lemper. Performing at Raesfeld with the Russian Chamber Philharmonic St Petersburg and a jazz band, Lemper performed to a full house of 1000 people.
It’s A Bird supplied a full complement of Nexo cabinets, with six Geo M10 and two LS18 subs per side for the main PA, and six cabinets of the smaller Geo M6 line array for side-fill. All stage monitoring was delivered by 10x Nexo PS10-R2 wedges.
“The range of this small system was considerable,” reports Conny Vogel, “the results were uniform, with a very good musical sound image. Most importantly in the case of Ute Lemper, the vocal clarity was outstanding.”
It’s A Bird provided the same system for a stadium rock cover band, playing in Nienburg to an audience of 800 (nearfield) and 3500 in th
Russia - Moscow’s new Zaryadye Concert Hall opened in style in September with a gala performance by the Russian National Orchestra. The modernist structure houses a 1,560-seat main auditorium lit by a house rig of Claypaky fixtures.
Claypaky’s Russian distribution partner DOKA was commissioned to provide technical expertise for the project and specify a lighting solution. To facilitate the breadth of events held at the auditorium – from theatre and classical concerts to conferences - the company designed machinery that required specific lighting fixtures to match. Lighting equipment is mounted on special mechanisms allowing to lift projectors up above the ceiling and handle technical maintenance without dismantling them.
DOKA supplied 54x Claypaky A.LEDA B-EYE K20 LED, 12x Claypaky Scenius Spot, 12x Claypaky Scenius Profile and 30x Claypaky Show Batten 100 LED.
“The A.LEDA B-EYE K20 is ideal for the orchestra pit and auditoriums - their new six-colour system of colour synthesis allows us to get a white colour which does not differ from a classic halogen lamp, but at the same time enables us to change colour temperature and work with tones,” says DOKA’s lighting director, Vasily Litvin. “As the stage is often in use for acoustic concerts, minimum levels of technological noise was one of the main priorities when choosing the lighting equipment. Nothing should disturb visitors while they enjoy tailor-made acoustic characteristics of the auditorium.”
Damir Ismagilov, the lead lighting designer of Bolshoi Theatre, contributed to the
USA - When describing his lighting design for the second leg of superstar Romeo Santos’ Golden Tour, Bruce Rodgers of Tribe, Inc. says: “It’s all about scale and simplicity.” The scale is immediately apparent to anyone who catches a show on the 18-city tour that began in September.
Dominating the area over centre stage is a colossal overhead truss structure that resembles a UFO about to land. Intense brightness radiates from the hovering form, courtesy of 117 Chauvet Professional Maverick MK3 Wash fixtures, which were supplied by 4Wall Entertainment Lighting.
The ‘simplicity’ Rodgers refers to may not be as instantly obvious, but once the initial awe inspired by this circular overhead panorama passes, it too becomes easy to appreciate. For all its size and power, there is no waste in Rodger’s lighting design. No distractions. No dead-end flourishes. Just a beautifully balanced blend of circles and sticks, working in harmony with a slightly convex video wall.
Rodgers, who achieved international acclaim as a production designer on Super Bowl halftime shows and on tours for stars like Madonna, uses the fixtures and video wall in his rig to create a holistic scenic image that engages the audience while supporting Santos’ performance.
“When we developed this show with Romeo, we worked to have lighting, video imagery and FX play together through the course of the concert,” he says. “We have a very talented team to help us do this on the Golden Tour, starting with the great crew from 4Wall. Then there are people l
UK - Canon recently held the launch of its new camera the EOS R at Shoreditch Electric Light Station, London. The camera giants invited journalists along to take part in an experiential experience in which they were transported to a utopian land 400 years in the future. The experience was produced by award-winning theatre company Les Enfants Terribles, known for their work on Alice’s Adventures Underground. Having provided the lighting on a range of immersive projects, White Light was called upon to supply the equipment for this particular launch.
The lighting designer for the event was Charlie Morgan Jones, who comments: “Canon wanted to launch their new camera yet do so in a way that was interactive and provided the journalists in attendance with an unforgettable experience. Les Enfants came up with the concept that a Canon ambassador was lost in the future and it was down to the invited journalists to ‘find her’.
“The set design team created a variety of spaces, including the Lab, Missing Persons Room, Museum of Curiosity, Worker’s Space and the Gym; each of which contained clues and potential pointers as to where the ambassador might be. The finale is that they find her in a space named Utopia and she does a beautiful aerial act which they photograph using the new Canon camera, thus allowing them to try out this latest model and all of its settings.”
Charlie’s own brief was to create a lighting design that not only helped tell the story and add to the immersive experience, but was also allow the camera to take the best ph
Australia - Versatility, value for money and a dash of pizzazz are some of the factors influencing the choices made by Sydney-based LD Peter Rubie when he is creating his work.
Peter Rubie has spent the last 11 years devising a wide variety of lighting design work for different types of performances but specialises in productions that are a hybrid of classical and modern/pop/rock music.
His lighting ‘choreography’ requires an intimate and up-to-date knowledge of what’s available and how it can be used to achieve different effects. He often uses Robe products, distributed by specialist lighting and staging equipment suppliers, Jands.
Robe has released a number of LED products in the last year and having been a fan of Robe’s previous LED range, Peter was keen to get his hands on them. ‘I programmed a big private lightshow launch for Jands when they released the Spiider and Spikie into Australia earlier this year and knew instantly I wanted to use them on a show. Soon after, he received a very special project from Ministry of Sound Australia to create a lighting spectacular for a performance of Orchestrated at the Sydney Opera House.
Orchestrated was designed to re-imagine some of the world’s most loved dance-floor anthems with a live symphony orchestra and a group of Australia’s most talented singers.
“Tim and his team had strong ideas of what they wanted, but having worked with them before designing MOS Club, they also trusted me to create something to emphasise and accent the music,” Peter says.
Mexico - Xcaret México, a resort and amusement park, has upgraded its hotel entertainment venue, the Teatro del Rio, with an Allen & Heath dLive system.
Due to the layout and distance between the stage and FOH, any Cat 5 run was impractical. As such, the installation included two dLive DM48 MixRacks, one positioned under the stage and the second in a control room at FOH.
Supplied by Representaciones de Audio, the MixRacks are further equipped with Dante cards and connected over two underground fibre-optic links. dLive’s powerful scene management system enables rapid, complex changes on stage, while all signals are then processed and mixed locally with matrix outputs sent over Dante to the DM48 at FOH, where they are patched to a speaker processor.
Sound engineer, Diego Andrade comments, “dLive is a complete and powerful mixing tool for both studio and live sound. It’s user-friendly but at the same time can be configured to the smallest detail, to handle the most demanding shows. With the Dante option card, the system can grow and compliment itself. It’s definitely a high-end system that guarantees the complete satisfaction of users and listeners alike.”
Additionally, the control centre consists of three IP8 remote controllers and a touch-enabled computer running dLive Director, all connected through a PoE Ethernet switch. The strip layout on the IP8 controllers follows the scene automation, always presenting relevant faders to the operator.
The head of audio at Xcaret México, Eduardo Urbina, adds, “Excellent sound, prac
UK - CPL supplied full technical production, including video design, equipment and crew, to show producers Pandora Events for a large Glambassador motivational event.
The event featured numerous presentations and awards as well as a gala dinner for Tropic Skincare in Hall 12 at the NEC, Birmingham UK.
CPL’s project manager Mike Radford, working with Lee Gruszeckyj and Karl Johnstone, composed a contemporary stage and screen design, which utilised over 200 panels of the company’s new ROE CB5 indoor / outdoor LED screen product - so new that it had only been delivered to the warehouse the previous day.
Three onstage LED screens were flanked by two IMAG screens out to the sides giving an impressive widescreen look. The central screen was made up of two pieces - an arch with a central cut-out panel - which was manually removed for artist entrances and exits for the evening portion of the event when the 2500 audience were entertained by an array of dancers and performers.
USA - Good feelings and creative energy are flowing freely on the Summer Plays On tour, which continues to fly high long past the autumnal equinox, with sold-out October dates everywhere from PNC in Charlotte, to the Grand Ole Opry, to the Royal Albert Hall in London.
Co-headliners Lady Antebellum and former Hootie & the Blowfish frontman Darius Rucker are not only friends, they also occasionally share the stage on this tour.
This kind of connectivity and creativity are also evident in the tour’s shared lighting rig, which was developed by CLLD LLC. Used by the design teams for both Lady Antebellum and Darius Rucker to create two very distinct shows, the power-packed rig features Chauvet Professional Rogue and STRIKE fixtures, supplied by Upstaging.
“This was a special project for us,” said Chris Lisle, head of CLLD LLC. “We did the rig, but each act had their own team create their shows with it. Lady Antebellum had Fireplay, and Darius Rucker had Will Lowdermilk. Both did excellent work, so it was rewarding to see how different people took the same rig in their own directions and wound up in good places creatively.”
Versatility was top of mind for Lisle when he put together the Summer Plays On rig. It was essential that the rig not only be able to create different looks, but also that it do so quickly. “The task I was given was to create a unique design that could be transformed during quick set changes from one band to the other to give the crowd two different looks,” he said.
Helping Lisle meet this
UK - It took a year of negotiations, but 2018 saw Stonehenge host its first-ever live DJ set. And lighting creative Motion Mapping, complete with a pair of Green Hippo Hippotizer Karst Media Servers supplied by A.C. Entertainment Technologies, was tasked with delivering a digital video projection show equal to the brooding majesty of one of the Seven Wonders of the Medieval World.
Up until this happening, ‘playing Stonehenge’ had proved impossible. Deep, booming bass, large crowds, and ancient stones are not always a good mix and English Heritage, Stonehenge’s current protector, had turned down numerous requests from music acts. But one Alon Shulman was perfectly placed to make the gig happen.
Shulman is a special advisor to English Heritage and a business partner with DJ Paul Oakenfold. His live DJ set pitch ticked all the boxes: the show - including Live from Stonehenge, the album of Oakenfold’s DJ set - would raise funds for English Heritage; the event would introduce the Wiltshire monument, parts of which date back 5,000 years, to a new generation; the crowd would number but 50 lucky souls; and, thanks to ‘silent disco technology’ - aka headphones - the noise impact on the celebrated shrine was zero. At last, one of the ultimate scenes was set.
In contrast, though, to the serene setting, Motion Mapping had only 30 minutes between Stonehenge closing to the public and the guests arriving to get ready to dazzle. Speed and reliability were of the essence and Green Hippo and Hippotizer delivered exactly that. Using a pair of Hippot
Spain - Starlite, which takes place at the Cantera de Nagüeles in Marbella, has been described as the best boutique festival in Europe. The music and cultural event, now in its sixth edition, has become the longest festival in the world, with more than 50 days of concerts.
It is an event for those who want to enjoy intimate concerts from global superstars in an incomparable venue. The stage itself is surrounded by 60m-high rock walls, creating a secret, hidden venue beneath the stars for the 2,200 guests.
All inventory, including GLP JDC1 hybrid strobes and KNV Arc fixtures, had to be brought up a steep hill to the former quarry, which houses a main outdoor auditorium where VIP attendees sit in eight-seater ‘Bubble Boxes’ and a second DJ area.
This was the first year that GLP’s Spanish distributor, Monacor Iberia had been involved, and they were brought in by the production company, Ilusovi Production & Services Show.
Monacor Iberia general manager, José C. de las Heras, comments: “We offered the GLP equipment for use by the different bands’ lighting designers, enabling them to modify their shows. Some LDs already had our JDC1 in their design, such as Ricky Martin, while all the other artist LDs were happy to use our kit.”
The JDC1 hybrid strobe has been designed in three sections, which can be controlled independently or as a complete synchronised unit, while the KNV comes in two variants, the KNV Cube and KNV Arc. Each housing can be combined seamlessly to provide massive fixture design options, and at Starlite the
Argentina - The Lollapalooza festival, created by Jane’s Addiction front man, Perry Ferrell, is a global entertainment phenomenon that brings the world’s hottest music acts together. This year’s festival in Argentina saw the likes of Chance the Rapper, The Red Hot Chili Peppers, Imagine Dragons, Wiz Khalifa, Lana Del Rey and so many more. Clair Brothers was there to deliver the sound to the thousands of frenzied fans in attendance.
Although the 2018 festival didn’t make it to the final day due to severe thunder and lightning storms, that didn’t dampen the spirits of Fabian Giordano, owner of Giordano Sonido - Clair Brothers rental partner in the region, who has provided audio for Lollapalooza in Argentina since 2015.
“Yes, we were disappointed about having to cancel the final day of shows, but the two days we did have were amazing. The Clair Brothers i218 is the most powerful PA system in the industry and proved it again and again this year, with a wide range of acts and musical styles performing all day long with soundchecks during the night. The complete i218 system used on the Perry Ferrell stage provided lots of headroom without distortion, which made it very comfortable when mixing such a variety of bands going on, one after another.”
The familiar logistical challenge at a festival of this magnitude is making each act, no matter how divergent in style or size, sound as fantastic as possible. This year was no different. Sonido adds: “On a single stage we can open with a DJ, followed immediately by a multi-player rock and roll ba
UK - After taking Las Vegas by storm, Channing Tatum is bringing a new production of Magic Mike Live to London this autumn. Opening at the Hippodrome Casino in November, full service technical production company Hawthorn has been chosen to supply lighting equipment to the production.
Conceived and co-directed by Tatum, Magic Mike Live is a large-scale, live production show based on the hit films Magic Mike and Magic Mike XXL. The show will see the theatre at the Hippodrome Casino transformed into an intimate 325-seat in-the-round performance space where guests will witness artists perform a 360° dance and acrobatic spectacular.
Hawthorn is supplying lighting from its extensive hire range to meet the specification of theatre lighting designer Philip Gladwell. Having designed the rig for the Las Vegas production, Gladwell has modified it to suit the intimate nature of the new venue, whilst also adding in some exciting new enhancements.
“Despite being a smaller space, we’ve maintained the same big lighting motifs that we have in Vegas” says Gladwell. “This includes a large grid of 20 Robe Spiiders overhead which form a sort of visual ceiling to the piece. These sit ever so slightly lower than the rest of the rig, making them much more pronounced to the eye. Not only are these a necessary way to get top light to the stage but, by pixel mapping them, they’re a great way to get movement without flashing lights.”
As Magic Mike Live is very different usual theatre productions, audiences can expect a lig
Spain - Ultra Enterprises has spent its second consecutive summer in Ibiza, delivering nine-weeks of Resistance at the world’s largest nightclub.
In keeping with the group’s consummate production values, a special Funktion-One Vero sound system was drafted in for each event.
Key to the success of this Ibiza run is the stunning visual and acoustic canvas it provides for the top name artists who come to perform. The Ultra team pride itself on enabling the best possible audience experience by using the best technology available.
According to Richard Milstein, creative director and director of design for Ultra Worldwide and Resistance, working with Tony Andrews and his Funktion-One team has long been a key part of achieving those high aspirations: “Sound is one of the most important components of this. Funktion-One - especially for our Resistance brand - has been our number one system for many years,” he said. “It’s our main choice of sound system. Tony always recommends the best configurations for whatever environment we’re in.”
A full Vero vertical array system was brought in to be used exclusively for the weekly shows.
The two Vero hangs - placed near the walls to prevent secondary reflections and to heighten the immersive stereophonic sound – are designed to fill the entire room. Each is topped with two V60s - hitting the VIP area right at the back of the room - and completed with three V315s, three V90s and a further V60 to penetrate deep into the cavity beneath the balcony.
During the nine
Peru - Latin pop-rock artist Gian Marco performed three sell-out shows at Lima's Gran Teatro Nacional del Perú in October, backed by an array of Claypaky Mythos2.
The lighting was designed and operated by Gianfranco Di Vitto, who specified 35 Mythos2 rigged in a seven-line array behind Gian Marco and his band.
At the core of Di Vitto's design were powerful beams of striking colours, creating fast-moving shapes and patterns on the stage.
"I needed a versatile fixture that would allow me to create a different look for each song - one that would really wow the audience," explains Di Vitto. "The Mythos2 offers a high intensity output with incredible beam quality."
Behind the Mythos2 rig, Di Vitto - who has been Gian Marco's lighting and set designer for 25 years - specified 27 LED panels that loomed above the stage, hung in erratic patterns.
"The light beams had to be able to cut through the brightness of the large amount of video wall space, and it goes without saying that the Mythos2, with their outstanding light beams, did just that," he says. "When the Mythos2 started to move, along with the LED video panels, seemingly changing the shape of the stage, they created a big visual impact. In fact, it made the crowd cheer.”
"I love the variable angle of the spot,” he continues. “I can have a wide-angle spot and a very sharp beam in a single fixture. Its CMY colour mixing is a perfect tool, with smooth fade changes. Mythos2 is the reliable choice because of its smooth performance and high intensity output. I think it's the best fi
Croatia - AV solutions provider HUST has completed the design and installation of new audio and video systems for the largest conference hall of the Croatian Catholic University (Hrvatsko Katoličko Sveučilište) in Zagreb.
HUST was commissioned to provide the main conference hall with a triple projection system and high-quality audio throughout, with a focused sound system for the centre screen.
To deliver uniform sound levels and clarity throughout the hall, HUST designed a distributed system using Community D8 two-way high output ceiling loudspeakers, with D10SUB ceiling-mount subwoofers adding extended response and low frequency impact. An additional pair of Community V2-28 dual eight-inch full-range two-way loudspeakers is positioned above the stage to focus sound on the main 5.5m wide screen.
Two further 3.6m screens and three high output Epson 3LCD full HD projectors complete the video system. For people with hearing difficulties, HUST also installed a Univox induction loop system. The whole system is controlled by a Biamp TesiraFORTÉ, with a Windows PC-based custom interactive interface.
With basic controls, users have the ability to manage the content source, audio configuration, motorized lowering of screens and room light dimming with predefined scenes. The system is managed at several different levels of administration in accordance with the privileges assigned by user name and password. Designed as a modular system, HUST has future-proofed it to be easily expandable, both at the current location and in additional remote micro-
Europe - Colour Sound Experiment supplied lighting, video and rigging equipment plus crew to the recent Tash Sultana UK and European tour.
The Australian singer-songwriter and multi-instrumentalist is wowing fans worldwide with the debut album Flow State and enigmatic one-person show.
Detroit based lighting designer Cam Anderson started working with Tash at the end of 2017 during a US tour, and evolved the current stage design with the artist to compliment the performance and style.
It includes a distinctive flown triangular truss upstage, together with a series of staggered video panels behind the centre-stage position which bring structure and form to the performance space. These elements were crafted working closely with Tash and her international production crew.
The resulting set is highly visual, and the rig can be up/down-scaled to deal with venues up to 6000-capacity and still fit expediently in one truck.
Cam then added wing trusses to reinforce the triangular shape, together with two side trusses on stage left and right.
When it came to populating the trusses with lighting units, he needed fixtures and positions to cover all eventualities, from intimate moments to ripping guitar solos and other dramatic and dynamic peaks, and “an arsenal of eye candy” to amaze the audience without taking the focus off Tash.
There were 18 Robe Spiiders on the rig - six on the main triangle, four on each of two short trusses that were sub-hung each side of it, and two a side on the side trusses.
For profiles, he chose
Australia - Adelaide Oval has been described as one of the most picturesque Test cricket grounds in Australia. Its importance on the international cricket circuit is undisputed, being headquarters to the South Australian Cricket Association (SACA). Its sporting credentials extend to other areas, with South Australian National Football League (SANFL) also calling it home and the venue playing host to Australian rules football, rugby league and union, soccer and tennis, as well as regularly holding concerts.
It has three stands, the Western, Eastern and Southern or Riverbank Stand, all constructed as part of a major refurbishment completed in 2014. The Riverbank Stand boasts a new L-Acoustics Kara system, supplied by Jands, L-Acoustics certified provider distributor for the region. The system delivers improved coverage and intelligibility, all without the need for expensive acoustic treatment.
The 14,000-capacity Riverbank Stand’s 12 stories are covered by a single curved roof which has complex rigging requirements. US-based acoustic design and consulting firm Wrightson, Johnson, Haddon & Williams (WJHW) were brought in to recommend a system for its upper tier audience areas and determined that Kara would be the ideal solution. With a throw distance requirement in excess of 50m in some audience areas, Kara provides coverage and SPL for the entire upper tier audience in a high performance yet lightweight package.
Supporting WJHW designer Greg Swindle, the L-Acoustics Applications team provided electromechanical and system support, with L-Acoustic
UK/USA - They may have their own distinctive flying saucer, but sometimes for Jeff Lynne’s ELO, taking the boat is the smarter option. “The thing was, we were down to the wire,” says production manager Richard ‘Wez’ Wearing. “We simply had no time from the band finishing prior commitments here in the UK to going onto ELO in the States. The only way to get any proper production rehearsals for the US tour was to set up everything in Neg Earth’s LH2 production facility here in the UK, then put it in a sea container and ship it straight to the US.”
Not an insignificant call? “There are pros and cons on the financial side - yes, it was a cost, but there was no time to do anything else. When we got there, we had just one set up day then straight into the first show.”
Fortunately, since the triumphant return of Jeff Lynne and ELO, which began in the UK almost six years ago, they have always used the widely experienced services of Chris Vaughan as tour director, his company CV Productions, of which Wearing is a key part, steering the production management role.
“That well-established relationship worked both ways,” says Wearing. “We in turn have built strong relationships with all the key production suppliers, Video Design, Skan, Brilliant Stages and Neg Earth in particular. If we’d had time we would have looked at other ways, but there are more important considerations than just gear; even with the gear you've got to find the ideal product. For example, we'd used Video Design before and knew their system worked and worked we
UK - Specialist illumination company LED Creative is working with lighting director Stuart Pring on the latest series of hit comedy show Roast Battle.
Filmed before a live audience on a custom installed set at the Electric Brixton Theatre, London, Roast Battle features some of the UK’s finest comic performers pitted against each other in a no holds barred verbal assault.
Helping create LD Stuart’s look for the show, LED Creative has supplied a selection of their Alpha Soft Wands, including a consignment of built-to-order 500mm units, all controlled using the company’s in-house designed BIT 8-Way Controllers.
Complementing the installation, which incorporates a range of equipment from Version2 Lights, the Soft Wands provide highly controllable, linear LED accents across the semi-industrial, ‘grunge’ set design, a fitting backdrop to the ruthless onstage battle.
Supplied as ‘plug and play’ rental units, LC Soft Wands offer a convenient way to build LED versatility into lighting designs. Used individually or in series, the fixtures are well suited to custom installs such as Roast Battle where limited access or restricted fixing points might be an issue. Available in a variety of lengths, the 30mm diameter wands are particularly effective when paired with LC BIT Controllers to allow maximum management over each individual unit.
LED Creative project manager Tim Rees says: “Stuart really does make clever, creative use of our Soft Wands. Roast Battle has a great look and our wands provide the perfect
USA - As the second-oldest professional symphony in the United States, the Grammy Award-winning St. Louis Symphony Orchestra is proud of its longevity and tradition. For the past half century, the SLSO has performed in Powell Hall, a world-class acoustic concert hall that seats over 2,600. Its acoustics are excellent for the orchestra itself but far less than excellent for amplified sound.
Until recently, spoken word for lectures and presentations was difficult to understand and sometimes came with feedback. Reinforcement for both instruments and vocalists during amplified concerts was also challenged with gain-before-feedback issues that were only partially remedied by destructive equalization. After extensive research, the SLSO found that Danley Sound Labs’ point-source technologies deliver excellent intelligibility and gain-before-feedback.
“When I first heard there was a possibility we could work with the St. Louis Symphony Orchestra I was ecstatic,” stated Mike Hedden, Danley Sound Labs president and the AV veteran in charge of designing the new Powell Hall sound system. “The SLSO has won multi-Grammy awards so being included in their consideration was a huge honour in itself.
A stereo pair of 440 lb. Danley J3-94 Jericho Horns now covers most of Powell Hall’s seats. Although they’re solid down to 70 Hz, the team installed a pair of Danley TH118 subwoofers to get down another octave. Above each Jericho Horn, a Danley SH62 full-range loudspeaker covers the farthest balcony seats. Two four-channel Danley DNA 20k4 Pro amplifiers and on