Colombia - The Suba district of Colombia’s capital city of Bogotá is celebrated for its inclusiveness, home to all social classes and Colombia’s indigenous peoples. It’s also where Iglesia El Lugar de Su Presencia wanted to make sure its message would be clearly heard and understood by everyone filling the nearly 4,000 seats of its newest church location.
Following an onsite comparative evaluation of four brands of loudspeaker systems -and later witnessing the L-Acoustics K2 arrays in use at Christ Fellowship Church in Port St. Lucie, Florida - El Lugar de Su Presencia chose L-Acoustics for its Suba campus, which celebrated its grand opening on 20 February.
Bogotá-based AVCOM, an L-Acoustics certified provider for install (CPi), integrated a full complement of L-Acoustics K, A, and X Series loudspeaker systems at the new church, which was constructed on the site of a former mall that had been leveled to make way for the beautiful worship space. Like many other projects, the Covid pandemic delayed work on the entire facility; the L-Acoustics system components were actually delivered onsite in June of 2020, but assembly couldn’t commence until a full year later.
In the meantime, AVCOM worked closely with L-Acoustics house of worship applications project manager Josh Maichele and Alex Soto, L-Acoustics applications engineer for Latin America and The Caribbean, using the manufacturer’s Soundvision software to design, implement, and calibrate a system that would fulfill the church’s high expectations.
First established in 1993 in the
UK - Spectacular sell-out lighting trail Woodyfest saw Vari-Lite VL2600 Profile fixtures from Signify deliver stunning projections, punchy colour-rich washes and breakup patterns on the rear façade of Scotland’s finest stately home, Hopetoun House in South Queensferry. These effects were augmented by far-reaching aerial light effects, created by the Vari-Lite VL10 BeamWash, which reportedly attracted the local community’s attention some distance away, and even caused some to speculate that the aliens were coming!
Woodyfest, produced by Wondrous Woods, with creative design and technical production from 21CC Group, ran for the second year within the magnificent woods and grounds surrounding Hopetoun House. The popular, and celebrated, annual lighting event took audiences on a magical journey along winding pathways, each of which led to exciting and dynamic installations, fairy grottos and waterwall projections. The 2km walk culminated with the beautifully lit, colour and gobo-washed rear façade of Hopetoun House.
Lighting designer Neill Fleming of 21CC Group, the creative producers and technical solutions providers for Wondrous Woods, explains: “We chose the Vari-Lite VL10 BeamWash and the VL2600 Profile luminaires because we knew they would be exactly right for this project. Protected from the Scottish winter elements in waterproof housing, they gave plenty of light output for a relatively low power consumption. Both the VL10s and the VL2600s performed without issues, and we found them to be reliable and simple to set up and program.
UK - Stars including The Who, Yungblud, Paul Weller, Liam Gallagher and Ed Sheeran took to the stage at London’s Royal Albert Hall in March in support of the Teenage Cancer Trust, backed by Production AV’s cameras, screens, servers and crew.
Taking place over seven consecutive nights, the series of live music and comedy gigs were performed as fundraisers for the Teenage Cancer Trust (TCT), which provides care for people aged 13-24 with cancer. It was the second time Production AV supplied kit and crew for the events.
This year’s set up comprised Production AV’s Desay M6 LED panels as a central 8m x 4.5 screen flown above The Royal Albert Hall’s iconic stage and a large, curved 23.2m x 0.9m banner of LED screen across the back of the main stage, to help drive donations. This was supported with a camera package for the relay of real-life stories and live performances to the screen. Production AV’s Sony Studio camera channels and Agile ArcLite PTZ cameras were out in force, with footage mixed on the company’s Blackmagic ATEM 4k PPU. McCrea and his team used their Barco S3-4k for switching and disguise 2x4Pro servers for the content playout.
McCrea served as PM and onsite Crew Chief, taking the helm with pre-production at Production AV’s HQ in Cheltenham, load-in at the Royal Albert Hall and onsite set up.
“The pre-production process started with conversations with Christie Lites’ Gordon Torrington, who served as Technical Manager on this project, in early 2022,” says McCrea. “We then moved onto liaising with the TCT med
Italy - When Spazio Bizzarro, a red and white big top circus tent in Casatenovo, Milan, launched its latest project In The Air, it turned to BroadWeigh for its load monitoring requirements. The project, which was conceived in 2012, is a cultural sports and social centre, offering annual courses and workshops in contemporary circus and performative arts, including street art, music, theatre and dance.
Nicola Bruni, director of Spazio Bizzarro explains: “We knew we would need a reputable partner for this venture and selected Monkey Rigging to help us devise a rigging structure for our new indoor space, Il Delado. Working with Monkey Rigging’s Andrea Mammolenti, we came up with a solution that would give us a safe system for both the big top and Il Delado - the training spaces for this project.”
Andrea adds: “The challenge was to design a structure for the hangings in the Il Deladospace and verify the general safety of the hangers in the different spaces. It was also important that those using the system understood the importance of correct evaluation in the design phase of the hanging system through the demonstration of how much a performer of aerial disciplines can actually achieve in terms of a dynamic load.”
Andrea recommended the use of BroadWeigh 2.4 wireless load cells to carry out preliminary testing before using the new structure of Il Delado. The kit was also invaluable during a series of three safety events that Monkey Rigging conducted.
“We used 2.4 wireless load cells because, having to deal with ‘live’ loads
UK - Grammy award-winning musician, singer, songwriter, actress and producer St Vincent is renowned for her visual performances, an invigorating mix of grittiness, conceptual art and superlative music - a great match with lighting designer Paul Normandale, who also has a penchant for imaginative risk taking.
Normandale designed the set and lighting for St Vincent’s most recent Daddy’s Home tour following the launch of the album of the same name. He worked closely with the artist who had numerous ideas about the style she wanted onstage, and after some creative brainstorming, Paul evolved a dynamic set and lighting scheme to bring flexibility, texture, depth, and dimension to the stage that was also practical and tourable.
At the core of the touring lighting system were 19 Astera Titan Tubes. These were fully maximised as scenic, practical and effects light sources for the floor lighting rig which was based around a 16ft diameter revolve stage built by All Access. This touring lighting / set package was installed underneath the top lighting at each venue and facilitated the fluid dramatic theatrical style scene changes and backdrops supporting the show’s dynamics and narrative.
Running fully wirelessly, 13 of the Titan Tubes were the solution for a light source on the back wall of the motorised revolve set piece.
Attached at jaunty angles to the wall with a series of spring-clips for quick and easy rigging, the Titan Tubes worked as both a solid back light fixture on one side and as blow-through in conjunction with a semi-transpa
UK - Ollie Wilkinson put together the lighting rig for the Panto performance of Snow White and Seven Dwarfs at Blackpool’s Grand Theatre.
“I took on many hats with this project,” said Wilkinson. “One of the first was to prep the equipment at Arranpaul's warehouse for the show, and coordinate with the venue regarding the rigging and weight of the equipment that was being flown on their mother grid. My next role was to manage the load in team to ensure the equipment was placed, rigged and cabled ready for the first day of technical rehearsals. I also specified the Chauvet Professional Net-X, one main and one back up, to provide key ArtNet control.”
Given the long Covid layoff, Wilkinson didn’t mind all the activity, especially when he saw the final production, a wonderfully joyful retelling of the classic tale filled with exuberant singing, dancing, comedy, and zany costumes, all supported by a vibrant lighting design that not only transformed the stage, but also covered the entire four-tiered theatre and everyone in it with colourful light.
The lighting reflected the true spirit of panto in all of its freewheeling glory. Wilkinson credits his Arranpaul colleague Thomas Beattie with making these transformative visuals come to life.
“Once the rig was up in the air, I stepped into the role of associate lighting designer and programmer, whilst Thomas served as the designer,” said Wilkinson. “We have worked very closely together over the past 15 years. We both have the same workflow when it comes to designing shows, So in th
USA - With Pearl Jam currently in the process of rescheduling its four-month North American Gigaton tour, which was postponed amid coronavirus concerns two years ago, frontman Eddie Vedder recently tested the touring waters with a brief road trip to support his new solo release, Earthling.
Backed by a band including Chad Smith (Red Hot Chili Peppers), Glen Hansard (The Frames), Chris Chaney (Jane's Addiction), Josh Klinghoffer (touring Pearl Jam/RHCP member), and Andrew Watt (producer of Earthling) Vedder’s tour spanned nine shows across six US cities throughout February.
The shows marked the first time that Pearl Jam’s long-time front-of-house engineer, Greg Nelson, manned his mix from behind a new DiGiCo Quantum338 mixing console supplied by touring sound company RAT Sound. Meanwhile, on monitors, Karrie Keyes, who has been with Pearl Jam from the start, moved from her usual SD5 worksurface to an ultra-compact SD11 to exclusively focus on Vedder, while Brett Heet mixed in-ears for the band on an SD5.
Although Nelson has been Pearl Jam’s mix engineer for 18 years, his first tour spent behind a DiGiCo desk was with the Goo Goo Dolls in 2013. “I did that tour on an SD10 and loved it, so I started mixing Pearl Jam on an SD5 that year as well,” he recalls. “Around 2017, I switched over to another console brand, but after a couple of years, I found that I really missed the workflow and sound of the DiGiCo. By that time, the company had just come out with their 32-bit input cards, which made my decision to go back to the SD5 ver
USA - Lighting designer Matt Mills is currently on tour in USA with the Californian Nu Metal, Rock band KoRn. Due to international travel restrictions the booked LD for KoRn was unable to join the tour in USA. Stepping in, Matt saw this as an opportunity to tour with his Follow-Me 3D SIX remote follow-spot system.
Having been Introduced to Follow Me-2D in 2017 on a Europe run with Avenged Sevenfold and Disturbed, Matt immediately saw what this could add to his shows: “Since then I have bought several Follow-Me 2D licenses and early January 2019 our design firm, Touch Light & Media, invested in the new Follow-Me 3D systems. We have rented our systems to several international tours, Shinedown, The Killers, many corporate events, and several high-profile political events.”
On previous shows, the band was bothered by the traditional follow-spots being at lower angles and blinding them. Matt chose to see if Follow-Me 3D could be a good solution to reducing this issue. Each band member has two Spiders at 45°
angles from the DS truss to follow them, they are very happy with the results. This set up with Follow-Me 3D including a total fixture use of 10 Robe Spiders and 14 Martin Vipers Plus also enables all the fade in/out, colour changes and blackouts to be completely in sync, with these parameters controlled via the MA lighting desk. Pan and Tilt of the fixtures remained in the hands of the Follow-Me operators via the MFM Mouse Consoles. This set up with Follow-Me allows Matt to get creative with guitar solos, intros and outros, and accent differ
USA - Both performance stages at this year’s Black Joy Parade celebration in California were illuminated primarily by ADJ fixtures, alongside a handful of additional units from sister company Elation Professional. IP65-rated fixtures were chosen by production company Islay Events for this outdoor event, which took place in the heart of downtown Oakland, CA.
18P HEX IP LED pars illuminated the performers on stage, while Hydro Beam X2 moving heads created piercing beam effects that shot out from the stage over the heads of the huge crowd. The mainstage rig was controlled from an ADJ LINK, while the PA system for the second stage utilised the Imperio mini line array system from ADJ’s Avante Audio brand.
The Black Joy Parade is a celebration of the black community’s influence on cultures past, present and future. This year it involved a parade that started at 13th Street in downtown Oakland just after noon and made its way down Broadway to a four block ‘Celebration Site’ around 20th and 21st Street that was filled with vendors, attractions and two performance stages. The roads of the site were closed for the day and the party ran throughout the afternoon up until the 7pm finishing time. Across the Main Stage and Diaspora Community stage, a continuous line-up of DJs and performers entertained huge crowds, building up to a headline performance from RnB singer Ashanti.
Technical production for both stages was the responsibility of Islay Events, a full-service event planning and production company based in Buellton, CA. The company, headed by indu
Australia - Canberra-based Elite Event Technology has made a new investment in 16 x Robe MegaPointe moving lights for general stock, which join the 16 that they already owned, purchased when the product was launched in 2018.
“MegaPointe is a go-to lighting fixture for so many entertainment and corporate event scenarios,” commented EET’s Darren Russell. “It is highly versatile, so we knew it was a solid investment with a good ROI, and that the kit will be busy all the time,” he stated, adding “it’s a great all-purpose fixture with an amazing output for the size and weight.”
EET has several other Robe products in its rental inventory, including Spiiders, Pointes, BMFL Spots and BMFL WashBeams, Spikies, LEDBeam 100s, LEDWash 600s and LEDWash 300+s, MiniMe’s, MMX Spots, DLX Spots and 600E Spots. Darren was an early adopter and started purchasing Robe products around 15 years ago when the brand was still emerging.
EET’s new MegaPointes immediately went out on several music events including the 2022 SummerSalt Festival at Stage 88 in Commonwealth Park, Canberra where they were used by multiple lighting designers including Kait Hall and Steve Granville.
They were also in action on the Red Hot Summer tour which played the same venue as part of the Unfinished Business tour, complete with an impressive line-up of Australian artists plus multiple LDs.
USA - With five Primetime Emmy nominations and four CAS awards for sound mixing, Darryl L. Frank is a household name in production sound mixing in New Mexico - a state Breaking Bad elevated as a filming location. In fact, he worked on the blockbuster AMC show. Lately, Frank has been chasing actors on horseback in the acclaimed western series 1883 and miking up Tom Hanks in the sci-fi drama Finch, which explores human-robot relations on a post-apocalyptic Earth.
Instead of six-guns or lasers on his hip, Lectrosonics Digital Hybrid Wireless keeps the peace by ensuring flawless sound even under harsh production conditions. Frank’s rig includes Venue2 receivers, wideband SMWB transmitters and their dual-battery SMDWB siblings, SMV and SMQV high-output transmitters, and up to 30 R1-series IFB receivers depending on production needs. All frequencies are coordinated using Wireless Designer software.
On 1883, Frank served as second unit mixer along with Richard Bullock Jr. as first unit mixer. The first thing Frank’s cart had to stand up to was the environment. “We were outside most of the time, so working on this show was all about embracing the weather,” Frank comments. “Rain, heat, dust, 50mph winds, you name it. We shot a couple of days in Montana where I don’t think the winds ever dipped below 40mph. This made holding up booms impossible, and so increased the number of wireless channels we needed. There and in New Mexico, there were a lot of middle-of-nowhere places. At no time did I have an issue with any of the wirel
UK - Production designer Owen Pritchard-Smith used multiples of GLP’s impression X4 Bar 20 battens and JDC1 hybrid strobes for several rescheduled UK shows on Dermot Kennedy’s recent Better Days tour. These included dates at Alexandra Palace in London before the Irish singer headed off to the States.
“Two of the Ally Pally shows were rescheduled from last year, and then a third date was added,” he explains. “We also did shows in Manchester, Glasgow and Belfast, and a couple of festivals.”
Returning to the same winning combination he had taken out with the artist when they first started working together three years ago, the GLP fixtures again formed the “absolute core” of a rig that was embellished for Ally Pally, Pritchard-Smith says. Working alongside creative director Richard Sloan and producer Peter Abbott, he adds that he set out to design a show that could be “fractured and unsettling but also perfect and beautiful.”
The decision to eliminate video content from the show had created a void that needed filling - and so he turned to the X4 Bars to create staggered pods doubling as an alternative for an upstage LED wall. “The hard lines and edges of the X4 Bar pods, juxtaposed with their ability to create soft and even colour gradients, allowed for an extremely varied show,” he explains.
“The versatility of the Bars provided a wide range of looks, from narrowing Dermot down in glitching beams to full stage-wide effects. Zooming the Bars right out also gave them the opportunity to become ‘content’, using pixel sp
USA - This year’s Super Bowl LVI at SoFi Stadium in the Los Angeles area was an inflection point for the event’s signature halftime spectacular. It was to be the first time that all of the music performers were hip-hop artists, reflecting a shift what has taken place over the last decade that has seen the genre come to dominate popular music sales, charts, and culture.
One thing that has remained a constant, though, was the event’s reliance on DiGiCo as ATK Audiotek, now a Clair Global company, once again deployed four SD5 mixing consoles to handle the complex and high-profile production.
The headliners - Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, Kendrick Lamar, and surprise guest 50 Cent - were intended to constitute what halftime sponsor Pepsi called “the greatest 12 minutes in music entertainment the world has ever seen”.
As with previous years’ halftime events, ATK Audiotek augmented the host stadium’s installed sound system with additional speakers and amplifiers loaded onto bespoke wheeled carts to accommodate both the substantial low end as well as the crisp vocal intelligibility required.
Getting the front-of-house and monitor mixes together called for a team as good as the LA Rams and the Cincinnati Bengals, who were playing the match. They found that in Alex Guessard and Tom Pesa, veteran TV music mixers who had both worked the 2017 Super Bowl halftime show that featured Lady Gaga. They in turn were paired with two pairs of DiGiCo SD5 consoles, one each for FOH and monitors and one more each as redundant back-ups. Whe
South Korea - JYP Entertainment, one of the biggest record labels and music production businesses in South Korea, has discovered and produced some of the most popular and successful K-pop artists such as Stray Kids, ITZY, TWICE and NiziU.
It was founded in 1997 by South Korean singer-songwriter Park Jin-Young (named after his stage name, J. Y. Park). JYP’s first girl group, Wonder Girls, became a commercial success and was the first South Korean group to enter the Billboard Hot 100 in 2009 when their song Nobody charted at No. 76.
Over the last couple of years, JYP Entertainment has grown rapidly. This meant that it needed to find a new, bigger studio, with larger music production rooms to accommodate the increasing numbers of artists it now works with.
The project took two years to complete and was finished just before the global pandemic started in 2020. Working with Gearlounge, all the systems had to be built from scratch and Van Damme cables were selected for all six main rooms because they carry audio sound very transparently and flexibly. Cables included Van Damme Blue Series Studio Grade 16 Pair, Van Damme Blue Series Studio Grade 8 Pair and Van Damme Pro Grade Classic XKE.
Taewon Seo from Gearlounge comments: “We recommended Van Damme Cables for JYP’s studios because we knew they would work, especially as we have a lot of artists with different music genres recording here. K-pop involves a lot of vocal recording, so Van Damme cables are a good choice since they are stable and carry all signals without any distortion.”
New Zealand - The winner of multiple architectural awards, The Michael Fowler Centre in Wellington helps to define the Wellington skyline with its tri-level glass façade and towering concrete columns, which are often adorned in colourful light.
Recently, the 2,200-capacity venue, which is the home of the New Zealand Symphony and Orchestra Wellington, reflected another core value of its hometown: a commitment to protecting the environment, when it received a lighting upgrade that replaced tungsten fixtures with a collection of 268 Chauvet Professional Ovation LED units supplied by MDR Sound & Lighting.
The three-year process began in 2019, when the Wellington City Council, the building’s owner, approached preferred technical supplier NW Group to source a lighting solution for the heat and light related issues experienced on stage by performers. After evaluating different LED options,16 Ovation F-265WW LED Fresnels were chosen and fitted to the circular acoustic reflector which sits over the stage at 9m.
Replacing the 30 tungsten 575W fixtures that had been in the reflector, the F-265WW were addressed individually and set to two-channel intensity/zoom mode, reducing the need for height access equipment.
The installation of the F-265WW fixtures were only the first step in upgrading the lighting rig within the venue. In early 2020, the venue purchased 24 additional F-265WW fixtures and had them replace the existing tungsten units located around the perimeter of the auditorium at height to provide an even wash of performance light.
Japan - Recognised as one of Japanese capital’s leading theatre venues, the Tokyo Garden Theatre is located in the city’s waterfront area within a major new development that also includes a retail mall, hotel, spa facility and housing complex. In a country where most theatres and halls operate on weekends only, the Tokyo Garden Theatre is designed to stage events every day of the week, where shows can load in out quickly, with easy access to a versatile, world-class, and permanently installed sound system.
“At my previous job, I was in charge of establishing Sendai PIT, a small live club in the city of Sendai,” explains Katsushi Kamuki from the theatre’s operation department. “We used Nexo speakers there, and I felt that their bold and powerful sound would be well-suited for the sound at Tokyo Garden Theatre. So, I took everyone involved in making the decision to Sendai PIT for a test listen before deciding to use Nexo.”
Two hangs of Nexo STM M28 and B112 are rigged either side of the stage as the main speakers, with adjacent hangs of Geo M10 and MSUB15 subs as out-fills. STM S118 subwoofers are located under the stage and PS15-R2s are used as front-fills. Small clusters of STM M28s are installed on the ceiling as delays, and Nexo’s ID24s are used to extend coverage under balconies.
Amplification and processing come from a bank of Nexo’s 4-channel, networkable NXAMP4X4MK2 powered controllers, and Yamaha Rivage PM7 digital consoles are used for FOH and monitor mixing.
Commenting on behalf of the Theatre Operation Department at
USA - For Moshe Baskin, lighting pro of the @Eagleproducionco team. music is something that can shape the movement of light. This was obvious for the audience at the historic Ritz Theatre to see (and feel!) recently when the designer set the light from his 48 Chauvet Professional fixtures in motion for Winterlude, a collective performance by some of the leading stars in Jewish pop music.
Treating his lighting rig as if it were an orchestra, Baskin created a dynamic flow of effects that moved in harmony with the music of the various artists note-for-note throughout the concert.
He worked closely with the creative team: Shaya Adler of Eagle Production Co.; Shlome Steinmetz, the show’s director and Mendy Herkowitz of Mendy H Band and Visual Live. He designed chase sequences that moved across the width of the stage like the fingers of a maestro on a keyboard. At other moments he energised the stage with a series of rotating gobos, before sending bursts of white light over the mesmerized crowd.
“With the motion and chases I tried to mirror the flow of music, as if I was visualising the tempo,” said Baskin. “I picked colours based on the energy of the music. Reds were emotional, and they really made the venue pop. Amber and white were a good combination for that high and happy energy felt throughout the show. I used white on the spots with the gobos to create that pattern effect on the stage as the position effect crossed over the stage to give it some texture.”
Eight Maverick MK3 Profile and six Maverick Force S Spot fixtures helped shap
UK - Boisdale has live music restaurants in Belgravia, Bishopsgate and Canary Wharf, combining ‘fantastic dining with world-class entertainment’.
The sound system at Boisdale’s largest property in Canary Wharf has recently been replaced by a new, all-Nexo installation comprising of speakers from the Geo M6, ID Series and ePS ranges, with amplification from 11 Dante-networked Nexo NXAMP4X2MK2 powered processors.
“We strive to offer our customers the best of everything, from the moment they walk through the door,” explains Boisdale commercial and marketing director Adam Priestly. “Alongside a premium food, drink and entertainment offering, it’s also important to curate the right atmosphere, and sound is a big part of this.
“Most importantly of course, we want performers and audience alike to experience the very best live sound, and that’s exactly what they get with NEXO.”
The system was designed by the Engineering Support Team at the Nexo campus in Plailly, France, using the company’s NS-1 configuration and performance modelling software, with the final installation handled by Oxford-based Event Production Services.
Nexo UK sales manager Andy Simmons takes up the story. “There are four Geo M620s in the main clusters in the live music area. And, of course, it’s important that every seat in the house gets a good view of the stage, so flying the L18 subs and locating IDS110 subs under the stage really did the trick.
“It’s also important that the whole audience gets even coverage of SPL and frequency resp
USA - The eight-time Grammy Award-winner and R&B superstar Usher Raymond IV recently headlined a Las Vegas residency. Opened at The Colosseum at Caesars Palace in July 2021, Usher delivered 12 shows in total – eight in July, three in December, and a final event on 1 January, 2022.
BrainHub and LMG Touring & Entertainment, both part of Entertainment Technology Partners (ETP), worked closely together and with the singer’s crew to design a larger-than-life experience featuring more than 500 moving lights, creative LED, and video solutions.
“When the pandemic first hit we did some work with Usher in our studio out in Vegas. That wasn’t based on LED setup, but we were very good at bringing team’s vision to life and serving it with a solution that directly corresponded their requirements,” says David Luchsinger, director of LED services at ETP BrainHub. “When Usher’s residency came around, his team reached out to Craig Mitchell, our managing director at LMG Touring & Entertainment [part of the ETP Group], who then involved BrainHub and LMG Touring account executive Juliana Stern.
As part of the collaborative work, the BrainHub team took charge of designing stage LED elements. “Usher’s team came up with a couple of different designs and we worked together with them to design a concept that would deliver five different scenic environments and tell a unique story for each musical act,” adds Luchsinger.
The final setup included 12 large 3D tracking ROE CB8 LED columns powered by Brompton Tessera Technology processors. W
USA - TV Network NBC recently ran a star-studded, live broadcast of the hit musical Annie. Annie Live was broadcast to a TV audience of over 5m with 350 watching in the NBC studio.
Award-winning lighting designer Bob Barnhart lit the production, evoking mood, atmosphere, and a vivid sense of time and place. Having previously worked on NBC’s live broadcast of The Sound of Music, Barnhart knew that he required a lighting fixture with maximum technical and creative potential. To that end he selected the VL2600 Profile from Vari-Lite.
“I wanted a ‘Swiss Army Knife’ luminaire. A fixture that can perform multiple tasks, without compromising on creativity,” he explains. “Live television specials can be like uncaged animals. Even with the most basic shows, we can face multiple challenges. We’re often short on time and in this case we only had four days for camera rehearsals.”
Productions like this can also be tight on budget and Barnhart was looking for a multipurpose fixture that can deal with every possible lighting task, including scenic dressing, key lighting of characters, mood-setting washes and direct face lighting for camera close ups. Space was also a constraint: “Instead of four lighting rigs, each dedicated to the individual scenes, I had to use one very tightly packed rig to light them all in turn. This naturally had an impact on the time I had with each.”
In response, Barnhart designed a lighting rig packed with over 350 VL2600 Profile luminaires: “I like to keep my lighting plots simple,” he e
Portugal - Martin Audio’s Portuguese partner LVT Audio recently supported a landmark 40th anniversary performance by rock band, Xutos & Pontapés and the Portuguese Philharmonic Orchestra with a Martin Audio MLA Compact rig.
The band itself was founded in Lisbon by the late Zé Pedro, Zé Leonel, Kalú and Tim, and the Porto-based rental company were determined to cut no corners at Porto’s 8,500-capacity Super Bock Arena.
With audio direction by LVT principal, and technical director, Miguel Lindo and support from Martin Audio’s North American technical specialist Joe Lima, LVT provided Xutos’ FOH engineer, Carlos Vales (Cajó) and system tech, Antonio (Touché) Costa with a powerful system. This comprised hangs of 18 elements of MLA Compact per side, with a further 12 MLA Mini and three MSX subs on each flank performing out-fill duties.
LF reinforcement for the main system was in the shape of 16x DSX subwoofers, set in cardioid broadside configuration, while front fills consisted of four further MLA Compact.
Commenting on his experience with the PA rig, Xutos’ FOH engineer, Carlos Vales stated, “Ever since the modular system era, Martin Audio has been a perfect match for Rock & Roll - both on monitors and PA. And MLA is no exception. With excellent definition and consistent dispersion throughout the audience area, it is an excellent PA in every situation.”
Adding his own experiences with Martin Audio’s front-line PA’s, Miguel Lindo stated, “We've done more than 40 concerts since October 2020 covering all genr
USA - To provide the Oak Ridge Boys with dynamic and reliable lighting for their recent 2022 tour, lighting designer David Boots selected the lightweight but powerful Martin Professional ERA 300 Profiles supplied by Entertainment Rental Group.
Starting life as the Oak Ridge Quartet in 1947, the Oak Ridge Boys are one of the longest-running groups in American country music. The quartet’s current line-up -lead singer Duane Allen, tenor Joe Bonsall, baritone William Lee Golden, and bass Richard Sterban - was responsible for the band’s most well-known hits including Elvira, American Made and Leaving Louisiana in the Broad Daylight.
After touring with the now-discontinued Martin MAC 250 Entour fixtures for 15 years, the group needed new, durable and long-lasting fixtures for the recent 2022 tour capable of providing an immersive and riveting experience for audiences. After working with supplier Entertainment Rental Group, David Boots, lighting designer for the Oak Ridge Boys, selected the Martin ERA 300 Profiles for their unmatched versatility, responsive programming and tour-friendly design.
“We had the Entours for about 15 years with 15,000 hours on them, and because of that reliability I really wanted to stick with a Martin product,” said Boots. “I also wanted something relatively the same size and hopefully lighter, because the whole lighting rig has to fit in the same trailer as all of our monitors, consoles and backline. The ERA 300 has really fit the bill so far. I've been extremely happy with it.”
UK - Released in 2019, the movie Joker quickly became one of the top-rated films of the year. The flick’s pop culture relevance made it a perfect fit for London-based concert promotion and production company Senbla Live Events’ ‘film in concert’ series.
As pioneers of this production model, the team at Senbla knew that translating the film into a live show would require an audio solution with a pristine level of clarity. With 25 years’ experience using DPA Microphones, Phil Wright, sound designer and front of house engineer for Joker Live in Concert, trusted the brand to deliver. Working with AV production supplier SFL, Wright chose to make it a fully DPA spec.
“I’ve always had DPA on strings, but it has been my dream to do a solely DPA show,” says Wright. “Some people were hesitant about whether it would truly make a difference, but now everybody who has heard the show has said that it’s great and there’s a significant uplift. The DPAs have made Joker Live in Concert a next level experience.”
The show features a 48-piece orchestra comprised of conventional strings, brass and woodwinds sections, with DPA mics utilized throughout. The brand’s 4099 CORE Instrument Microphones are featured on nearly the entire strings section, with exception of the principal solo cello, which has a 4011-ES Compact Cardioid microphone.
The woodwind section has 4011 Cardioid Microphones on every instrument, while the percussion section is mainly comprised of 2011 Twin Diaphragm Cardioid microphones. The two outliers a
Sweden - Club After Dark is a new supper club / cabaret concept, created by Swedish drag artist and performer Christer Lindarw, a colourful extravaganza of music and dance directed and choreographed by Hans Marklund, with music directed by Kent Olsson who is also a co-creator of the show together with Christer and Hans.
Staged at the Vasateatern (Vasa Theatre) in Stockholm, the show is lit by Mikael Kratt, who was asked onboard by Hans and producers My Blomgren and Mikael Jernberg, to craft an appropriately spectacular and dynamic lightshow for the evening, which unfolds over three acts embracing multiple musical genres.
Mikael immediately thought of Robe’s MegaPointe for this task and specified 14 of these multi-purpose luminaires to be at the heart of the show’s lighting supported by nine Robe Spiider LED washes.
Two Robe BMFL WashBeams together with one MegaPointe are running on a RoboSpot remote follow spotting system.
“MegaPointes were the first fixtures that came to mind for this show,” confirmed Mikael. “They were a perfect solution in every way.” – a conclusion he made having used MegaPointes and Spiiders on many other projects. He needed plenty of dynamics and diversity to make the show come alive with visual eloquence.
Before launching his lighting design career Mikael was a professional dancer, and in fact had previously worked with Hans as a choreographer.
The brief was to bring a fresh contemporary look to the stage but with a touch of classical and retro, a nod to the original After Dark