The Netherlands - Pinksterfeesten in De Moer festival has consistently delighted fans for 37 consecutive years. Looking to keep the festival experience fresh for performers and fans alike, Mercury Audiovisueel and Oetelaar Sound Service incorporated 24 Chauvet Professional Rogue R1 Spot and 8 Rogue RH1 Hybrid fixtures into their visual concept on the main stage at this year's festival.
"One of the main challenges with this festival is to keep the visuals and the energy fresh and interesting year after year," comments Mercury. "The Rogues were the perfect tools. They provided surprisingly large and intense output for a fixture of such compact size and weight."
To craft a number of energy-inducing looks for headliners such as the Dirty Daddies and Buren van de Brandweer, Mercury positioned the Rogue R1 Spot units on a lattice of trussing pillars behind the stage. As a result of this formation, Mercury was able to create the illusion of depth and contrast. Drawing on the fixture’s 3-facet prism and two gobo wheels, Mercury energized his lightshow with crisp gobo projections and atmosphere-shaping coloured runs. Additionally, output from the punchy 140W LED fixture ensured that the DJs on stage were supported with pure visual clout.
"The R1's speed and output were perfect for creating an immersive festival atmosphere," adds Mercury. "Throughout the two days, we could rely on the fixtures to provide non-stop and varied visuals, which we tailored for each individual act performing on stage."
Providing an interesting visual counterpoint to the ban
Chechen Republic - A new dolphinarium has opened in the Chechnyan capital of Grozny - the centrepiece of a major new complex that also includes several parks, attractions, race circuit, restaurant, theatre and an equestrian park. The total area of the facility is more than 300,000sq.m.
The Grozny Dolphinarium itself measures around 10,000sq.m. and includes eight swimming pools for training and a recreation area for animals where they can engage in water performance. In the centre is a 12m diagonal screen where up to 665 people can watch the water show.
The LTM Group was tasked with developing project documentation for the sections of stage lighting, electro-acoustics and suspension system, as well as the installation of acoustic and lighting equipment. A high technical specification was set for the audio visual, with particular attention given to the central pool, and for this, fully-featured IP65-rated fixtures from PR Lighting were specified.
Having installed suspension frames for the stage lighting and sound systems over the water area, LTM, who are PR Lighting’s Russian distributors, specified 24 IP65-rated PR Lighting AQUA 480 BWS as well as numerous Junior PAR ZOOM Series JNR-8154B Series fixtures, mounted on aluminium MDM frames.
Designed for use outdoors and in wet conditions, AQUA 480 provides three features in one (Beam, Wash and Spot), combining advanced 480W lamp with superb optical system, ideal for outdoor entertainment, concert, stadium and any other activities or events. The fully-featured JNR PAR Zoom contains 19 x 15W (4-i
USA - Currently performing at festivals across Europe, American rap and hip hop artist Vince Staples spent the first quarter of the year in the USA opening for headliner Tyler, the Creator.
To give each of the artists a dramatically different visual definition for their respective parts of the show, two contrasting designs were devised, with Staples’ performance taking place in front of a dramatic backdrop that juxtaposed cold white, stark and graphic looks, which then gave way to Tyler, the Creator’s set that featured a magical forest with lots of saturated colour, Kabuki drops and star drop visuals.
Add to that mix a rig that has to be moved away quickly to accommodate the set change to the headline act, and it’s easy to see the challenges that Staples’ lighting director and programmer, Tyler Santangelo, and manage r/ show director, Corey Smyth, had to overcome.
The solution was two lighting rigs of Ayrton fixtures, supplied by Las Vegas-based Morpheus Lights as part of the full tour package, with a bespoke floor package for Staples’ set that had a 10ft high back wall of 100 Ayrton DreamPanel Twin in a 5 x 20 configuration.
The ‘DreamWall’ was supplemented by two vertical side towers per side, each with four Ayrton MagicBladeFX (16 total) and an Ayrton MagicBurst graphic strobe unit. 18 more MagicBladeFX completed the look as downstage ground-row fixtures.
Tyler, the Creator’s headline rig included Ayrton NandoBeamS9 fixtures on the front truss, NandoBeamS6 units in main midstage truss, and NandoBeamS3 fixtures at st
France - Lighting designer Thomas Dechandon of the 4eleven collective created a stunning show for pop-rock band Indochine’s recent tour, including over 200 Robe moving lights on the rig – with MegaPointes, Spiiders, LEDBeam 150s – plus a six-way RoboSpot remote follow spotting system that was run by three operators..
These were part of an impressive kit list supplied by leading French rental specialist Dushow, and it was the greatest number of RoboSpots to date on a French tour.
Each RoboSpot operator positioned behind the stage controlled two BMFL WashBeam moving lights running in conjunction with two RoboSpot MotionCameras. The compact moving head cameras were rigged in front of the BMFLs on a ‘magic arm’.
Three BMFL WashBeams being used as follow spots were positioned on the front truss and the other three on the central ring of a large circular video ceiling installed over the audience.
The lighting design took Nicola Sirkis’ epic and elegant set - complete with wide stage, long runway into the audience and circular central projection screen flanked by four asymmetric curved screen segments - as a starting point.
“We wanted numerous projections, so I was looking for a product powerful but small enough to be concealed and not compromise the video,” says Thomas, so 48 x MegaPointes were positioned around the screens, 24 around the upstage surface and 24 on the audience circle.
The 40 x Spiiders were also chosen for their size / power ratio and were positioned in three places. Eleven upstage in the background r
UK - As announced by the #SaveStageLighting Campaign, the period of public consultation for the proposed ECO design regulation – that will affect lighting products of all types – has expired. The EU DG Energy department has passed on a revised draft to the next stage of the legislative process. Expecting to know its content within a few weeks, it will progress through the committee stages of the process of turning it into a law.
Ruari Cormack, SLX business development manager, comments: “Following on from the recent news from the #SaveStageLighting front we at SLX would like to applaud the efforts of those involved to date, including our sister company Stage Electrics, and echo the sentiment of the most recent articles published on this challenge.
“Certainly, as an industry we have been slow to respond to the initial proposals. However, the efforts of all areas of our industry and the diligent work of PLASA, ALD, OETHG, PEARLE, SOLT and various prominent individuals including Rob Halliday and Paule Constable amongst others has provided a platform to influence the proposed ECO Design Rules to enable live event and performance illumination to continue with its existing tools.
“The work is not complete. We still need to be vigilant and help shepherd the exemptions through to the final regulation. We must work with our partners, keeping the issue in the spotlight of those who can influence such decisions.
“We must also be planning. In all reality, the tools we all know and love will slowly become defunct. Manufacturers are already stop
USA - Hard rock band Stone Sour recently wrapped their Spring touring leg with a lighting package provided by Bandit Lites. The group released their sixth studio album Hydrograd last summer and are currently on tour in Europe.
“I wanted the rig to be compact so we wouldn’t have to take off 36 fixtures every night,” said lighting designer Scott Warner. “I asked Bandit to come up with a way to mount them on pipes which could lifted quickly, and stay wired,” said Warner. “At load out, they’d drop down into the pods. Bandit did a great job in building the pods so it all worked seamlessly.”
Bandit’s preproduction team handled building the pods before Stone Sour’s team made their way to Nashville for rehearsals.
“I would get pictures sent from Bandit to myself and Stephen Shaw (PM/TM) to look over. When we loaded into rehearsals in Nashville and fired the rig up our management and band loved it.”
With part of the design already in place, Warner updated the fixtures on top of the pods to Solaris Flares, adding some extra bang while on the festival scene and allowing the rig to still make an impact during daylight hours.
In addition to the Solaris Flares, Bandit Lites also supplied Chauvet Nexus AW 7x7, GLP X4S and a grand MA 2 Full console for control with grand MA 2 lite as a backup.
“Once on the road Bandit tech Andy French always had the system up and running super-fast,” shared Warner. “He was awesome when we had quick change overs at festivals.”
USA - Fayetteville First Baptist Church in Fayetteville, Georgia is aware of its strengths, even as it shifts to a more blended worship style. The goal is to engage the next generation so that they keep their roots firmly planted at FFBC without going so far as to make church an alien experience for the older generations who have been supporting the church their entire lives.
Although it met the church's needs when it went in 15 years ago, the sanctuary's sound reinforcement system was straining under the weight of the more contemporary demands placed upon it by the shift in service style. FFBC hired Gainesville, Georgia-based dB Integrations – the same company that had designed and installed the older system – to update its 500-seat sanctuary with a new Danley-based sound system that could simultaneously deliver excellent spoken-word intelligibility and exciting musicality.
"We did Fayetteville First Baptist Church's previous sound reinforcement system when I first started at dB Integrations 15 years ago," said Neil Philpott, sales consultant at dB Integrations. "We designed that system for a multi-purpose room because, like many churches, they hoped to build a dedicated sanctuary. But that never ended up happening and so the 'multi-purpose room' became the permanent worship space."
He continued, "With their new emphasis on blended worship, they wanted a system with greater dynamics, better intelligibility, and more enveloping musicality. Their production director, Luke Drewry had attended several of our education seminars and understood the d
USA - Since 2006, Rock Community Church in Littleton, Colorado, has grown by leaps and bounds, adding to its congregation through strong leadership, dedicated purpose and family values.
Ben Carson, Rock Community’s technical director along with other key church decision makers chose to install a Clair Brothers sound system.
To make a greater impact through additional land, flexible building design and dynamic performance systems the church hired Kurt Butler of Butler Engineering & Technology Group (BETG). Notes Butler comments: “The AVL and acoustics installation at the church was designed to be an inclusive and intimate experience for the congregation, so everything related to the systems we installed were measured against that metric.
It was BETG and a design team of architects that initially formulated a package that would shape the worship centre in a specific way, mating performance systems to optimize coverage, sound pressure and sightlines.
“The Clair Brothers system, comprised of three arrays made up of i208 three-way active eight-inch loudspeakers coupled with CS118 subwoofers, exceeded performance specifications and offered a very competitive price point,” Butler says.. “During construction, some of the building safety systems affected acoustical dynamics in the main room. We needed to rely on the sound system to deliver the program regardless of the altered acoustic profile, which it does beautifully.”
Other critical components of the install include products from QSC, Sennheiser, Digital Audio Labs and Yamaha.
South Africa - Joshua Cutts once again lit the Miss South Africa beauty pageant event, which this year selected the country’s delegates for the Miss Universe and Miss World contests.
The show was staged for the first time at the new Sun Arena venue at Times Square in Pretoria, and Cutts chose to illuminate the show – produced by Entertainment and directed by Gavin Wratten for live broadcast on M-NET (DSTv channel 101) and Mzansi Magic (DSTv channel 161) – with a substantial Robe moving light rig of 170 fixtures.
Josh is a leading South African lighting and visual designer and has used Robe products extensively in his work for some time, however this was the first time he had the chance to use MegaPointes on a live show.
The event’s overall lighting and technical vendor was Dream Sets, and their production manager Eben Peltz ensured that everything ran smoothly on site. The production also used elements of the Sun Arena’s house lighting system, which also includes a large Robe rig and is facilitated by MGG.
Cutts used 18 x Robe BMFL Blades for all his key lighting across the main and thrust stages with the fixtures rigged on FOH trusses for maximum reach.
Twelve BMFL Spots were used for producing breakup and other effects down the ramp from the stage to the presenter stage at the end of the thrust.
Four V-shaped trusses were installed above the stage for the overhead lighting positions, and 18 x BMFL WashBeams were rigged on these and used for dramatic beam work and texturing the stage and set.
On these same LX truss
USA - Nexo’s flagship modular line array system, the STM Series, with supplementary Geo S12, was used for a very large house-of-worship event in the impressive US Bank Stadium in Minneapolis. Fifty thousand people attended the free Pulse - Twin Cities show, with Reach Communications providing the 360° Nexo PA system.
Multiple headliners played the concert, including LeCrae, Hillsong and Jaberwockies. The recently-built stadium is already known for its challenging acoustics, but, as one of the largest venues in the region, it has played host to many world-class touring artists and their engineers. All eyes were on Nexo, to see how STM Series would perform!
System deployment was in a 360° arrangement, with STM as main, out, side and delays, S12 as rear, and M10 for front-fills. Subs were a combination of flown and stacked STM S118, as well as cardio stacked Nexo RS18.
Dan Brown of Reach Communications, with on-site support from Nexo’s engineering support specialist Val Gilbert and Yamaha Commercial Audio’s Preston Gray, had to specify the STM system according to the load-bearing factors in the stadium.
For main PA, the configuration uses 15x STM M46/B112 main and bass sets per side, with side-arrays of another 15x STM M46/B112. Each of the hangs carried two STM M28 down-fills. Eight STM S118 subs were flown per side, and on the ground were 12x RS18s (running in cardioid mode) and eight STM S118s (omni) per side. Two hangs of 12 x Geo S12 cabinets were used for the rear of the stage.
The system was run entirely powered by 62
USA - Barry Manilow began an extended residency at the International Theatre at the Westgate Las Vegas Resort & Casino on 24 May. The 1,600-seat theatre is where Elvis Presley performed 837 consecutive sold-out shows. As part of a $150m renovation, it now boasts a RoomMatch sound system from Bose Professional.
Ken Newman, Manilow’s long-time front-of-house engineer, says he had some hesitancy about using the new sound system ahead of the first shows, having never worked with a RoomMatch system before. “I went there and put the system through the same evaluation process I always do, including analysing pink noise through the system and then playing eight sets of stem files through the house console from previous recordings I’ve done of Barry in other venues,” he explains.
“I came away rather impressed. It’s a challenge keeping Barry’s vocal above the audience, so they can still hear him even while they’re singing along. But the RoomMatch system has the headroom I need for that. The system is well-suited for this type of environment, the classic Las Vegas showroom.”
The system consists of 16 RoomMatch modules configured eight per side in a left-right hang, with eight ShowMatch SMS118 subs stacked under the stage, four RoomMatch RMS218 subs and eight RMS215 subs flown above the stage, nine RoomMatch Utility RMU208 loudspeakers for under-balcony-fills, and a dozen RMU105 loudspeakers used for front-fills.
A VIP seating area has its own RoomMatch L-R system. The entire system is powered by 28 PowerMatch PM8500N amplifiers and
UK - Stage Electrics have supplied the Stamford Shakespeare Company with a new Altair wireless communication system ahead of their summer season of plays. The Stamford Shakespeare Company is an amateur theatre group, who perform at the distinctive Rutland Open Air Theatre, within the grounds of Tolethorpe Hall, Stamford.
Requiring a new wireless comms system ahead of their 2018 season, the Stamford Shakespeare Company enlisted Stage Electrics for guidance. “The client approached us with an idea of what they wanted. We discussed several different comms systems but settled on Altair’s WBS-202HD dual channel wireless intercom system,” comments Jonty Gray of Stage Electrics.
The WBS-202HD offers a secure communication between the base station operator and a maximum of eight wireless beltpacks. “The client specified that they needed the ability to allow the backstage crew and lighting technicians to communicate via different channels. This communication system allows for two operating modes.
“Either they can have all beltpacks on one radio wave or four on one and four on the other. Simply, allowing the two different teams to communicate individually,” Jonty reports. “Regarding the actual beltpack itself Altair’s WBP-210HD and WBP-212HD were the clear solution as they have both been specifically designed to offer outstanding performance in outdoor applications.”
The Stamford Shakespeare Company has recently opened the doors for their 2018 string of summer performances. “We are pleased with our investment; this wireless comms sys
USA - Calvary Chapel Las Vegas supports five worship services each week, using an Allen & Heath dLive Digital Mixing System in their main worship space and an Allen & Heath GLD-80 Digital Mixer in a smaller chapel. Vocalists and musicians in both spaces use Allen & Heath ME-1 Personal Monitor Mixers.
The church’s several buildings, including a K-12 school, are connected with a fibre network and its audio systems communicate via Dante so that the chapel can be used for overflow from the main worship space and services or events in either space can be broadcast over a streaming service and recorded for the church’s website.
Technical director Michael Millington explained the decision to adopt Allen & Heath. “I wanted the dLive because, at 96k, it was an amazing option and it met our budget. Second, it doesn’t scare volunteers away like some of the other digital mixers I’ve used. Also, we have a GLD-80 in our chapel and, if I train someone on the GLD, they have a good idea how to run the dLive.”
Purchased from Apex Audio of Huntington Beach, California, Calvary Chapel’s dLive system includes an S7000 Surface and CDM64 MixRack and its GLD-80 includes an AR2412 AudioRack and an AR84 Expander. Ten Allen & Heath ME-1 Personal Monitor Mixers provide monitor services in the main worship space with six ME-1s in the chapel.
Christmas and Easter services may include a full string section, a choir and additional sources on tracks. Millington manages these using dLive layers and scenes. He has a Waves card in the S7000 Su
New Zealand - Wellington’s Te Auaha is a new university campus that provides a home to students of creative disciplines such as photography, film production, performing arts, visual arts and music.
Supporting the wide variety of productions at the school’s 200-seat theatre auditorium is a carefully planned LED lighting rig that features a large collection of Chauvet Professional fixtures installed by MDR Sound and Lighting, including 12 Ovation F-915FC Fresnel, 12 Ovation F-165WW, 10 Ovation E-910FC LED and 10 Maverick MK2 Spot fixtures.
"The Ovation F-915FC is a remarkable LED Fresnel," comments James Kearney, technical manager of Te Auaha. "One of the most impressive features is its ability to reproduce true theatre colours with near perfect CRI – astonishing, considering the fact that the LED source has none of the drawbacks of traditional tungsten Fresnels.
"The Ovation fixtures really stand out in the new theatre," continues Kearney. "The warm white tones of the F-165WW Fresnel and Ovation E-910FC Full Colour LED profiles provide us with an exceptionally versatile rig that is a fit for any purpose."
In addition to the solid visual framework created by the Ovation fixtures, MDR specified 10 Maverick MK2 Spot fixtures to provide the theatre with the tools to create the necessary punch and eye candy during performances.
As a result of the Chauvet Professional installation in Te Auaha, the venue is equipped to deal with any kind of performance, show or live situation, and thus succeeds in putting the student's creativity at the
France - Not far from the major port city of Caen in the Normandy region of north-west France, lies the small town of Mondeville. Despite its close proximity to Caen, Mondeville enjoys its own mayor, town hall and local services, including the municipally owned La Renaissance theatre, now the proud owner of a new d&b audiotechnik sound system solution.
While d&b systems can be found among the world’s most prestigious venues, it is the teams behind lesser known local applications that are making quality listening truly accessible to all. To that end regional projects like La Renaissance receive every bit as much attention, time and effort as the globally renowned stadiums and concert halls.
Laurent Coulombier is the theatre’s technical manager. “We needed to replace our old sound system that was completely obsolete, and it ultimately came down to three brands. We decided on d&b because, from a technical point of view, they were able to offer certain solutions, such as the flown sub array and ArrayProcessing, that the competition couldn’t. Given the constraints of the space we needed to cover, this gave us much more flexibility to develop the right system and save money in operational costs.”
One such restriction was due to the theatre’s expandable stage. Extending from the front made it impossible to incorporate ground stacked elements, such as subwoofers, “unless you’re prepared to go through the hassle and expense of moving and recabling six subs every time you have a configuration change,” says Coulombier.
Switzerland – The Geneva International Motor Show attracts more than 700,000 visitors every year. This year, Source Four fixtures from ETC were among the luminaires selected to highlight the new models unveiled by premium car manufacturers Mercedes-Benz and Audi.
German-based rgb GmbH was entrusted to supply bespoke lighting solutions for the exhibition spaces of Audi and Mercedes-Benz. In order to illuminate global premieres from Mercedes-Benz, the rgb team specified 141 Source Four PAR 750, 43 Source Four Profile 750 and three Source Four LED Series 2 Daylight HD from ETC.
Meanwhile, a press event for Mercedes-Benz called for an additional 49 Source Four LED Series 2 Daylight HD fixtures, a further 25 Source Four PAR 750 and 28 Source Four PAR 575.
Additionally, almost 140 ETC fixtures were positioned to complement the Audi exhibition area, including 54 Source Four Profile 750 and 53 Source Four LED Series 2 Daylight HD luminaires.
Dirk Feuerstein, CEO of rgb GmbH, states: "We ensured that the Mercedes-Benz and Audi vehicles were lit precisely with high quality daylight colour temperature; while the stands were bathed in a warm, pleasant glow from the LED luminaires, which emit less heat."
USA - Jack White has kicked off his headlining tour of North America and Europe with a large complement of Claypaky Sharpy Wash fixtures supporting the show.
White’s tour follows the release of his new solo album, Boarding House Reach. The Detroit native began the tour in his hometown in April and will play dates across the US and Canada before heading to Europe. Then he will return stateside for more dates in the fall and possibly into 2019.
Montreal-based Luz Studio designed the show’s production, lighting and video elements. Using a blue-and-white colour palette and White’s penchant for the number three, or multiples of three, the design features “three column-shaped rotators upstage with video on one side and three rows of 12 Sharpy Washes on the other, which can be positioned individually allowing for a wide variety of looks”, explains tour lighting director Michelle Sarrat.
“There is an LED backlit stepped semi-circular riser, which the band plays on top of, while Jack’s world is downstage centre allowing him to travel between the band members freely.”
Additionally, there are two rows of nine Sharpy Washes on the floor upstage and downstage to provide aerial looks and band illumination.
“The show has no set list – it’s all live. We have a pool of about 70 songs, and the show is always different. Having flexibility in how we use lights and video is great for the show,” says Matthieu Larivée, creative director at Luz Studio.
“We chose the Sharpy Washes because they are very bright, beam-style
Europe - Björk’s ninth studio album, Utopia, was announced last summer, with the promise of a supporting tour this year. That tour kicked off at the Háskólabío Theater in the artist’s native Iceland. Headline appearances at the All Points East festival in London and Primavera Sound in Barcelona followed in May, with We Love Green Festival in Paris and Northside Festival in Arhus in June.
A run of own headline shows will follow for July, including The Eden Project UK, Gent, Rättvik, Helsinki and Rome. Front of House engineer John Gale joined Utopia’s touring team during its production stage in March, choosing a DiGiCo SD12 as his preferred method of control, that rental company CS Audio purchased from SSE Audio Group.
“Björk spent a long time producing and mixing the album and was very specific about the effects she wanted, in particular the panning of the flute ensemble,” John explains. “She has an incredible ear for things and discussed with me that she really wanted these details to translate over into the live shows.”
John was sent the album sessions in advance and spent time before rehearsals programming the data across into the SD12 as Snapshots, with a timecode references for each change.
“Much of the show runs on timecoded snapshots,” he says. “In some songs, there are only one or two moments where a snapshot fires a change, but in others I may have 20 snapshots dealing with various elements, whether that’s simply flute panning or bringing in and out various effects sends and returns, or relative fad
Belgium - Belgian TV and stage entertainment producers Studio 100 asked Painting with Light to design lighting and video, including content creation, for their 2018 Ketnet (Children’s TV channel) musical Team UP, which played to sold-out crowds in four major cities around Belgium.
Directed by Tijl Dauwe, the production starred musical actress Goele De Raedt and Ketnet-wrapper Sander Gillis in the lead roles, accompanied by a cast of 12 - 15 year-old new actors and singers who auditioned via TV series Ketnet Musical, a reality style competition devised to source potential new singing, dancing and acting talent.
Painting with Light’s Paco Mispelters worked hard to deliver a tourable lighting design to meet everyone’s dramatic expectations and fit into an expedient budget. He took Studio 100’s impressive double-decker set design as a starting point.
This featured a complete first level balcony and a gymnasium style climbing frame structure upstage as well as a 10m diameter stage revolve further downstage, which was used to play out specific scenes and to move props and additional set assets on and off stage.
A series of trusses were installed at each venue and used in conjunction with house fly bars. As the set was immediately beneath some of the fly bars, meaning that they could not come in low, ladder trusses were hung beneath selected bars allowing strategic positioning of fixtures that could light the side wings of the set.
Paco chose 15 x Vari*Lite VL3500 Washes as his general back and stage washes, and they we
USA - The members of German supergroup Alphaville always dreamed of playing at Hollywood’s Whisky A Go Go. The synth-pop stars’ wish came true recently when they journeyed to the US and performed two Whisky a Go Go shows over the Memorial Day Weekend. Supporting their high-energy performance with fresh looks were eight Chauvet Professional Rogue R1 FX-B LED fixtures.
“This was a dream come true not only for Alphaville, but also for many of their diehard fans in the US,” says Richard Kay, who has been with the band as its lighting designer since 1998 and has toured 91 countries with them. “The whole experience was a bit surreal – LA, Hollywood, palm trees, who wouldn’t love it? Marian Gold (the band’s lead vocalist) always wanted to perform at Whisky a Go Go. We were on tour in the US last year; we all knew about Marian’s dream so we did some sniffing, met some people – and presto, here we are!”
Kay adds: “Whisky was very different from the larger venues we typically play at. Space is at a premium on the stage. I Skyped Raffi Ganounian at Neptune Productions, the producer, to get as much information as I could about the venue and the house rig. What I learned was that the stage here is small, and it’s in a corner.
Complicating matters for Kay was the 15’ trim of the venue’s house rig, which limited what he could hang from a floor package. “Luckily, Whisky had just added four Chauvet DJ Intimidator Spots and some flat spots to the house rig,” says Kay. “That served as a good foundation. Then it became a question of
USA - Hayley Kiyoko tour engineers Dusty Black (FOH/TM) and Nic Monaco (Monitors/PM) continue to expand their use of the Allen & Heath dLive digital mixing system as they set off on their latest summer tour season. Building upon the buzz of Kiyoko's recent hit album release, Expectations, upcoming performances include shows at dozens of arenas across the US and Canada supporting the Panic! At The Disco Pray For The Wicked tour.
Having worked together for over a year as a FOH/monitor engineer team, Dusty and Nic each selected a compact C1500 dLive Control Surface along with a shared 96kHz 160x64 FPGA Core DM48 MixRack as their console of choice. Utilising the multi-surface feature within the dLive, the same MixRack engine works across two surfaces.
Speaking to the sound of the dLive, Dusty says, "The desk is very transparent and easily transfers from PA to PA. You can push tube pre-amp emulations and on-board compressors to get colour and personality, but also being able to be clean and pristine is great."
Nic commented, "And pristine not in an overly sterile way. Pristine and really precise. I’d make very small adjustments in tenths of milliseconds between guitar mic delays and the guitarist was hearing those subtle changes on stage."
Due to the cost savings resulting from the use of a single MixRack engine, the group was able to purchase the system outright instead of renting along the tour. According to Dusty, "We both wanted something that we can fly with. We also always wanted to use dLive and it is so much more cost
Belgium - ArKaos continues to expand its work and partnerships in the architainment, architectural and commercial creative media installation sectors on a recent project in the International Terminal at Brussels’ Zaventem Airport.
This is a collaboration with lighting and visual designer Koert Vermeulen of creative agency ACTLD.
The power and flexibility of ArKaos’s Kling-Net control protocol and Kling-Force LED interfaces have been harnessed to bring dynamic control to a 30,000 pixel video and kinetic sculpture which runs above the main travellator leading from the jetway to the baggage reclaim hall.
ACTLD was commissioned by Toerisme Vlaanderen (Flanders Tourism) to design, specify and supervise the production. For the installation, integrators Create won a public tender to deliver the project based on ACTLD’s specifications.
ArKaos and ACTLD have partnered on several previous projects, and ArKaos managing director Agnes Wojewoda comments, “We work with a number of production companies and designers and were very happy to co-operate with Koert again on such an imaginative installation. His pioneering work in the creative media field really pushes our technologies and these are the challenges we love.”
The animated installation is 100m long and a combination of low and medium resolution LED strips and panoramic video panels in the ceiling, fitted above a special kinetic fabric.
A loop of content runs on the display 24-7 in this tough and demanding environment, giving all passengers arriving into the main International
Germany - Berlin-based Complete Audio has been supporting local punk rock band Beatsteaks with production almost since they formed more than two decades ago.
Now the group can sell out the massive 24,000 capacity Waldbühne Berlin amphitheatre - and for their recent outdoor show there André Rauhut’s company rigged their flagship Martin Audio MLA.
Complete Audio had been the first company to invest globally in the new MLA platform when it was launched eight years ago - and it was the first choice both for this show and a second open-air show the band are due to play in August, this time at the slightly smaller Kindl Bühne Wulheide in Berlin.
The rental company are no strangers to the Waldbühne, having worked there many times in the past, and Rauhut has system pre-sets to meet the challenges of a sensitive site. “Due to it being situated close to a residential area, they have strict SPL limits,” he says, “and the measurement point is located at the very top of the venue. With MLA we are able to tweak out a few extra dB´s due to its ability to ‘Hard Avoid [sensitive areas]. This means less spill over the edge of the venue.”
As for the hardware, Complete Audio deployed 15 x MLA and two MLD Downfill enclosures per side, while out-fills comprised nine MLA Compact per side. They ran 10 MLX subwoofers on stage, left and right, with another broadside row in front of the stage comprising 10 further MLX.
This presented head of sound Benny Franke, accompanied by Martin Eckert, Nils Uhthoff and Roman Herbert, with a well-balanced set-
Italy - Italian singer-songwriter Vasco Rossi entertained 50,000 fans at the Stadio San Nicola in Bari as part of his Non Stop Live 2018 stadium tour.
Lighting the tour was the artist’s long-term LD Giovanni Pinna, who included over 300 Robe moving lights on the rig - a mix of MegaPointes, Spiiders and LEDBeam 150s - all supplied as part of the lighting package by Rome-based lighting rental company, BOTW, and used to create plenty of excitement and hi-impact.
The starting point for the tour design for Giovanni and the Vasco creative team - was the show-stopping event in Enzo Ferrari Park, Modena last summer, Vasco’s one and only live appearance to celebrate 40 years of mainly-thrills-with-a-few-spills in entertainment - in front of around 250,000 people, the largest rock concert in Italy to date.
The Modena Park design presented a simple, bold, raw industrial looking set and both the artist and his management wanted a continuity from this. As a seasoned performer, Vasco is so charismatic that the enormous but essentially streamlined and Spartan look works brilliantly as a performance backdrop.
As with the Modena show - where Giovanni used over 550 Robe fixtures - he wanted to use just one type of profile or spot and this time he chose Robe’s new MegaPointe, with 135 of the luminaires scattered all over the rig.
For the primary wash light, he picked Robe Spiiders and these were also deployed everywhere he could fit a fixture, and used to wash the vast stage space, PA wings and runway out into the audience at the front with li