Poland - On a late September weekend, the 54th edition of the popular song festival, the National Festival of Polish Song, was held in the Millennium Amphitheatre in the city of Opole in south-western Poland.
This festival is the annual celebration of the Polish music scene, transmitted live by the national public broadcaster TVP to a multimillion audience. This year it was also a tribute to one of Poland's greatest artists Maryla Rodowicz, who celebrated her 50th anniversary on stage at the festival. DiGiCo’s SD5, SD12 and SD-Racks, equipped with the latest 32-Bit Mic Pre-Amp cards, played a central role in the event.
Almost three weeks of preparation and six days of intensive artist, sound, lighting and camera rehearsals took place from early morning to the dark of night, with dozens of people involved in the production of this three-day event.
The digital mixing system used for the audience PA in the venue had to work seamlessly with the television OB truck's mixers, as well as providing the highest quality sound, failsafe redundancy and ultimate reliability during the live TV feed. DiGiCo consoles were chosen to meet all requirements.
Responsibility for delivering and operating the venue’s PA system went one of the largest and most reputable Polish rental companies, Gigant Sound – Letus
"DiGiCo was an obvious choice, right from the start when the contract was signed for this event,” says Jerzy ‘Gigant’ Taborowski, owner of the company and a highly-experienced specialist in electroacoustic systems. “The high demands of t
Belgium - For lighting designers, testing their design during a show isn’t an option - but neither, in the majority of cases, is it feasible to put together a live trial.
That was the challenge facing Raphaël Ganhy, lighting designer for Gedinne Plein Air Festival 2017. Raphaël turned to CAST Software’s wysiwyg, a comprehensive design suite that incorporates virtual real-time pre-visualisation of lighting, motion, and media content.
“I used wysiwyg from the beginning to the end of the project,” he explains. “That meant spending around 200 hours using wysiwyg and all of its many functions – CAD, Design, CAD Plan, Report and so on. In total, I used around 133 DMX universes. It was a challenging, but very enjoyable, project, and wysiwyg enabled me to determine whether my ideas would work – and to find alternatives if necessary.”
What Raphaël was looking to achieve was something that can be described as innovative and ground-breaking. Where, traditionally, a lighting designer might have looked to video, they wanted to use LED pixel mapping instead. They designed a solution using 300 SGM LT-200 2m graphics tubes loaded with RGB LEDs to create a concept they called ØKUBE in which each pixel is individually controllable.
“Without wysiwyg and the support of Dino Mazza, wysiwyg’s product manager, I would never have been able to test and see if my idea was feasible,” Raphaël said. “Most importantly: wysiwyg was vital in helping us to not only meet the client’s expectations, but to exceed them.”
UK - Created by the Olivier-nominated Les Enfants Terribles, Inside Pussy Riot is inspired by the all-female punk rock group who staged a protest inside Moscow’s Cathedral of Christ the Saviour in 2012. This immersive theatre experience is currently taking place at the Saatchi Gallery to coincide with their Art Riot exhibition. Having supplied a range of immersive theatre projects already this year, White Light was called upon to supply the lighting equipment.
Inside Pussy Riot invites audience members to pull on their balaclavas, stand in the dock and experience the realities of imprisonment. The lighting designer for the show is Charlie Morgan Jones. He comments: “Inside Pussy Riot takes its audience through the complete experience of Nadya Tolokonnikova’s trials and tribulations as the founder of Pussy Riot. At only an hour long, it’s extremely ambitious; as are all Les Enfants’ shows”.
The show takes place across two galleries inside the Saatchi Gallery within a multi-purpose set. Charlie explains: “There are numerous locations used throughout the piece, such as the Cathedral, the police station, the courts along with the prison. Part of my role as the lighting designer was to help define each location. Similarly, after speaking with Les Enfants and the set designer in the initial planning stages, we decided to create a feel of heightened reality. There are a lot of scenes that are deliberately absurdist (reflecting a lot of the situations the Pussy Riot group found themselves in) so this felt like an appropri
UK - Richard Martin Lighting (RML) needed to specify a moving strobe fixture for a major motion picture company and picked Ayrton’s MagicBurst for the job.
Distributed by Ayrton’s UK distributor Ambersphere Solutions, the 240,000lm white LED strobe unit has continuous rotation on pan and tilt and allows individual control of any of the 64 pixels.
RML operations manager Steve Wells asked Ambersphere Solutions to provide a couple of units for testing. He says: “The team at Ambersphere have always been very keen to let us test fixtures in real world conditions. In the film world, our customers work in environments that are not always dust and dirt free. With some shoots running for a couple of months we don’t want to have to swap units out and disrupt filming.”
The MagicBurst’s pan and tilt capabilities meant there was no need to hang multiple units – the crew could just rig a cluster of strobes and point them to the desired area remotely, saving time and power previously required for traditional strobe effects.
On taking delivery of the new units Wells says: “We have already had a number of other requests for these fixtures. With the incredible output it delivers, it’s already proving to be a “blinding” investment.”
USA - Texas state fair’s nightly spectacular Illumination Sensation took place in Dallas from 29 September - 22 October and incorporated Elation Professional gear.
LD Nick Belley and show producers Interlaced Productions used the company’s IP65-rated Proteus series moving heads along with other Elation gear, with all production and lighting supply provided by local event solutions company Onstage Systems.
Set to music celebrating Texas heritage and American pride, Illumination Sensation was held nightly at the Fair Park Esplanade fountain and incorporated an array of lights, projection-mapped buildings and firework displays. This year’s show included lighting of the Hall of State building, expanding the length of the rig to 400 yards in total.
“The biggest challenge we have with this show is the fact that it is outdoors for almost a month,” said Scott Britt, producer and director of Interlaced Productions, who has produced shows at the fair for more than 20 years. “I saw a prototype of the Proteus Beam last January at the Elation headquarter office in Los Angeles and after seeing a demo we were convinced to use them on this project.”
Nick Belley, lighting designer and programmer for the show, adds: “We wanted to add the Hall of State into the show for 2017, and our producer and the fair approached me with a research image from the Texas Centennial Exposition in 1936 of these amazing beams of light from searchlights radiating out from the Hall of State in hopes of coming up with a modern recreation of that look.
UK - The expression ‘negative space’ might sound a contradiction terms when used in the context of lighting and video, but then when haven’t Tears for Fears challenged commonplace assumptions? Certainly not for their recent concert at show designer Alex Reardon and production manager JB Blot successfully transplanted a full-scale US arena production into this most enigmatic of venues.
“It was an unusual day,” began Reardon. “Normally when you do one-offs it’s the tiny things that get missed and then they snowball into chaos. But not this day. Neg Earth were great, Video Design were great. The band were happy. Their management were happy and the show went very well. In fact, it looks like we will be coming back to the UK for an Arena tour in May.”
Reardon chose the term ‘negative space’ to encapsulate his premise for applying LED video technology in an entirely counter intuitive fashion. “As with all my work, I stick to the holy trinity of production: aesthetics, logistics and finance. Does it look good? Is it practical to tour? And can we afford it? The premise for the LED was a response to my boredom with the ‘where are we going to put the big telly’ question. I wanted something sculptural that could contribute musically.”
‘Something sculptural’ resolved itself as two forty-foot wide flown rectangular frames of LED panel rigged at a 60° incline above the band. “We turn the processors up higher than normal to have LED video as a source of light; and critically, as shadow. There are those darker moments in Tears’
USA - Critics have hailed Great Hall as a monumental triumph of architecture. Effortlessly balancing form and function within its spacious confines, the two-story room alternately awes and inspires with its towering Corinthian columns, Romanesque arches, double staircase and a gold-ornamented ceiling that exudes the unbridled optimism of its 19th century designers.
Setting off the room’s design and making a powerful visual imprethe US Library of Congress’ ssion on visitors from the moment they walk through its bronze doors is the gleaming white Italian marble that makes up most of the Great Hall’s surface area.
Although beautiful, the marble made the design process more complex for Elizabeth Coco on 1 November when she lit the American Film Institute golden anniversary celebration at the Great Hall. Coco was able to meet this challenge with help from a collection of 120 Chauvet Professional WELL Fit fixtures supplied by Atmosphere, Inc.
Given that the anniversary event, which featured keynoter Morgan Freeman, took place inside the great hall with its marble surfaces, Coco had to light the room as well as the building exterior in all white to accent this distinctive feature. Although white lighting can be stunning, it can also pose issues for a designer.
“White is such a non-descriptor,” said Coco, a USA 829 union designer. “It can be warm or cold. It can be amber, straw, pinkish, slightly lavender, or even slightly blue in hue. Also, colour matching LEDs to be the SAME variation of a pastel colour is very difficult because of how
USA - Occupying the former site of one of America’s largest shoe factories, Craddock Terry Hotel in Lynchburg has reflected that industrial heritage in its interior design.
The hotel also boasts a distinctively modern flair with richly coloured light that washes its front columns courtesy of Iluminarc Colorist 8Qa Panels installed by Jon Daggett of Castle Lighting.
Daggett positioned 10 of the IP65-rated RGBA panels across the base of a 135’ section of the three-story building to light the columns that separate its large factory windows. Reaching up to the top story 32’ above the ground, light from the Colorist 8Qa Panels sets off the original design of the early 20th century structure, creating a sense of its scale and conveying its rock-hard power.
“The Colorist Panel 8Qa was a perfect fit for this project, because of its shape, footprint, and punch,” said Daggett. “We wanted a light that conveyed very rich saturated colors, given the powerful image that this building projects. The output of these fixtures is more than up to the task, and of course they’re outdoor rated. We replaced some older LED units that had been lighting the outside of the building with the Iluminarc fixtures for this project, and there was no comparison.”
Power was already run for the previous outdoor fixtures at the hotel, so Daggett and the Castle Lighting team integrated the Colorist panels into the existing outdoor-rated junction boxes. However, they did change the position of the outdoor units when installing the Colorist fixtures.
Indonesia - Graha Bethany Nginden commissioned the construction of the largest dome-shaped evangelical megachurch in southeast Asia. Completed in December 2016, Graha Bethany Nginden’s new facility accommodates an audience of 30,000 attendees. With the goal of providing an immersive concert-like worship experience to its members, church leaders hired CSA to upgrade its existing sound system by installing Studer by Harman Vista X Series large-scale mixing consoles.
"Graha Bethany Nginden is one of the largest churches in the world,” said Setiawan Winarto, CEO, CSA Indonesia. “Church leaders wanted to replace the old consoles with the most advanced mixers available to better serve their music and multimedia team. We were able to achieve the church’s goals by providing quality solutions, while working closely with the Harman team to provide 24-hour technical support. We are proud to be involved with Graha Bethany Nginden, and we look forward to having a strong relationship with them for many years to come."
With the demands of modern worship services increasing every year, CSA Indonesia wanted to provide Graha Bethany Nginden with versatile front-of-house and monitor systems that could handle a range of requirements—now and into the future. CSA Indonesia selected Studer Vista X Series broadcast-quality mixing consoles for their flexible routing capabilities and unmatched CPU-based processing power.
"We required mixing consoles that would give us the flexibility needed for future upgrades to the system, as well as world-class sound quality an
Belgium - The new De Krook building in Ghent is described as “the inspiration for knowledge culture and innovation”. The initiative of the City of Ghent, Ghent University and IMEC the hub of the complex is a library for the 21st century supported by a full range of facilities, including IPEM’s ArtScienceLab. The facility has been designed as an open house for all citizens to use.
De Krook, designed by architects Coussee & Goris Architecten and RCR Arquitectes, resembles a stack of horizontal plateaus. Martin Audio’s Belgian distributor FACE presented the successful technical bid for the AV fit-out for the ArtScienceLab, responding to a tender document issued by IPEM.
In proposing the Martin Audio CDD series for the Lab, FACE met the requirements for a loudspeaker with horizontal dispersion of 120° and high SPL from a compact enclosure, in order to reproduce live music and immersive sound research taking place in the Lab. The system, comprising 64 pole-mounted CDD6 (6.5") Coaxial Differential Dispersion speakers, is driven and processed by Powersoft amplification over a Dante network. Providing LF extension are four Martin Audio CSX118BF 18” compact direct radiating powered subwoofers.
The installation will also be used for wave field synthesis, a spatial audio rendering technique.
The technical installation was project managed by FACE’s Steven Kemland and Stijn Vermeiren.
Stated Bart Moens, from the Dept of Art, Music & Theatre Sciences, “Having now had time to make an in-depth review of the installation I must sa
UK - Technical production specialist Central Presentations (CPL) and producers Constructive Communications delivered full technical production for Construction’s Got Talent, a team-building / gala dinner conference event with a difference for leading independent construction and property services company Wilmot Dixon.
This was staged in the Noble Suite at the Pullman Hotel on Euston Road, London, with tailor made format partly inspired by TV talent show competitions on a quest to discover the company’s own undiscovered talent, which was interspersed with presentations and speeches.
Lee Gruszeckyj led the CPL team who worked with Constructive Communications’ project manager Ken D’Souza.
A 10 metre-wide stage with free-standing printed graphic wrap set / backdrop including the event’s own Got Talent logo was installed, complete with small thrust for the competitors and presentations. Meanwhile, at the back of the room, a Judges’ Stage with its own graphic wrap was built at 800mm high, so just raised above the dinner tables.
All the staging was also designed and built by CPL specifically for the event.
The four judges each had an iPad for which CPL created a custom touch screen interface featuring a big red digital buzzer.
Five LED screens were rigged on a scaffolding goal post structure above the stage, each with a judge’s names displayed, and each iPad was linked to its relevant screen. An additional iPad was supplied to the judges – shared between the four - with a golden buzzer surface which they could hit i
Europe - The Rolling Stones’ live shows are still known for their dynamics and power, and the recent No Filter tour featured a stunning lighting and video design that captured the essence of their performance and underlines the indelible legacy and huge influence of their music.
Lighting designer and creative director Patrick Woodroffe of Woodroffe Bassett Design (WBD) worked closely with stage architects Stufish on developing the look and feel of the No Filter tour, which used four grandMA2 full-size consoles, one MA grandMA2 light, five MA NPUs (Network Processing Units) and four MA 8Port Nodes.
Woodroffe explained: “We had very little lead time once the tour had been confirmed but worked with a great team from Neg Earth on lighting, and Solotech on video. Stufish and Jeremy Lloyd put together the scenic design and concentrated very much on the detail of rigging and mounting all the various elements to produce a composition that was both stylish and practical.”
The lighting was programmed and run by longtime Stones lighting director Ethan Weber. He said: "There were always discussions, prior to the start of any Stones' tour from the 90's through the mid 2000's, about which lighting console(s) to use. It's now a given that the show will be run on a grandMA. It's an enjoyable console to programme and run, has great reliability and availability, is powerful and looks good sitting out there and the support you get throughout the world from the MA Lighting network and other users is hugely comforting.“
“We rely on grandMA2
Switzerland - The Zurich Opera House entered the 2017/18 opera and theatre season following an extensive technical renewal that included new audio equipment, modernisation of its workflows, and fresh approaches to its sound reinforcement.
The Lawo mc²66 mixing console that was previously installed in the sound control room has been replaced with an mc²56, with a second an mc²56 also installed in the auditorium – making the sound control desk and auditorium desk mirrored consoles. Operated in mirror mode, the configurations, snapshots and adjustments of parameters that are performed on one console can also be recalled at the other. This ensures efficient preparation of performances, particularly where Microport systems are increasingly being used. Managed in this way, musical and children's opera projects planned for the future will be easier to mix in the hall.
The new Lawo mixing consoles offer 48 faders in the control room – a 32-fader console with a 16-fader extender that can also be connected to the hall console – and 16 faders at FOH, with both sharing a common core. Previously installed with the mc²66, this core remains the heart of the system and has been expanded with Wave SoundGrid with Gold Bundle, along with an additional Dante card. The capacity of the redundant routing card is 8192 x 8192 mono channels; four DSP cards provide 192 DSP channels of processing.
Both consoles can be used standalone or in two-person operation so that, for example, recordings are activated and controlled from the sound control room while the auditori
UK - Battersea Dogs & Cats Home’s annual Collars & Coats Gala Ball returned for its ninth year earlier this month, with Hawthorn on hand - or should that be paw - to deliver full technical production for the star-studded occasion. Taking place at Battersea Evolution, a Smart venue, the creative technical production expert provided lighting, sound, video and staging for the charity’s biggest fundraising event of the year.
Even with a guest list packed with some of biggest names of stage, screen and sport, it was Battersea’s four-legged friends that stole the spotlight at the Gala Ball. Battersea’s legendary Guard of Honour, a red carpet lined with the home’s dogs and their handlers, kicked off proceedings before guests settled down to a dinner by Smart Hospitality.
Guests of the two-legged variety were kept well entertained throughout the evening with both a silent and live auction as well as performances from Mica Paris and reggae and pop legends UB40 featuring Ali Campbell, Astro and Mickey Virtue.
Hawthorn used this year’s event branding as inspiration to deliver a stylish production design. Following the concept of A Night of New Beginnings, the versatile space was transformed into a literary heaven by the Battersea Special Events Team and florist Maison de Fleurs, adorned with floral displays incorporating book pages.
With this concept in mind, Hawthorn’s design needed to feature a much softer element than in previous years. For this, the company enhanced the room with extra tungsten sources and fitted
USA - Success has not spoiled Louis The Child, nor has it made this pair of Chicago-bred DJs any less daring when it comes to reshaping their distinctive brand of EDM music. Since bursting on the scene two years ago with the highly original and spacey tune It’s Strange, the duo has continued to jump head first into the creative cauldron. Rather than resting on their laurels, they show a fearless willingness to experiment with novel eclectic synths, push percussion assemblages to the limit, and in general do whatever it takes to reach new musical heights.
The same Louis The Child philosophy is at play when it comes to lighting their shows. Going into their 32 -city Last To Leave Tour, which started 12 October, the pair told the team at Creative Production & Design (Austin, TX) that they wanted a lightshow that looked radically different from the one that had been so well received on their previous tour.
The CPD team readily obliged, coming up with a design that drew much of its vitality from a new, convention-defying fixture, the Maverick MK Pyxis from Chauvet Professional.
“Given the nature of Louis The Child’s music, we wanted a show that stood out,” said Justin Jenkins, owner of CPD. “Standing out becomes a lot more doable when you have a fixture that does things that nothing else does, which is how I’d describe Pyxis. When I first saw this fixture, I knew that its centre beam, independent pixel ring, infinite pan and tilt, zoom and other features really made it different.”
Jenkins told CPD’s Kendall Clark,
USA - When the latest in a series of remodels stretching back two decades was completed in 2013 at the newly named AXIS at the Planet Hollywood resort in Las Vegas and it was announced that pop star Britney Spears had been signed to a two-year residency deal, no one - including gurus of the entertainment world, and even most of the crew - really expected it to last more than six months.
Today, with that residency wrapping up an overwhelmingly successful four-year run and other pop residencies having taken hold, the venue boasts the highest number of ticket sales in Las Vegas and, most weeks, the highest in the country. In a world of dizzying changes, one of the few constants has been the presence of DiGiCo consoles at both ends of the snake.
The other constant has been the presence of AXIS production supervision and head of audio Eric Fish. “When I first came in, this place was raw concrete,” he recalls. “It was not a facelift, it was a full remodel. Everything was redone from the speaker rig to the consoles to everything in the walls and a ton of acoustic treatment.”
The room has a storied history. It opened on the bicentennial weekend, 2 July, 1976 as the Aladdin Theatre for the Performing Arts with a run of shows by Neil Diamond. In 2004, it was the scene of Linda Ronstadt’s legendary rant in support of filmmaker Michael Moore in front of a largely conservative audience, which effectively ended her viability as a performer in Vegas. When the old Aladdin hotel was imploded in the late ’90s, the theatre remained, going through a series
UK - Overlooked by a dominating Nelson’s Column and The National Gallery, U2 premiered material from new album Songs Of Experience amongst a set of their greatest hits, at a free show for 7,000 fans in London’s Trafalgar Square on Saturday 11 November.
Introduced by the Mayor of London, Sadiq Khan, MTV Presents Trafalgar Square was the curtain-raiser to the following evening’s 24th annual MTV Europe Music Awards (EMAs) at The SSE Arena, Wembley, where the Irish four-piece were honoured with the Global Icon award.
Both events were graced by Stageco’s dedication as staging provider with Wim DeWolf and Mario Dockx handling the R&D, while Dirk De Decker managed both projects. For the U2 event, the Stageco crew of seven [plus local crew], headed by Stefaan Vandenbosch, negotiated one of the busiest tourist areas of the city to erect the company’s now-classic transparent canopy roof. The choice came directly from the event’s production manager, Chris Vaughan, who successfully implemented the product on other events earlier in 2017.
Along with the band roof, the three-day build saw Stageco construct 16 vertical 460-type towers of varying heights and widths, each accommodating 1m and 0.5m wide LED strips designed to transmit lyrics, slogans and graphical content to augment U2’s live set. The company also built four towers for PA and lighting, bridged by horizontal trussing which served the dual-purpose of suspending black drape while offering additional stability.
“Organising and co-ordinating some 20 trucks to come o
Europe - Thirty-Six Robe BMFL Spots were workhorse moving lights on the recent Rolling Stones No Filter European tour, part of a spectacular and epic lighting design created by Patrick Woodroffe.
Patrick and associate designer Terry Cook of Woodroffe Bassett design (WBD) worked closely with stage architects Stufish on developing the show’s overall aesthetic.
With many moving lights on the rig, they sought a high-powered fixture to occupy four 'slots' just below the tops of four imposing 23m high by 11m wide monolithic video towers which define the performance space.
"Patrick and I needed a multi-functional fixture and knew the positions would be hard to access and given the complexity of CDM rules and regulations and the requirement that crew be able to access the fixtures safely - a lot of thought went into the process," explained Terry. “We decided on BMFLs because they are high powered, intense multi-functional moving lights with nice sized front lenses (giving rise to the much-loved quality fat beam) that are also reliable."
The lights were used to shoot into and illuminate the audience, to create classic huge aerial looks and to beam down onto the stage and band as they worked that
While video was always going to be a major part of No Filter, it was decided at the outset not to have one large surface, instead they went with four towers – giving a more interesting look and additional depth to the performance space, as well as being ideal as classy portrait IMAG scenes for featuring the four Rolling Stone band mem
Turkmenistan - Internationally renowned lighting designer, Durham Marenghi used more than 800 Claypaky fixtures to deliver the two large-scale lighting designs for the opening and closing ceremonies of the 2017 Asian Indoor and Martial Arts Games (AIMAG), produced by Balich Worldwide Shows, held this year at the Olympic Stadium in Ashgabat, Turkmenistan.
The ceremonies, broadcast on the 17 and 27 of September to 57 countries worldwide, featured giant projection-mapped sets, pyrotechnics and sweeping light displays. For the opening ceremony, over 7,600 performers told the history of the Silk Road through music and dance, culminating in the lighting of the games' 'cauldron' which burned throughout the 12-day event.
Marenghi, the designer behind the lighting for the Rio Olympics last year, specified a large Claypaky lighting package for the AIMAG ceremonies. The rig comprised Claypaky Scenius Unico, Claypaky Mythos, Claypaky Sharpy, Claypaky Sharpy Wash, Claypaky Alpha Profiles, Claypaky Alpha Beam 700 and Claypaky Alpha Beam 1500 fixtures.
"Lighting alongside projection is a delicate balancing act, as the light levels we use are very low," says Marenghi. "For AIMAG we didn't go above 350 lux. This means that the lights we used needed to be very accurate and optically sound to create the beautiful imagery required in these large-scale productions. Claypaky has shown time and time again that their optics and reliability are well suited to these challenges."
One of the largest challenges faced by Marenghi and his lighting team was illuminating th
USA - On Tuesday, 14 November, the Atlona On Tour road show rolled into Boston for a special two-day Visual Systems Show in Marlborough, MA, where more than 75 dealers, distributors and systems integrators took in live presentations focused on Atlona’s Velocity networked control solution, OmniStream R-Type AV over IP platform, and a variety of HDR products. Seth Powell, Atlona’s resident AV over IP training expert, led most of the presentations.
Sponsored by the D.L. Henderson Company, a regional manufacturer’s representative, the event also included a three-hour Atlona Certification Course on how to configure, deploy and maintain OmniStream and Velocity systems. More than 20 attendees were certified. Atlona offers these trainings free of charge, and has been granted CTS certification for them due to providing a thorough and complete curriculum.
The road show continues with two more stops in Chicago and Boston on 28 November and 5 December respectively.
France - Aeroscopia is a museum which celebrates the contribution that the Midi-Pyrénées region has made to French civil and military aviation. As well as aircraft and themed exhibition areas, the museum features spaces for hospitality events, meetings and presentations. In all of them, Yamaha audio systems deliver smooth, turbulence-free sound.
Toulouse is known globally for Airbus, but the area around the city has witnessed over a century of aviation - from France’s first powered flight by Clément Ader, via the Caravelle (the first French jet airliner) and Concorde, to the mighty Airbus A380. Appropriately, Aeroscopia is connected to Toulouse-Blagnac airport - where many French aircraft made their maiden flights - and is within easy reach of the city.
At the heart of the museum, the 506m² l’espace évènementiel (event space) can host up to 400 guests in a cocktail configuration, or 290 guests for a seated dinner. Here, high-quality background music is delivered by eight Yamaha VXS8 and two VXS10 loudspeakers, powered by XMV 8140 and XMV4280 amplifiers.
The amphithéâtre (lecture theatre) features four VXS8 loudspeakers and an XMV4140 amplifier, while the meeting room includes four more VXS8 and two VXS5s, powered by an XMV8280 amplifier, both systems for presentations and video soundtracks.
The sound for each space is managed by its own MTX3 matrix processor and DCP series surface-mounted controllers. The system is also controlled by iPads running Yamaha’s ProVisionaire Touch app.
The system was installed by Patrick Ballan
UK - The multi-cellular controllability of Martin Audio’s MLA was put to the test recently at the notoriously difficult Alexandra Palace, when The War on Drugs played to a 10,000 sell-out crowd.
The American indie six-piece rock band, fronted by Adam Granduciel, were promoting their fourth album A Deeper Understanding - and fortunately their FOH engineer Bob Strakele had prior experience, not only of the venue but also of MLA.
“I have mixed at Ally Pally before,” he confirmed. “So when I heard that we would be doing a show there, I immediately asked our production manager [David Scheid] to get in touch with Capital Sound about getting an MLA system.”
Capital’s operations & development director, Paul Timmins takes up the story. “We have worked with Bob on a number of shows over the past 10 years, including Billy Talent, Erasure and James. So he contacted me and said he wanted us to do the PA for a band he’d not worked with before, primarily because of the Ally Pally show; then he looped me in with the production manager. What started off as being just Ally Pally then turned into two additional shows at Manchester Apollo as part of a European tour.”
Strakele was convinced MLA would be the right tool to tame the heavily glazed venue notorious for its reverberation. “Having toured with the system before, I knew that we would be able to keep any unwanted energy from bouncing around in the roof,” he said. “The drapes installed certainly helped to an extent, but I feel like the ‘hard avoid’ setting in the roof w
UK - Audio specialist tube UK returned to the familiar urban territory of Manchester’s Albert Square to help deliver the city’s 2017 Christmas Switch On ceremony, which officially fired up the city’s Christmas lights for the run up to a fun-packed festive season.
tube has been involved with the Switch-On since 2001 and has seen it grow massively in that time, so the audience now fills the entire square and the event involves multiple road closures and the traditional hoisting of Manchester’s own huge LED clad Santa onto the front of the Town Hall to oversee the proceedings!
The d&b sound system spec’d for the show was designed by tube’s John Redfern and based on the required crowd coverage and the needs of the multiple acts appearing onstage in the hour-long entertainment extravaganza headlined for the first time by a DJ – Sigala. He was joined by Pixie Lott and X-Factor favourites Yes Lad.
Radio Key 103’s breakfast hosts Mike Toolan and Matt Haslam compered, assisted by Coronation Street star Brooke Vincent, and the onstage action also included production numbers performed by the casts of four high profile musicals - Guys & Dolls, Shrek the Musical, ELF the Musical and Little Women. These either are or will be playing in Manchester for the festive period.
All artists were accompanied by backing tracks run via one of tube’s QLab systems, with Sigala playing his set live. The QLab was also used to play out a series of beds running in the background – radio-style – accompa
Canada - Radio Active Designs (RAD) Canadian manufacturer rep Zimbel Audio Productions has had a busy couple of months placing RAD UV-1G wireless intercom systems with the Canada 150 Celebration, Canadian Country Music Awards, Toronto Pride and Caribana parades and at historic Massey Hall in Toronto for the Canadian Songwriter’s Hall of Fame inductee ceremonies.
The four-day Canada 150 Celebrations at Toronto’s Nathan Phillips Square benefited from a six- drop UV-1G system that covered site-wide communication needs for the stage managers with just two antennas. The event featured more than 40 music acts including Drake, Belly, and Barenaked Ladies.
Another six-drop system was used at the Canadian Country Music awards broadcast in Saskatoon. Technical producer Neil Staite says, “The RAD comm system supplied flawless communications between our floor and stage managers over two stages, which made for a very smooth broadcast. I definitely plan on using more of it on next year’s show and on my upcoming shows.”
Because of the recent FCC auction, the amount of available UHF bandwidth will narrow considerably across North America by year end. Fortunately, the UV-1G base station utilizes proprietary Enhanced Narrow Band technology which allows each of the two transmit channels to occupy a mere 25 kHz of UHF bandwidth while maintaining the audio characteristics one would expect from a traditional FM system.
In addition, RAD bodypacks operate in the VHF range, clearing up valuable UHF spectrum for wireless microphone and IEM systems that need