UK - Star Events supplied the cavernous Mayfield Depot with seats in two custom-built arenas for the Manchester International Festival (MIF), which wrapped on Saturday.
The first was for the world premiere of Yael Bartana’s What If Women Ruled The World, the second for choreographer Boris Charmatz's 10,000 Gestures, one of MIF’s final fixtures.
Set opposite Manchester Piccadilly, Mayfield Depot is the under platform area of a semi-derelict Victorian railway station. Boarded up for years there was minimal natural light as Star Events built a single stand of 430 QP Grandstand seats. To accommodate Saygel & Schreiber’s What if Women Ruled The World set design, the system included a 166mm rake onto the existing ‘stage’ plinth and around the venue roof support columns.
The solution for 10,000 Gestures’, ‘thrilling blizzard of movement’, one of the final shows at MIF 2017, was a horseshoe configuration of 520 seats in three 333mm rake stands incorporating an upstage landing for show control.
New Order’s run of gigs at Old Granada Studios, in front of Star Events’ performance wall, also finished on Saturday, after Star had provided a 22m Orbit stage and support structures to Blink 182’s turn at Castlefield Bowl the night before.
Ahead of MIF, the company’s busiest summer in Manchester saw it supply the Courteeners post-Ariana performance at Emirates Old Trafford, the Manchester One Love event, seen by a billion people around the world, and Radiohead’s rescheduled show at the same venue
UK - Hosted in the Idyllic spa town of Buxton, huddled within the Peak District National Park, the Buxton International Festival is a celebration of theatrical and literary excellence which attracts speakers, acts and audiences in coveted numbers.
PRG XL Video supported lighting designer Mike Gunning, and production electrician Tim Ball, with a theatrical lighting package for the three operas headlining this year’s festival at the Buxton Opera House: Verdi’s Macbeth, Britten’s Albert Herring, and Mozart’s Lucio Silla.
Although its heritage can be traced farther back, the current format of the Buxton Festival has been running since the refurbishment of the opera house in 1979 - and has grown to become the highly respected cultural event it is today. Drawing crowds from far and wide, patrons of the Buxton Festival know what they want to see, and what they don’t. Tim Ball explained: “The prestige of the productions we put on at Buxton need to be of the highest standard, our audiences expect our offerings to rival anything that may be seen at the big opera houses in capital cities around the world.”
Tim has been closely involved with the festival for over 15 years, and describes the 17-day event as one of the highlights of his year. He discussed what it takes to oversee the practicalities of lighting three operas in rep at a festival like Buxton: “One of the biggest challenges we face is the schedule - we begin our load in on Monday morning and by Tuesday evening we need to be ready for the first rehearsal. This time
Europe - Phil Collins - was on the road last month (June 2017) for his Not Dead Yet mini tour, named as per his autobiography published in October 2016.
Collins’ long term lighting designer Patrick Woodroffe has created a stylish, animated lightshow, which is directed and operated on the road by Roland Greil, who also acted as the associate designer for the show - the two have collaborated on a number of projects in recent years including Adele last year, and on this one they worked closely with set and scenic designer, Misty Buckley.
On the rig are 48 x Robe BMFL Spot moving lights, a Robe RoboSpot remote control system and two PATT 2013s, all being provided by leading UK lighting rental company, Neg Earth.
Patrick has worked for the artist for nearly 20 years and this tour celebrates his return from ‘retirement’, It plays London’s Royal Albert Hall and multiple shows in the Lanxess Arena in Cologne, the AccorHotels Arena in Paris as well as shows in Dublin. It culminates in the former rock supergroup Genesis drummer’s largest ever solo show in Hyde Park at the end of the month.
The show – for which Collins is most definitely centre stage - is based around a stunningly elegant and almost timeless – but understatedly modern - stage concept with a flexible and vibrant lighting rig.
Two LED screens are an integrated part of the scenery together with some additional ‘soft’ scenic elements like an Austrian gauze, a chic silver curtain and a star cloth adding flourishes of classic stage magic.
A wide dynamic ra
Singapore - The clarity and fidelity of DPA microphones helped The TENG Ensemble deliver a stunning live performance at the iconic Fullerton Hotel Singapore. Entitled Where the River Always Flows, this debut outdoor performance transformed the Fullerton Hotel Singapore's East Garden Square into an extravaganza filled with the nostalgic sounds of Singapore's heritage music.
DPA d:vote Instrument Microphones were used to amplify a combination of western and Chinese instruments that were played during the performance. These included a cello, a Sheng and a Guzheng. Audio engineer Steve Zhang also used a DPA d:facto Vocal Microphone for the Ensemble's renowned countertenor Phua Ee Kia.
Commenting on his choice of microphones, Zhang says: "Phua Ee Kia has a uniquely expressive and dynamic voice, therefore the d:facto Vocal Microphone's high SPL handling and wide dynamic range ensured that his performance was not constrained by technical limitations, even in the slightest.
"For the instruments, the impressive clarity of the d:vote Instrument Microphone was a major advantage - as was its flexibility. This minuscule gooseneck mic can be mounted conveniently on top of clips that come in various shapes and sizes. Even for an instrument as unconventional as the Sheng, the d:vote 4099 manages to provide a solution that allows fluid on-stage movement of the musician, so that he is able to fully express his artistry."
Europe - One of the most eagerly anticipated and high profile tours to embark on a worldwide journey in 2017 must be Ed Sheeran. The show’s production company, Major Tom Limited has purchased LoadGuard hoists from LTM- Lift Turn Move to fly the entire lighting, sound and AV system. In total, LTM have supplied 68 1t and 36 2t LoadGuard motors all running at four metres/per min. The motor control system is Kinesys throughout and operated by Steve Bliss from LCR.
The fan shaped mothergrid was designed by Jeremy Lloyd of Wonder Works and is lifted by thirty 2t LoadGuard hoists. Rigged within the mothergrid are 50 1t motors from which fly the lighting trusses and AV screens including four moving lighting pods which drop down on three Liftkets on Kinesys control during the show. Unusually, the 1t motors remain pre-rigged within the mothergrid (1m deep truss from Litec) in transit between shows.
Alongside fellow rigger Omar Franchi, Seth Cook is responsible for hanging the production at every venue. He explains the premise behind this strategy: “The initial brief from our production manager Chris Marsh was a touring system that can be rigged and derigged very quickly. This is what we have achieved; on the load out, 45 min after the grid lands on the ground, the truck doors are closed. We have 55 motors in the grid but just 30 lifting it which cuts rigging time down by half. The LoadGuards have proved really robust, we weren’t sure they would cope with travelling them in situ but we needn’t have worried.
“Of course, the great benefit of using a m
The Netherlands - On 5 May 1945 the Netherlands was liberated from the Nazis. Initially the date was marked every five years with a celebration of liberation, but in 1990 5 May was designated an annual national holiday in the Netherlands.
The day is now commemorated by celebrations across the country, including music festivals held in one of the major cities of each of the Netherland’s 12 provinces. In Limburg, the festival is hosted in the city of Roermond and ADJ lighting was used to provide eye candy effects and illumination for one of the principle stages.
A historic city, that was established over 700 years ago, Roermond has a large, and architecturally-impressive, market square which provided the location for the festivities. A number of stages were erected around the square to allow a continuous program of musical performances to run from early afternoon right through until just before midnight. The line-up included a variety of high-profile Dutch pop stars, rock bands, and hip-hop performers, including Jett Rebel, The State, Stavast, Mr. Polska, Lotte Walda, Lil MG, and Gallowstreet.
For the SENA Stage, which featured a predominantly rock-focused line-up, production company Xymio decided to use 10 of ADJ’s Inno Color Beam Quad7 LED-powered moving head beam fixtures. Six of these units were arranged evenly spaced out along a truss running across the back of the stage’s roof and were used to backlight performers with richly-saturated colour washes.
The remaining four fixtures were rigged to metal pipes mounted to two truss totems.
USA - No sooner had country superstar Dierks Bentley kicked off his winter What The Hell tour, than he announced he would be extending his road show into the summer in order to reach more fans at outdoor venues. It was a wise move. The Arizona-born and Nashville-based star is currently riding atop the Billboard Hot Tours chart, playing to more than a half million fans this year. Supporting him every step of the way is a Chris Reade-designed lightshow that features 26 Chauvet Professional Nexus 4 x 4 panels supplied by Christie Lites.
Reade is flying 14 of the RGBW panels on diagonally-oriented truss structures that vary from roughly 12’ to 24’ in height. The remaining 12 Nexus units in Reade’s rig are underneath a B stage, located about 200’ from the main stage.
Arranged in a web-like pattern on the overhead truss, the mainstage Nexus panels form a matrix of light over the performers. “The panels create what I call a halo effect,” said Reade. “Basically the stage is surrounded by the Nexus units, so they give me coverage, regardless of what else is happening with the other fixtures. In this sense, they are the workhorses/ safety net of our rig; they give us more confidence to do different things.”
The light halo created with the Nexus panels also ensures good views of Bentley, one of the more animated live performers on the touring scene, as he jumps, swivels and runs across the stage in his trademark fashion. When they aren’t serving as a visual anchor, the fixtures help juice up the star’s harder rocking songs and party
USA - Whether it was someone’s first or tenth trip to the Bonnaroo Music and Arts Festival, one of the mainstays of the epic four-day weekend was the huge mirror ball tower acting as the hub of the festival.
Working with lighting designer Andi Watson and production manager William Irons, Bandit Lites once again provided the lighting for the tower with this year’s gear featuring the award-winning SGM G-Spot fixtures.
The focal point of Bonnaroo, the large rotating mirror ball on top of the tower, is actually a permanent structure that serves as a North Star of sorts to the festival attendees, allowing them to navigate more easily through the 700-acre field known as The Farm, in addition to providing a home for the communication antennae for radio, internet and more.
The tower was perfectly illuminated enduring even in the harshest elemental exposure. “The SGM fixtures are well suited for the harsh environment, being IP65 rated and having an LED source,” said Bandit project manager Gene Brian. The bright and saturated colours gave the tower an eye catching and easily identifiable look that was seen by the many festival attendees.
The G-Spot beamed colourful light all the way up the 11-story tower, a feat that Bandit’s Wayne Lotoza noted as the perfect use, saying, “They were big, they were bright, and just the right light to illuminate the tower on every Bonnaroo night.”
Europe - French Rapper Soprano – known for his hard-hitting but expletive-free lyrics as much as his massive popularity – recently toured with a new show and lighting design created by Victorien Cayzeele from All Access Design (AAD).
He specified Robe Spikies and BMFL Blades, which were supplied from leading French rental company, Dushow.
Victorien wanted a clean but edgy look for the lighting, which was also optimised for high trim heights, which is one reason the BMFL Blades were chosen. He also liked the idea of uniting Robe’s brightest moving lights with one of its smallest in size of the current range.
The stunning set design by Julien Mairesse resembled a large mountain range - riffing on the title of Soprano’s 2016 album L'Everest - which had video mapped onto it from four high-powered projectors throughout the show.
Twelve of the 20 BMFL Blades were rigged on four sections of truss above the stage, including two sloping downwards to frame the mountain range, with the other six on the front truss where they were used for key lighting the artist and his backing singers – brothers Zack and Diego. The final two were on the floor at the downstage edges to provide powerful cross light.
The 28 Spikies were positioned on a moving triangular truss section above a B-Stage, 10 metres in front of the main stage, accessed by an 8m long catwalk. Twelve Spikies were flown on the triangle, with the other 16 placed around the floor of the B-stage area where they produced excellent cage-like effects and blasted beams into the audience
UK - The National Theatre on London’s South Bank has invested heavily for the second time in GLP’s impression X4 Bar 20’s.
Lighting resources manager, Paul Hornsby, has added to the initial tranche of 18, which he purchased as soon as they first became available, with a further 20 in order to meet the increasing demand. Both batches were supplied by GLP dealer, White Light.
Explaining the rationale, he stated, “We have an extremely substantial rig at the National, and so every year, with my onsite team, we evaluate and discuss what needs replacing and upgrading, depending on both lighting designers’ requests and advances in technology.”
He confirmed, “The initial GLP purchase was the result of a combination of lighting designer referrals along with our own need to replace our ageing DLC fixtures.” And as soon as the first 18 fixtures arrived they were requisitioned for productions of Angels in America and Salomé.
Paul Hornsby’s introduction to the X4 Bars had been on GLP’s stand at last year’s PLASA Show in London. “I was extremely impressed and had never seen a unit like them - they seemed to have a lot of features. I had also seen them in use on other shows and heard nothing but praise from lighting designers who were quick to shout about their capabilities,” he continued.
The National Theatre has invariably turned to White Light to meet its requests over the years, with Paul Hornsby stating, “We are aware they can always offer us the very latest fixtures available on the market - such as the
Australia - The Brolga Theatre in Queensland’s Maryborough is a typical regional venue – its 900-seat proscenium arch theatre hosts an international ballet troupe one night, Jimmy Barnes the next, and a local dance school the day after. Though the venue is just 17 years old, changes in technology mean replacement lamps are no longer available for their wash lights, leading the staff to assess how to upgrade for the future. The future, as they see it, is Elation’s Platinum Seven RGBWAC-UV LED wash.
“We knew we have to move to LED and intelligent fixtures,” said Robert Haigh, operations technician at the Brolga. “We could afford to replace our wash, but not our profiles, so it was an easy decision to go to a moving fixture that could provide a wash, and in the case of Elation’s Platinum Seven, work as a profile in many senses.”
Twelve Elation Platinum Sevens have now replaced 48 fresnels in the Brolga’s rig, leading to big changes in the crew’s workflow. “Since we’ve installed the Platinum Sevens, we haven’t had to focus a profile,” reported Robert. “We can focus the Platinum Sevens down to an 800mm circle on the floor from our wash position, so we can quite happily use them as a drum or lead singer profile. For a rock band, for example, we get all of the benefits of movers from the bling point of view, but when we turn off the wash, we can refocus as a profile.”
The Elation Platinum Seven uses 19 25W LEDs in red, green, blue, white, amber, cyan, and UV to provide lighting techs with incredible flexibility. Its 5 to 5
UK - The Field of Avalon at Glastonbury has been accurately described as a “festival within a festival”. With its mix of folk and roots music, wholesome food and chilled out atmosphere, it’s easy to see why. To provide warm and engaging lighting for the field of Avalon’s main stage this year, returning provider GLS Lighting specified a collection of Rogue and STRIKE 4 fixtures from Chauvet Professional, in addition to 10 Chauvet DJ Festoon fixtures.
“As the Avalon Stage serves as a key focal point not just within the Field of Avalon, but also within the Glastonbury festival itself, we wanted to create some big looks to make the stage stand out even more this year,” commented Ian Turner, GLS Project Manager. “With our curated selection of Chauvet Professional fixtures, we were able to provide excellent support to bands such as Sophie Ellis-Bexter and Busted.”
The GLS team, headed by Marcus Bartlett and John Curtis, positioned 12 Rogue R1 Beam, eight Rogue R2 Wash and eight Rogue R2 Spot fixtures on upstage trussing. While the R1 Beams were selected for their punchy beams and compact size, the combination of the saturated colours of the R2 Wash and the powerful beams and gobo effects of the R2 Spot provided the lighting technicians at the Avalon Stage with a versatile toolbox of looks from which to accompany the performances with incredible atmosphere.
Given that the stage was up and running during all hours of the day, one of Turner’s key considerations was ensuring no show atmosphere was lost for the performers playing during the s
USA - For the second major tour in a row and the band’s 40th Anniversary, FOH Engineer Robert Scovill has specified an EAW ADAPTive sound reinforcement system to support Tom Petty and the Heartbreakers. Escondido, California-based Sound Image is providing the crew as well as the system, which is comprised of Anya array and Otto subwoofer modules, supplemented with Anna delay towers for stadium shows.
The 270-degree arena rig consists of 56 Anya for the main left/right arrays, hung in a 12-8-8 column configuration per side, a centre cluster of six Anya and 14 Otto subs spaced across the front of the stage. The majority of the tour will utilise this system although for stadium shows, like Wrigley Field in Chicago, Scovill has specified a delay ring made up of four towers of 12 Anna enclosures to supplement the main rig.
“As we modelled a couple of stadiums, it was clear that improvements in coverage could be obtained through judicial use of delay towers,” adds Scovill. “They are used primarily to reach up under seating levels blocked by overhanging structures. The centre cluster of Anya provides imaging for the audience on the main floor. I do not use any toe-in on the main arrays.
“This opens the centre up reducing overlap of the main arrays into the rear corners of the venue while also providing a defined area for me to work the centre cluster. Coverage for the centre starts with a blending of the front fills but ends behind me at FOH. Where the coverage ends is critical as it has to stop right where the main left/ right arrays begin to
Europe - You can take the band out of Southern California but you can’t take So Cal out of the band. Completing the European leg of their world tour in Birmingham last week, Linkin Park’s One More Light is a departure from the group’s earlier work. Smooth, subtle, and sometimes moody, the band’s evolving sound is beautifully complemented by the tour’s lighting designer, Celine Royer. Key to her design are 74 of the new Solaris Flare Q+ fixtures.
“We wanted to tell a story with the lighting, reflecting the emotional journey that happens throughout the night,” says Celine. “A geometric look, with Flares everywhere, is a nod to the band’s metal roots, while subtle hues are programmed to catch nuances in the band’s newer material. We have the Flares on upstage, midstage, and downstage moving trusses, as well as sidefills and uplights.
“I’ve used Flares before and knew what to expect, but the new Flare Q+ is brighter by far – I’ll often run them at partial power depending on the segment. The extra output ‘headroom’ is great for dynamic and impressive crescendos. We use the Flares as washes, strobes, and blinders. I love using them with pixel-mapping, helping bring the motion alive. Everything is time-coded and controlled by a Grand MA2.”
Celine is a 14-year veteran of lighting design and programming. She has worked closely with renowned French lighting designer Dimitri Vassiliu and has numerous touring, film, and TV credits worldwide. Production director for Linkin Park is Jim Digby, who is also executive directo
Finland - Kaiku opened in Helsinki in 2013 and quickly rose to the forefront of the city’s lively club scene. Its popularity is perhaps founded on the prominence of its owner, Toni Rantanen, who has been masterminding the scene by founding and concurrently operating several clubs since the early 2000s.
But while his name may have made people take notice, it is the consistently awesome parties that evolve every night at Kaiku that pack it to capacity (400 people) and keep A-list DJs at Rantanen’s beck and call. Recently, Kaiku upgraded its already excellent sound system to a complete Danley Sound Labs system, including loudspeakers, subwoofers, amplifiers, and processing.
Kaiku’s new system consists of four Danley SH-46 loudspeakers for full-range content. The SH-46 uses acoustical wizard Tom Danley’s patented Synergy Horn technology to deliver incredibly accurate and undistorted content even at the high volumes required of a club system – volumes where conventional loudspeakers inevitably begin to distort and thus fatigue listeners. In contrast, the Danley SH-46s sound pleasant and inviting even after an entire night of dancing!
Low-end support is hugely important, and Kaiku uses three massive Danley DBH-218 subwoofers to move the floor – and the souls – of its congregants. Unlike conventional subwoofers, which essentially woof out deep frequencies that are only casually related to the frequency content of the program material, Danley subwoofers are famous for their fidelity. Their deep output is thus musical and satisfying, warm and h
China - Almost 400 L-Acoustics cabinets were deployed as part of a mammoth PA system for Jacky Cheung’s 2017 A Classic Tour, which took in 21 venues, both indoor and outdoor, across mainland China at the beginning of the year, and continues through Hong Kong, Sinapore and Taiwan.
The show is performed in the round, with both complex stage machinery and the task of ensuring complete coverage of the audience offering a challenge for rental companies Haona, who supplied the system for the China dates, Unusual in Singapore and Taiwan’s Winly, who worked alongside L-Acoustics Chinese distributor, Rightway Audio Consultants to realise a complex design.
A Hong Kong-born singer, songwriter and actor, Jacky Cheung is one of the city’s ‘Four Heavenly Kings’ – a term created by Oriental Daily News in 1992 to describe the four biggest male entertainment artists in Hong Kong. Over his 30-year career, his popularity has known no bounds - he even set a Guinness World record in 2011 for the largest combined audience for a live act in 12 months, with a total audience figure of over two million, for his Jacky Cheung ½ Century World Tour.
For A Classic Tour, Cheung’s live performances were an electrifying three hours that combined his vocal talents, which have earned him the moniker ‘God of Songs’, with elements of both the theatre and circus.
The show design included a considerable number of moving elements for both lighting and staging, which had an influence on the number of cabinets used, and their position. “Due to the complex st
UK - As part of British Style Collective’s three-day fashion extravaganza staged at Liverpool’s Echo Arena, VER London supported the production crew on Rock the Runway, a brace of daily show-stopping performances mixing models and dancers in a fashion-meets-music spectacle.
Built as a full-on rock and roll style production, conceived and staged by Andy Turner with styling by Karl Willet and music by Des Lambert, the installation featured a full height, up stage LED video wall that delivered stunning content created specifically by Colin Rozee of ZeeFX to help intensify the audience experience. A variety of automated heads and effects were also incorporated to allow maximum creative control over the on-stage illumination.
Working closely with LD Nigel Catmur, the VER Lighting department provided a mixture of Martin MAC Viper Performance, Profile and AirFX plus over 50 Robe Robin Pointe fixtures, perfect for dissecting the on-screen visuals. Showline SL Nitro 510C LEDs were also throughout the trussing structure, to add instant, precise colour changes and intense effects.
VER lighting business development manager, Lester Cobrin comments: “It was a great honour to be involved with this very high profile show. Lev, Nigel, John and the rest of team rose to the many demands involved, executed and smashed it! They produced a truly world class event. I take my hat off to them.”
Speaking to VER, the LD reports, “The show is not your straight catwalk show by any stretch of the imagination. It is a ‘full on’, in your face’ spectacl
UK - Long renowned as a home of artists and inspiring galleries, the Cornish resort of St. Ives has now discovered the art of sound, with new bar restaurant Beer & Bird the canvas for a subtly rendered sonic palette, delivered by a Yamaha Commercial Installation Solutions (CIS) installation.
Beer & Bird is an independent, family run business which grew out of John’s Wines and Spirit Specialists - a long-established Cornish retailer of high quality wines, spirits, beers and ciders. Opening a restaurant where patrons could enjoy the company’s drinks with delicious, locally-sourced food was a logical progression, with Beer & Bird opening its doors in April 2017.
Proprietors Tom, Sam and Paul Hanson were determined that the quality of the ambience should match the quality of its fare, so they approached Penzance-based Acoustic Streams, a company renowned for its high-quality audio systems.
“We are used to selling very high end residential systems, so when they approached us with the brief that they wanted ‘something special’ for Beer & Bird’s background music system, we knew that we could fulfil the brief. It was just down to choosing the best solution,” says Acoustic Streams’ Kenny Thompson.
“Being in the heart of one of Cornwall's most important tourist towns and artistic communities, they wanted to be regarded as the ‘cream of the crop’ in St. Ives and to make a really good impression on a wide demographic.”
As luck would have it, while Kenny and the Acoustic Streams team were looking at various op
UK - ∑(No,12k,Lg,17Mif) New Order + Liam Gillick So It Goes is a bold and original collaboration between gurus of electronic music New Order and conceptual visual artist Liam Gillick, which is orchestrated by Joe Duddell and presented for the 2017 Manchester International Festival on Stage 1 at the Old Granada Studios in the city.
Lighting was designed by the band’s long term LD Andy Liddle, with equipment supplied by Blackburn-based rental specialist HSL, project managed by John Slevin and co-ordinated on site for them by Andy Chatburn.
The show presents selected deconstructions picked from New Order’s vast body of work, played by the band and a 12-person synthesiser ensemble from the Royal Northern College of Music.
Gillick designed the stage set comprising the 22.5m wide by 7m high structure upstage of the band that houses the 12 synth players. This was engineered by Star Events and, together with the trussing providing the overhead lighting positions, had to be shoehorned into the Studio’s 24.5m wide 1979 Space Frame superstructure, a delicate operation undertaken by UK Rigging.
A striking large-scale louvre system, created by Scott Fleary, is integral to the set and sits in front of the 12 keyboard cubes, fabricated by Hawthorns and installed by Take One Scenic. When closed and in transition, the 12 louvered panels act as a front projection surface and when open, a vibrant array of lighting and other visual effects are revealed.
“Many inspiring people and excellent companies have united to make this production happ
USA - Chris Lisle has designed the production and lighting for Jason Aldean’s current They Don’t Know tour and is using Elation Professional gear as part of a large lighting package. The country music singer has been on the road since late April and is playing a variety of venues across North America through the summer and into the fall.
Jason Aldean has 19 country-chart number-one songs to his credit and was named Entertainer of the year by the Academy of Country Music in 2016. The They Don’t Know tour and album of the same name have been highly anticipated by his wide fan base, who admire the entertainer for the range of emotions in his shows and blend of musical styles, anything from traditional country to more upbeat rock, R&B and even rap.
“This is my first tour with the Jason Aldean camp,” production designer Chris Lisle stated. “The entire Jason Aldean team has been great to work with - from Jason himself to management to the lighting crew. They are all top-notch pros that put a lot of heart into what they do.”
Lisle has over 350 fixtures at his disposal as part of an industrial design that centres on the hexagon as a symbol of blue-collar grit and toughness. The six-sided hexagonal theme, which plays into everything from trussing to staging to video screens, gives a beautifully layered depth to the stage while providing a useful variety of angles from which to light the set.
The lighting package is being supplied by Bandit Lites and includes Elation ACL 360 Bar effect lights, Colour Chorus series LED
UK - This year, Projected Image is lending its skills for an exclusive sponsor event in the lead up to Lumiere Durham - the largest light festival in the UK. Held every two years, the festival attracts 200,000 people to the historic city of Durham and features a variety of light installations around the city.
This will be the first year Projected Image has been actively involved in the event where designers from around the globe pitch for space for their temporary lighting installations.
The piece de resistance in 2015 was a joint video piece led by Ross Ashton called The World Machine. The 10-minute video featured the work of the Cosmology Department of Durham University and the Ordered Universe Project. It combined theories on the modern view of the origins of the universe, with medieval stylings and music.
Projected Image is teaming up with lighting designer Graeme Sewell from Vortex Lighting by providing free full-colour glass gobos for a sponsor reception. Their custom gobos will be used in conjunction with projectors to cast large images inside the venue. Last year, Vortex worked with Carols of Light at Durham Cathedral to brighten up the iconic columns and vaulted ceiling.
Ian Spoors, marketing manager of Projected Images stated: “We are very happy to be supporting the exclusive sponsor event by providing the glass gobos and transforming the venue. Lumiere Durham is a festival very close to our hearts and we are delighted to be doing our bit for the local community.”
Europe - Bryan Ferry is on tour across the USA and Europe, including various dates on the festival circuit, carrying a dLive S Class mixing system from Allen & Heath to manage monitors.
Supplied by Britannia Row Productions in Europe and Clair Bros in the USA, dLive was selected by monitor engineer, Tom Howat. The system comprises a S5000 Surface with DM64 MixRack, DX32 Expander Rack, and two IP8 controllers for remote access. Howat has used dLive on previous tours, including Paolo Nutini and Morrissey.
“Once again, the dLive delivers clarity and precision. Mixing in-ear monitors for a 10-piece band comprising some very well-known and experienced musicians requires a monitor desk that will deliver a detailed, full sound. dLive’s built-in compression and FX make a huge contribution towards achieving this, along with plenty of scenes - 50+ and counting.” explains Tom Howat.
dLive’s recent firmware updates, v1.4 and now v1.5, have provided new features that have freed up Howat’s time and enabled him to focus on Bryan’s mix during the shows. He is using the new Dyn8 units, new FX units, tube pre-amp modelling features on all 4 saxophones, and the extended choice of compression – 16T on most instruments and Peak Limiter 76 on all vocals.
“I’m loving the new features, particularly the Dimension Chorus on acoustic guitars! The enhanced level of recall filtering in v1.5 is a major step forward in the flexibility of the scene automation,” continues Howat. “Bryan’s monitor mix requires constant, active mixing throughout each
Europe - Philips Lighting has announced that its new Philips Vari-Lite VL6000 Beam luminaires are playing a central role in the lighting design for Depeche Mode's Global Spirit tour.
Lighting design for the tour is by Sooner Routhier and Robert Long of US-based SRae Productions. Associate lighting designer Brian Jenkins programmed the show for SRae, while lighting director Manny Conde is responsible for the lighting on the tour. The lighting equipment is being supplied by UK-based production rental specialist HSL Group.
The lighting designers worked closely with Depeche Mode's long-time artistic collaborator and production designer, Anton Corbijn, whose design for the band's latest album Spirit underpins the show's creative concept. The album design features heavily brush-stroked painted figures holding flags, and this motif is emphasized in the production design by a rectangular video wall upstage, while a runway extending out into the audience from stage right forms the 'flag pole'.
While Corbijn left the fixture selection to Routhier and Long, he did make some key requests in the design brief, as Routhier explains: "Anton stated that he wanted an 'industrial' look and that extended to the fixtures in the rig. Robert and I were looking for fixtures that could fit our scenic element, since we were working with a static, rectangular LED video wall upstage."
This quest led the lighting designers to consider a new light that they had heard about - the Philips Vari-Lite VL6000 Beam. "Neither Robert nor I had seen them before," says Routhie
Belgium - Lighting and visual innovators Painting with Light were approached to design a special feature for the current Black To The Future art exhibition, which is being organised by art collective Het Labo and staged at the C-MINE cultural centre in Genk, Belgium.
The environment is a redeveloped coal mine once the pulse of local industry, now tastefully restored and again serving the community meaningfully as a cultural centre and creative hub for media and tech-related companies and the LUCA School of Arts.
The Het Labo logo is a lighthouse - so, it was a no-brainer for Luc Peumans and his Painting with Light team, who decided to imagine a ‘real’ lighthouse utilizing a high-powered beam luminaire and one of the two former mine head elevator shafts that still dominate the C-MINE site.
A Vari*Lite VL6000 Beam was chosen to deliver the power and projection needed to make the installation impressively high-impact.
The luminaire was specified by Luc himself and is positioned on top of the tallest of the two mine heads, 63 metres in the air. The fixture was supplied by Belgian Vari*Lite distributor Face, who were very happy to partner with Painting with Light for the project.
The beacon-like VL6K Beam is perfect for the application and can be seen for many miles around on a clear night, adding interest, attracting people to check out the expo - and prompting numerous chats via social media channels.
The luminaire has a large 14” front aperture and utilizes an exclusive new Philips ellipsoid reflector array system to