UK - Adlib supplied two Midas consoles for the latest UK and European tour by lively U.S. punk-pop band All Time Low, continuing a long-standing working relationship with the band and their engineers Phil Gornell at FOH and Ricky Fernandez on Monitors.
The three weeks of dates were a ‘teaser’ for the band’s forthcoming and much anticipated album, The Young Renegades, released in June.
Adlib’s new Glasgow based Scottish division supplied L-Acoustics racks-and-stacks to the two wildly enthusiastic Scottish gigs – at Glasgow Academy and Edinburgh Corn Exchange - together with technician Andy Russell.
"It's always good to work with Adlib in any capacity," says Phil who is also from Liverpool where Adlib is headquartered. He has worked with the company on a variety of tours since 2008.
"Having the consoles with us throughout the tour gives complete continuity on the control side across the wide variety of venues on the itinerary, and having the ProX to hand enabled me to get the best out of the many different house systems we encountered,” he stated.
Phil, also a studio engineer with his own facility in Sheffield, started specifying the ProX a couple of years ago, initially to mix a Bring Me The Horizon tour, with sound equipment also from Adlib. Before that he was a keen PRO2 fan - until the amount of inputs required passed a certain level making an upgrade necessary.
Currently he's using 72 channels - quite a lot from a four-piece band with one additional musician onstage.
The band are very particular about
UK - Comedian Russell Howard, is clearly in record-breaking mode at the moment with his biggest global tour yet, Round the World. He recently completed a sold-out 10-day run at the Royal Albert Hall, smashing the record for consecutive performances at the venue previously jointly held by Frank Sinatra and Barry Manilow.
The same show also took the record for the largest number of EM Acoustics HALO-C elements – 110 in total - for a single show. System design and equipment supply was courtesy of RAH veterans, Dave Shepherd (who acted as system tech) in conjunction with Delta Sound.
Delta Sound’s senior project manager and sound engineer, Stephen Hughes, explained that the Round the World tour wasn’t just named for its global reach, but also for the fact that the entire show is performed in the round, and therefore the production required a sound design capable of meeting those requirements. They turned to Delta Sound thanks to their long-standing experience in the venue.
“Our extensive use of HALO-C for all our other configurations in the venue, not to mention the fact that it is now the RAH’s installed PA system, made it a natural choice for the final system design,” said Hughes. “The use of low-flying screens and pyrotechnics added to the challenge of making a 360-degree experience sound crystal clear, despite the competing technical resources in the air and the venue’s famously challenging acoustic.
“However, HALO-C is renowned for its laser precision and accuracy and we are very experienced in the venue, so we were confiden
USA - Fox Sports recently refitted Stage B at its Pico Studio in Los Angeles with nearly 100% Elation Professional products, an energy-efficient LED-based lighting system designed by award-winning Victor Fable with lighting supply by Kinetic Lighting. The new lighting system includes a host of Elation broadcast-optimized lights including one of Elation’s latest LED wash solutions, the Fuze Wash Z120, a PAR moving head with 120W RGBW COB LED engine.
The Fuze light plays an important role in the install and is a fixture that LD Victor Fable is especially happy with. “I had given up on finding a light that had the same characteristics as a VL5, which has been a cornerstone of countless shows,” he says. “That changed when I was introduced to the Fuze Wash Z120.”
On his search for a new colour-changing wash light with unique on-camera aesthetics yet one that was LED-based, Fable paid a visit to Elation’s demo room in LA to see what was on offer. “There were 10 or so other products in the demo room and my eye went right for the Z120 and pretty much stayed there,” he said. “The Z120 fills all the roles for me that the VL5 would play even though it’s an LED fixture whereas the VL5 is an incandescent. After a couple of dozen music shows, a few talk shows and 6 months of daily work at Fox Sports Stage B, the Z120 has proven to be one irreplaceable tool.”
Other Elation lights employed at the broadcast centre include white light DW Fresnel and DW Profile luminaires, Colour 5 Profile LED ellipsoidal spots, TVL CYC RGBW cyclorama wall wash
China - Audient has announced that the first ASP8024 Heritage Edition console to arrive in China has been installed at Shanghai’s Music King Studio. Sitting at the heart of the upgraded studio complex, the 24-channel British analogue console completes the studio’s upgrade, which has seen a number of prestigious clients pass through its doors.
Associated with Sing! China and The Voice of China, Music King Studio boasts a healthy list of engineers and clients. “Others who use our studio - or are affiliated with our engineers - are Luca Bignardi, Anthony Kilhoffer, Kanye West, Jay Chou, James Li, Vicki Zhao, Jeno Liu, Della, Darren Wang and lots more,” clarifies marketing manager, Mr Lin. One of the champions of the flagship desk with was mix engineer Weiwei Jin, who used Music King Studio for recording and mastering the sound effects for the opening ceremony of Shanghai Disney Resort. “Disney is now turning into a regular client,” says Mr Lin.
Originally designed to be a mastering studio operating solely in the digital domain, the installation of the Heritage with Dual Layer Control (DLC) has transformed it into a hybrid setup – a good decision, believes Mr Lin. “It has improved the sound quality hugely and is very easy to work with,” he says.
Comprising a live room, control room and vocal booth, the upgraded studio and its new addition have already had the seal of approval from Music King Studio’s Mr Ming, who says, “The Audient ASP8024-HE is the dream piece of all the producers,” adding, “Not only is it great-
USA - Ted Baker is an upscale clothier headquartered in London with stores throughout the world. It recently opened a new location in the fashionable Soho district of lower Manhattan in New York City. The location is unique because Ted Baker teamed up with Pop International Galleries so that the store would serve double duty: part traditional retail store and part cutting-edge art gallery.
Ted Baker also hired Essential Communications, a New Jersey-based A/V integration firm that specializes in upscale hospitality and restaurants for which sound quality and the sound system’s visual aesthetic must support a sophisticated brand image. Based on Ashly Audio’s unparalleled support and reliability, Essential Communications installed an Ashly nX4004 four-channel amplifier and an Ashly KLR-2000 amplifier.
“Ted Baker stores have a cool, retro feel, and high-quality audio is a priority for them,” explained David Schwartz, principal at Essential Communications. “We turn to Ashly amps in situations like this because the audio quality meets Ted Baker’s expectations and the gear is rock solid. We’ve been installing Ashly amps all over the country, and we’ve had zero problems with them. They work out of the box and keep working long after we’ve turned things over to the client.
“When we’re designing a system and characteristically trying to fit a square peg in a round hole, the tech support at Ashly always has a solution. They know us by name, and I know them by their names. Ashly is a great size: big enough to deal in volume and yet small e
USA - The 59th Annual Grammy Awards last month was a confluence of stunning performances, controversies, and surprises. In collaboration with production designer Brian Stonestreet, lighting designers Bob Dickinson and Noah Mitz created a visual delight, capturing the mood of a wide range of musical genres including the stunning tribute to Prince.
Every year since its introduction in 2013, the super-bright Solaris Flare has played a key role on the Grammys. With an average of 20 acts per show, that’s 100 performances, each with its own distinct look, proving that the Flare’s versatility is second to none.
Says lighting designer Noah Mitz, “The Flare has become the de facto standard for LED strobes on all of our shows. They are our go-to option for their intensity, reliability, and excellent color rendition on camera.”
“We use the Flares to add specific tempo information to music,” adds lighting director Patrick Boozer. “There is always a lot of change in television and schedules are very compressed. Having a dedicated system of Flares to pull out specific musical moments allows us to cue very quickly.
“The Flare has been an awesome tool in the field and, with its added wash light and pixel-map capabilities, a major upgrade over previous generations of strobes. I've always been particularly impressed by the solid performance of the Flare – from its smooth dimming curve to its reliability. If you are going to pop 150 strobes to full in the crescendo of a ballad, you really need to have faith that the tool is going to perform w
UK - Let’s Sing and Dance for Comic Relief came to a barnstorming end this weekend with The Chasers dancing and singing their way to victory with a Wizard of Oz inspired routine. Aired live from BBC Elstree, the show was lit by Roger Williams with support from Richard Martin Lighting.
The run-up to Red Nose Day officially started a few weeks ago with Let’s Sing and Dance for Comic Relief kicking off proceedings. The show, presented by Mel Giedroyc and Sue Perkins, saw various celebrities going all out with both singing and dancing to cover iconic music performances.
Over three weeks of heats, acts were whittled down to the six final performances aired this weekend. Throughout the run there have been many memorable performances including Rickie Haywood Williams & Melvin Odoom who took on pop royalty with a medley featuring some of the best from the Fresh Prince himself, Will Smith. But in the end it was the stars of The Chase who stole the crown this weekend.
With five performances per heat, Roger employed a range of lighting in order to create distinct looks. With a mixture of favourites such as MAC Auras and Sharpys through to some of RML’s latest units like the GLP X4 and GLP X4S, each performance felt different and exciting.
For the final, Roger drafted in some units to create a truly spectacular display – the new VL6000 Beams. With a large 14” front aperture the unit produces a retro style searchlight effect, with a high output tight collimated shaft of light at 6.5. The unit was used in the winning performanc
Romania - The German State Theater in the Romanian city of Timișoara has a long history, nowadays staging a wide range of German-language productions - from traditional plays through to the most modern productions, festivals and cultural exchanges. The recent completion of a fully-digital audio system features a pair of Yamaha QL series mixing consoles.
German language theatre in Timișoara goes back as far as the mid-1700s. German State Theater Timișoara was founded as a separate theatre company in 1956 and today is based on the German Theater Hall of the city’s Palace of Culture - alongside the city’s Opera House, Romanian National Theater and Hungarian State Theater.
In 2014, Brașov-based dB Technolight was contracted to install a Dante network throughout the German Theater Hall, with a view to progressively replacing the existing analogue audio system with completely digital solution. That process was recently completed and features a pair of Yamaha QL series mixing consoles and R-series i/o units for Front of House and monitors.
“Quality and high performance were mandatory requirements, but the budget was also an important factor. So we needed to know that the equipment we chose would deliver those benefits and be very cost-effective,” says Laurence Rippel, German State Theater Timișoara’s technical manager. “We studied the available options and thought that the Yamaha QL series, which we had seen demonstrated at Yamaha’s professional audio symposium at Recklinghausen, Germany, would be the best solution. We asked dB Technol
Germany - Microphone manufacturer Shure has teamed up with German record producer Marten Berger, whose next project is to tour the countries of Europe in a mobile recording studio, capturing performances by street musicians “from every corner of the continent” for release on CD and as a double vinyl album. Shure has provided microphones and headphones for use in Marten's studio, a converted Volkswagen ice-cream van, when the grand year-long project begins in May 2017.
Marten, who has been studying music recording and composition in the Dutch/German border town of Enschede for the past few years, dates the genesis of his project to an experience he had two years ago, when he encountered a gifted street musician, Christiaan Mauer, in the Dutch city of Groningen, and was inspired to record him. He began thinking about all the musicians living on the streets throughout Europe, and how he could help the world to hear some of their musical talent, or, as he describes it, “secret beauty, hidden in the streets of our cities”.
Marten hatched a plan to create a crowdfunded, portable recording studio and travel through 30 countries in Europe, recording all the street musicians he could find and releasing the best on an album at the end of the project. Using affordable video and internet technology, he is shooting footage of the performers he meets and the music they create, and releasing it as a series of vlogs on his website and via social media as his journey unfolds.
His route will take him north to Scandinavia in summer 2017, and then south and int
UK - Last year, sound, lighting, AV and stage technology services company Northern Light was asked to install a new, more energy efficient, house and work light system for the Genting Arena. The primary goal was to enhance the overall customer experience and to have something very different to the other arenas in the UK. The solution was an innovative combination of ETC and GDS lighting fixtures.
In 2015, Genting UK, part of leading global leisure and entertainment company, the Genting Group, took over the former LG Arena at Birmingham’s NEC. Now known as Genting Arena, the 15,700-capacity venue is the Midlands’ premier entertainment destination, hosting events from world-class comedians, sportspeople, singers, songwriters, dancers and daredevils.
“Northern Light has enjoyed a good relationship with the NEC group for several years, having completed successful installations at several of their sites, which is how we became involved in this project,” Says Michael Percy, project manager/ design engineer for Northern Light
“The existing work light in Genting Arena was poor and deteriorating and they had issues that affected visiting touring companies, so they wanted to upgrade both this and the house light the system, the aim being to create a safer environment for the staff to work in, to give their customers a better experience and for both systems to be energy efficient, consequently reducing running costs for the venue.”
With no suitable off-the-shelf solution available, GDS custom built 2m LED tubes to deliver the required bright
USA - Music and romance have always made for an irresistible combination so whether it’s love for another or love of the music, or both, Insomniac’s annual Crush concerts are the happening EDM events around Valentine’s Day. In mid-February, EDM enthusiasts gathered for Crush San Fran, Crush SoCal and Crush Arizona for a celebration of heavy beats and beating hearts with a lineup that featured top names like Afrojack and other hot DJs.
This year’s Crush concerts proved to be another spectacular EDM triumph from promoter Insomniac Events, headed by CEO Pasquale Rotella, who again called on Steve Lieberman and his team at SJ Lighting to create the stimulating atmosphere. SJ Lighting worked with lighting vendors Felix Lighting (Crush San Fran, Crush SoCal) and Hardwired Production (Crush Arizona) on the events.
Lieberman is known for his lighting and production designs for huge EDM events like Electric Daisy Carnival and Ultra Music Festival, events that draw hundreds of thousands of people, yet he puts just as much design focus onto smaller events like Crush that draw anywhere from 2,500-5,000. “Even though this is not a massive event such as EDC, we still want to create the best-looking show we can for the venue,” he said. “If I’m more limited as far as venue size, I’m still not limited in design. We still create layers of lighting that are full and impactful and work in the venue.”
The designer created a broad and balanced look for the Crush shows using four layers of lighting – Platinum Beam 5R moving heads, Colour Chorus 72 L
USA - Holo-Gauze, 3D display solution for large hologram effects, and Christie’s digital projectors were instrumental in realising Beyoncé's holographically enhanced performance during this year’s Grammy Awards. Delivered by leading live events production specialists PRG, the near-15-minute extravaganza included content created by Beyoncé's own Parkwood Entertainment management company.
A huge, highly transparent and reflective 40ft x 22ft Holo-Gauze screen from Holotronica and three 30K Christie Boxer 4K30 projectors produced the holographic magic, delivering incredible 3D visual special effects from Parkwood Entertainment. A second 40ft x 22ft Holo-Gauze and multi- projection/media playback system was utilised for Beyoncé’s rehearsal stage. PRG and Holotronica had previously worked with Beyoncé and Parkwood Entertainment on the singer’s Tidal X: 1015 performance in 2016.
Taking place on 12 February 2017 at the Staples Center in Los Angeles, the Grammys were lit up by Beyoncé’s stunning performance - the longest and most elaborate of the show’s 20 numbers - and included Love Drought and Sandcastles from her award-winning Lemonade album – both boosted by amazing holographic visual effects and a huge cast of performers.
“I was delighted when we were asked to be a part of another Beyoncé live, televised performance with Holo-Gauze,” says Holo-Gauze inventor and Holotronica owner/CEO Stuart Warren-Hill. “Holo-Gauze is ideal for live events such as this, allowing live performers to be situated behind our ne
UK - RG Jones’ long relationship with Martin Audio was extended in fine style again this month at the Raymond Gubbay-promoted Classical Spectacular at the Royal Albert Hall. RG Jones supplied not only a full-size Multi-cellular Loudspeaker Array (MLA) for the main PA but also an MLA Compact rig for the side-fills.
MLA had first replaced the Martin Audio W8 Longbow when Simon Honywill, long time FOH engineer for the event (and Martin Audio ambassador), first specified it back in November 2011.
“Simon evangelised about MLA and I am happy to build on the foundation laid down by him and the RG Jones team,” says Phil Wright, who took over sound mixing duties from Honywill two years ago (working on a DiGiCo SD7). Alongside him was system tech Luke Murphy, implementing a sound profile set up by RG Jones project manager, Matt Sussex.
Wright believes that the sound at RAH just gets better and better under the aegis of Martin Audio’s premier system - but believes that the big difference has been the deployment of the MLA Compacts for the first time, replacing the earlier conventional Martin Audio W8LC and W8LM line arrays.
“We had still been having issues with levels on stage and the orchestra struggling with internal balance - although MLA has made a massive difference,” he says. “The addition of MLA Compact has meant that we’ve been able to further reduce the PA spill onto stage to an extent where the orchestra is now really un-encumbered by the scale of the gig.” We’ve also taken the hi-pass from 40Hz down to 30Hz on the full rang
UK - CPL (Central Presentations Limited), working for producers Eclipse Communications, provided a full technical production package – video, lighting and sound - to the 2017 SEMTA Awards event staged in the ballroom of the Hilton Hotel in Park Lane, London.
The Senior Skills Council for Science, Engineering & Manufacturing Technologies (SEMTA) is a not-for-profit organisation specialising in engineering training in the UK. Its high profile annual Awards event recognises excellence within their various nationwide apprenticeship schemes.
The CPL team was led by Lee Gruszeckyj. It was the fourth consecutive year for CPL in this role, and as the success and visibility of the event has advanced each year, so has the commitment to increasing the production values. It was the second time the Awards has been staged at this venue where awards in nine categories were presented.
This year’s host was comedian, actor, television presenter and singer, Alexander Armstrong, known as one half of comedy duo Armstrong & Miller and host of popular BBC TV game show, Pointless.
Projection was a key element of the 2017 production, and the 14m wide by 3m high set - the biggest screen to date for this event - was the main surface, receiving a three-projector blend from 14K Panasonic machines.
Behind the screen was a star cloth wrap for a flourish of glamour and glitz.
A Barco S3 system was used for screen management, switching and for creating all the PiPs. The playback video intros were programmed on a d3 pro media server, chosen for
USA - Located about 90 miles outside Chicago, the Once Upon A Dream performance group doesn’t merely entertain children with richly imaginative tales, it actually makes them part of the show, inviting them on stage with storybook characters. The magic of Once Upon A Dream was on full display recently at the theatre’s recent Royal Winter Ball, where kids danced with a cast of legendary fairy-tale characters, gliding across the stage under the transformative light of Chauvet Professional Rogue fixtures.
Jordan Chance, owner of Luxe Productions, made four Rogue R2 Wash fixtures the centrepiece of his design for the event. Positioning the fixtures above the stage across its width, he relied on them to provide dramatic downlight that accented key moments in the production, as well as for spot cues and general stage washing.
“The Rogues worked extremely well to set moods for us,” he said. “The versatility of their full colour spectrum and their tight beam control make them perfect for this type of theatre event. We used our Rogues for a range of functions, from reflecting subtle mood changes to giving the stage dramatically different looks. The Rogue R2s allowed us to create both stagnant looks and also turn the room into a dance party instantly! Regardless of what we asked the fixtures to do, they always engaged the audience.”
In addition to the Rogue R2 Wash and house ellipsoidals, Chance used six SlimPAR Pro RGBA par style fixtures from Chauvet DJ to wash the ceiling over the stage with richly saturated warm hues. Working in conjunction wit
China - Allen & Heath dLive S Class mixing systems were used at the recent LeXiang Music Festival and Shijiazhuang Music Festival, which were recently held simultaneously in China’s Shijiazhuang City.
A flagship S7000 Surface and DM64 MixRack was employed at FOH at LeXiang Festival, managing performances from several of China's top artists, including rock star Zheng Jun, folk band HangGai, and pop star Tanya Chua.
“The sound quality is excellent. With separate MixRack and Surface design, audio distribution is more reliable and low latency becomes possible. dLive has a latency of less than 0.7ms, which I think is an extraordinary breakthrough,” comments Wu Tianjun, FOH engineer.
Meanwhile, a second S7000/DM64 system was provided by production company, S.A.G, to manage monitors at the Shijiazhuang Festival. Three DX32 Expander Racks were also employed to add remote I/O. The system was praised for its excellent sound, easy-to use features and great reliability.
Singapore - Illuminate Productions provided creative and technical production once again for Kingdom Invasion 2017. Almost 10,000 people from 37 nations converged upon Singapore’s Changi Expo from 14-17 March for the popular Christian conference now into its 5th year, with over 10,000 more tuning into the live stream on the final night of open meetings.
Lights for the show were newly purchased and supplied by Glorious AV. The total fixture count amounted to 24 Claypaky Scenius Spots, 48 Claypaky Sharpys, 24 Claypaky A.Leda B-Eye K20, and over 100 channels of generic fixtures.
Claypaky once again proved their worth, with a low failure rate and a solid performance. Mr. Huang Muen, creative and technical director of Illuminate, loved the Sharpys. “I’ve used imitations on shows in China,” he recalled, “and working with the originals shows just how much of a difference they make.
“The colours of the Scenius Spots were fantastic - they achieved good pastel colours which wowed the audience,” Mr. Huang said. In addition, the high CRI proved to be useful for broadcast cameras, with the images turning out very well.
Mr. Huang says that he looks forward to using Claypaky in future productions. “Everybody was raving about the lighting,” he recounted. “This choice confirms our belief that good lighting makes a real difference to a show.”
USA - Country music’s newest rising star Aaron Watson isn’t one to give up when things get tough, so when he was told he wasn’t commercial enough to make it as a singer, the Texas native returned to his home state and proved all the doubters wrong.
Now, with a lighting package provided by Bandit Lites, Aaron Watson is performing to sold-out crowds and promoting his album, Vaquero, the follow-up to his historical and aptly named album, The Underdog, which debuted at No. 1 on the Billboard Top Country Albums chart, the first-ever independent solo male country artist to do so.
Utilising four different types of fixtures on tower and riser faces, lighting designer Anthony McCoy mindfully chose each one, giving special consideration to truck pack, load in time and versatility of looks, especially given the divergent sounds of Watson’s music which ranges from intimate ballads to bold, high-octane country rock songs.
“I wanted to be able to deliver a myriad of looks to the audience,” McCoy said. “I like lighting design that has contrast: a look is huge and explosive one moment, and is simple and elegant in another. I wanted to get that accomplished without simply fading out half of the rig.”
Bandit supplied the compact and efficient GLP X4S fixtures which provide a range of looks, both for backlight on the band and beam aspects. Cuepix WW2 blinders give the dynamic dim chases. Additional lighting comes along the downstage risers with EPIX Strip Tours, driven by Resolume Arena from McCoy’s video server.
USA - Like a warm summer breeze, the music of pop punk pioneers We The Kings has always been reassuring, pleasing and tinged with a sense of expectation. Beginning with their platinum breakthrough single Check Yes Juliet, on through We’ll Be A Dream (with Demi Lovato), the band has served up some of the most memorable let’s journey forth together love songs for the generation that came of age with the internet.
True to this breakaway spirit, We The Kings has set out on the road to celebrate the 10th anniversary of its debut album with an ambitious 37-city tour that began in Nashville on 17 February and will wrap up at the Slam Dunk festival in the UK. Travelling with the band on the US leg of this journey is a versatile road-friendly rig from New York-based Squeek Lights that is made up almost entirely of Chauvet Professional fixtures.
“We designed a compact, versatile, and impactful rig that would fit into all of the venues the band was scheduled to play and was also very roadworthy,” said Steve Kosiba, the Squeek Lights lighting designer who created the show. “We fit the entire rig in the band’s trailer for transport across the country. The only things in our rig that are not Chauvet are a haze machine and our controller.”
The fixtures in the We Are Kings US rig include Rogue R1 Washes and Nexus 4x1 4-cell COB RGB LED units. Kosiba positions the fixtures on two 6ft and two 8ft vertical pipes on stage. “We have two Rogues and one Nexus fixture hung straight out on each pipe,” he said. “The lightweight and compact
UK - Bat out of Hell the Musical opened at the Manchester Opera House in February where it is currently enjoying a 12-week run. The show is the brainchild of Jim Steinman and rock superstar Meat Loaf - a romantic adventure about rebellious youths. Steinman composed Meat Loaf's Bat Out of Hell albums and always dreamed of lifting the tracks from record to stage. Forty years later the dream has become a reality.
Production manager Simon Marlow, who will also take the production to the London Coliseum in June for another 12-week run before transferring the show to Toronto, knew that for this technically complex large scale production he would require the help of Unusual Rigging. He said, "As production manager here in the UK and technical supervisor in Canada, I am in charge of everything, from the set, engineering, automation and rigging etc, to costumes, wigs and special effects.
“Having worked with Unusual Rigging on several other projects, most recently constructing the temporary theatre space for Lazarus, the David Bowie musical, they were my go-to company for this project because it throws a number of technical challenges at us."
Work has been done to both the front of house and grid at the Manchester Opera House and modifications will also take place at the London Coliseum in order to ensure the venues can take the show, but Simon claims that quite possibly the most complicated aspect of this particular show involves some imposing RSJ scenery. "The front of house rig is covered by it - and although it looks spectacular, i
Spain - The School of Modern Music (TAF) has installed an Allen & Heath dLive S Class digital mixing system, comprising a S5000 Surface with DM64 MixRack, in its concert hall.
Located in Madrid, the centre offers a wide educational programme, focusing on practical experience and a detailed curriculum and requiring professional world-class facilities, staff and equipment.
Alex Blanco, chief technical officer at TAF, comments, "Students should feel that what they are learning is useful, so we endorse practical assignments from the outset. dLive was chosen because of its expansion possibilities and exceptional configuration flexibility, which allows us to manage any type of event, from concerts or theatre productions to broadcasting.”
The dLive system is employed to manage the school’s concert and theatre productions as well as for touring duties and TV show recordings. The system was recently used on a talent show for the Castilla la Mancha TV channel, which involved mixing 20 musicians and the contestants. As well as the live mix, a feed was provided via MADI to the broadcast mobile unit. The dLive was also used on a series of nightly musical shows broadcast on TV.
"Choosing dLive has been a really wise decision. On the one hand, students can learn by working with cutting-edge technology, and on the other hand the school and its technicians have a tool that allows us to manage any type of event, regardless of its complexity," concludes Blanco.
Canada - Lighting designer Al Paquette was looking for some new and exciting fixtures to incorporate into his design for the current 1000 Arms tour by Canadian country rockers Blue Rodeo - and chose Robe Spiiders and PATT 2013s which were newly purchased by lighting vendor Apex Sound & Light from Ontario, Canada.
Al has worked with the popular band for the last six years, and this is the fourth full production tour he's done with them for which he created a totally original look and design. He knows what they are comfortable with onstage, "it's about setting the right mood and environment for the music," he explained.
Limited truck space was another consideration for this one, so getting maximum impact from a minimum number of fixtures was essential. Keeping this in mind he chose the 20 x Spiiders and five PATT 2013s.
The Spiiders were evenly positioned along the upstage truss with the five PATT 2013s on floor stands at various heights around the back.
The Spiiders created an "awesome" wall of light enthused Al, who used the central flower effect for highlighting the audience during some special punctuating moments.
The PATTs were dimmed down for most of the show, used for nice warm tungsten glow effects and - sparingly - as a blinder.
Prior to this tour, Al had been using another brand of LED wash light for a few years which was getting a little old and tired, so he started scouting around for something different.
He likes the colours and the beam look on the Spiider’s tighter zoom. He also likes the way the light is
Australia - Philips Lighting reports that its LED stage lighting added to the drama and detail of an award-winning production of the hit Broadway musical Wicked at the historic Theatre Royal in Hobart, Tasmania.
In the role of both lighting designer and technical supplier was Gareth Kays of GK Productions, Tasmania's leading performance technology consultancy. His brief was to create an impressive, Broadway-style production on a comparatively small stage.
"One of my main challenges was disguising the ground support system which allowed lead character Elphaba to take flight during the number Defying Gravity," Kays explained. "I used Philips Showline SL BEAM 300fx moving head luminaires at full zoom for back lighting Elphaba as she rose into the air. Light radiated out from her, masking the mechanics and giving the impression she truly was flying. I used Philips Showline SL LEDSPOT 300 luminaires to light the downstage in a dappled gobo wash, which added to the radiating backlit look."
Kays also used the Philips Showline SL LEDSPOT 300's advanced effects system and CMY colour mixing to bring the staging to life.
"In a lot of the scenes I used very strong colours and large gobo effects to create a magical storybook feel. I found the stock gobos in the Philips Showline SL LEDSPOT 300 gave me plenty of creative options; I used the brick gobo for a not so subtle yellow brick road, and utilised the same gobo with a cyan for the interiors of the castle scenes to break up the stage floor. The framing shutter system is also fantastic for my theat
UK - Rental company Adlib continues its work with top comedians, having just supplied full production – sound, lighting and video – for Jack Whitehall’s sold out, three week At Large UK arena tour. The Liverpool based company previously supplied production for his ground-breaking 2014 arena tour, which was staged in the round.
Having appropriate production in the right proportions and places is a key to delivering comedy on a large scale. It is about presenting this very intimate and personal style of entertainment and communication in a way that ensures audiences in larger venues enjoy all the same essential experiences as a one-to-one scenario.
Steve ‘Patto’ Pattison mixed front-of-house, working with a strong team from Adlib including monitor engineer / sound crew chief Marc Peers and systems tech Tony Szabo, who was responsible for the precision and detail required to ensure that every seat in the house had crisp, clear and audible speech.
Patto’s console of choice was a DiGiCo S31 - a first time out with this particular product for both him and Tony - while Marc used an S21 for monitors. As only eight channels were being used, the tiny footprints of the consoles were an ideal mix of quality and size for the application.
The stage box was a DiGiCo SD-Rack This was connected via BNC coax cable from FOH to stage and run at 48K for full redundancy in both directions, allowing each console to back up the other if necessary. Marc Peers’ set-up utilised one of Adlib’s Wardrobes, an ingenious fully configurable double width case -