UK - Swedish electro four-piece band Little Dragon has been on a roll in 2017, as their heavy ethereal beats and synth-driven hooks have garnered them a following on both sides of the Atlantic, as well as slots at the Coachella and Bestival festivals.
Reflective of the band’s stratospheric surge in popularity is the new lighting rig on its current sold-out UK tour. LD Tim Smith, who recently began collaborating with the band, specified Maverick MK Pyxis fixtures, as well as COLORdash Par-Hex 12 units, from Chauvet Professional for their current touring rig.
“After Bestival and our other summer commitments came to an end, Little Dragon’s tour manager asked me to start looking for a fixture package that would be able to fit in one trailer along with the rest of our gear, whilst still maintaining the original look and feel of previous performances,” commented Smith, who selected 16 Pyxis fixtures for their ability to create an array of different looks.
“There are certainly a lot of multi-functional fixtures out on the market right now, but the MK Pyxis really sets itself apart,” commented Smith.” I have really enjoyed the fact I can zoom the ring as well as having a single beam in the centre with a wash around it. Also there are times when I want to throw a lot of individual beams at the mirrored curtain, which the MK Pyxis has been fantastic for.”
With a ring of 9 15W RGBW LEDs with a zoom range of 7° to 45° and built-in colour macros and gobos, as well as a punchy 60W RGBW LED serving as a centre pixel with a 3° beam angle,
Europe - Indie pop band Sylvan Esso has been making waves on both sides of the Atlantic, having played top venues across North America this summer, including the Fox Theatre in Oakland, the Hollywood Palladium, Brooklyn Steel New York and Prospect Park, before completing a European tour in support of their second album, What Now in the autumn.
The duo engaged production designer, Zach Sternberg - who has been with them since their first album in 2013 - to devise a dynamic set and lighting design that could be toured across venues of various capacities.
Sternberg based his design around a giant cantilever system of custom trapezoidal truss attached to six weighted carts, each of which carried four new Ayrton MagicBlade-FX fixtures which he used to define the geometric shape. The result is a sculptural element formed of a series of chevrons, the outline of which had been present in Sylvan Esso’s first tour as a static LED array.
“Nothing is horizontal or vertical,” he says. “All the carts, trusses and fixtures are at different angles in all three planes which gives me a great starting point to break free from the limits of conventional linear LED battens.The MagicBlade-FX give us more creative freedom as we can use them to mimic the structure, then break the geometry of that structure with their movement, or even make it ‘disappear’ by zooming all the MagicBlades out and pointing them at the audience. It’s a really fun design to play with, to be able to affect the perspective as well as the structure, and the MagicBlade-FX are th
Singapore - Robert Juliat fixtures were specified for the Singapore Airlines (SIA) Theatre at the LASALLE College of the Arts in Singapore as part of the venue's lighting inventory upgrade.
Ten years after the college moved into its McNally Street campus that houses the theatre, senior technical officers Patrick Wong and Sayuthi Bin Jasmin took delivery of 10 Robert Juliat Dalis 860 Cyclorama LED battens to replace the 10-year old conventional cyclorama and groundrow lighting.
“Prior to the acquisition of our new Dalis units we were using eight tungsten cyclorama lights and a similar number of tungsten groundrows,” explains Patrick. “These have been excellent workhorses, but conventional lighting fixtures come with their problems as well.
“The age and fragility of these fixtures meant lamp replacement was becoming more and more frequent and a bit of a chore. Focusing was cumbersome and limited to the tilt angle provided by the yoke, and the weight of the fixtures made it less attractive to move them around the venues as needed. The number of colours one could use was always limited to four, and we had to fly the bar down between scenes to switch colours.
“Most importantly, each unit within the four-part fixtures drew 1000W of power, meaning all eight fixtures at full power would draw 32,000W (double that, when you include the groundrows), which was simply too much and required quite a number of dimmers to power them.”
Tevin Heng, executive director at Total Solution Marketing Pte Ltd, Robert Juliat’s exclusive Singaporea
UK - Doughty Engineering has worked alongside property and construction consultants Ridge to provide a permanent lighting installation for the transmitter mast at Alexandra Palace.
Renowned worldwide as the birthplace of television, Alexandra Palace remained the major production centre for BBC from 1936 to the early 1950s, except during the Second World War. While no broadcasts now take place from Ally Pally, as it is affectionately known, the transmitter mast is one of the most iconic landmarks in the north London skyline.
To celebrate the 80th anniversary of the first television broadcast, Alexandra Palace wanted to “light up” its iconic telecommunications mast and Ridge was on hand to provide its electrical engineering and lighting design skills.
Andrew Selwood, associate at Ridge explained: “Working alongside Architainment Lighting, we came up with an outstanding temporary lighting installation, which lit the predominant side of the mast from base to tip in full glorious changing technicolour. We used Doughty tripods and the system could be powered from a local 13A domestic socket and disconnected when the building was unoccupied.”
So successful was the temporary installation that Alexandra Palace asked Ridge to put a more permanent solution in place. Andrew continued: “The installation was restricted by a tight budget, the fact that the building is Grade II listed and the inability to fix through the flat roof. We agreed that the Doughty tripods, which had been used to date, were the best solution, but they were not rated for
Australia - Sia’s Nostalgic for the Present tour delivered three stadium shows in Sydney, Melbourne and Auckland, with the internationally-acclaimed singer bringing her long-time FOH engineer Jon Lemon behind the mixing desk.
Lemon has known Sia for most of her life and has been doing gigs for her on and off since 2002, mixing at small venues and large stadiums alike.
“It’s a very organised show,” he says of the recent tour. “The biggest challenge was putting it all together in the first place as it’s mostly playback in terms of the music. The brief I had was to make it feel like it was live but also sound like the record with SIA then singing live on top of it.
“I see it a lot with hip hop and rap where it’s just the artist and a DJ with minimum amount of stems and the engineer has just got nowhere to go and nuance it like the record. The environment changes the audio all the time, it might be a gig sucking out all the percussive stuff or over emphasizing the bass and you need control over all of those things.”
Jon was using an SD5 with a couple of Waves Servers on it plus a little bit of outboard; Waves MaxxBass, a few Maag EQ4’s and Smart C2 compressors to keep it all in control and even the sound out.
“SIA has a big voice, so I use Waves Renaissance compressors as well as their 1176 limiters on her vocals as she is so dynamic,” says Jon. “It’s pretty dialled in and quite simple because we did a lot of the work beforehand, in this modern way of doing things.”
“A lot of people may think it
Italy - Tribute show Pavarotti, An Endless Emotion marked the 10th anniversary of Luciano Pavarotti’s death. Held at the Verona Arena in September, it was broadcast to 5.5m Rai TV viewers and even more tuned on national radios.
Artists who played with the Maestro during the numerous editions of Pavarotti & Friends wanted to be on stage for this occasion to ‘sing’ again with the Maestro, requiring 226 channels of mic and line signals coming from the band, the orchestra, the choir, the solo singers and the announcers, with 24 additional playback tracks of Pavarotti’s voice.
Agorà, the Italian production company that supported the event, chose two pairs of DiGiCo SD7 for mixing both in front of house and on stage. Two more DiGiCo SD11 were added in both locations to manage the mics of the announcers and special guests. Two SSL L500 consoles used in sharing mode were chosen to handle the mix for the broadcast feeds reaching the Rai OB Van and the national radios.
Daniele Tramontani and Stevan Martinovic, chief engineers at Agorà, designed the signal distribution system along with support from Luca Giaroli from DirectOut.
Two different solutions were chosen to enhance redundancy for the signal distribution. A full analogue transportation was provided through four DiGiCo SD Racks and eight SSL ML32. A second full Madi solution was adopted by using the DiGiCo optical loop to feed the SD7 consoles and two DirectOut M.1K2 madi routers in “doppelgaenger” (mirror) mode which were collecting the signals from the coaxial Mad
UK - Swiss studio monitor manufacturer PSI Audio was chosen to provide the audio monitoring for dozens of new studios at the National Film and Television School in Beaconsfield near London.
At the audio branch, every student can use their own studio equipped to industry standards for the duration of the course, and the school wanted to specify monitors that could reproduce sound neutrally.
NFTS picked PSI Audio monitors from an initial set of seven brands and 15 models, buying PSI Audio A14-M, A17-M, A21-M monitors and A125-M subwoofers.
“All in all, it was a four-month process,” reveals Jérémy Rodeschini. senior supervising engineer. “People are very passionate about speakers.”
He also highlights the reliability of the Swiss manufacturer: “They came over here on multiple occasions, so we knew they would be there if we needed them. We felt appreciated by PSI Audio.”
Founded in 1971, the NFTS has established itself as one of the world’s leading film schools.
USA - Last month’s Ozzfest Meets Knotfest music festival brought dozens of rock acts, including Ozzy Osbourne, Slipknot, Marilyn Manson, Deftones and Prophets of Rage, to San Bernardino, CA.
Four stages supported non-stop metal shredding with lighting and video provided by 4Wall Entertainment. Brighter than even the pyro were the 30 Solaris Flares in the lighting rig.
“Flares were the only choice,” says 4Wall director of live events Todd Roberts. “They pack a huge punch, and with so many artists we used them for a bunch of different effects. Their versatility is unsurpassed. We used them on all the toms and lined each of the straight sticks of truss, ‘framing’ the stage. We rely on Flares to give us just what we need and they never disappoint.”
Michael Keller was the event’s LD, and Ron Chamberlain was production manager. 4Wall Entertainment is a full-service company specialising in lighting and video. TMB is exclusive distributor for Solaris Flare products.
Israel - Singer songwriter Elai Botner & Yaledi Haucutz completed an extensive seven-month tour of Israel with lighting created by Mickey Vilensky, who chose an all-Robe moving light rig.
The 12 x BMFL Spots and 24 x Spiider LED wash beams were supplied, together with the rest of the lighting equipment, by Simul Argaman Systems.
Botner is one of the top Israeli artists and Mickey is one of the leading Israeli lighting designers whose colourful career stretches back 34 years. All the skills and talents combined to produce a spectacular show for Botner’s many fans.
Mickey’s idea to have five 6m long upstage / downstage ‘finger’ trusses - each positioned 2m apart and raked (back-to-front) - was inspired by the Pink Floyd Division Bell tour design of 1994 which had lighting designed by Marc Brickman.
They had three days of production rehearsals at the start of the tour, in which time Mickey and programmer Yahav Tene created over 500 cues in the grandMA2 full size console.
Mickey really relishes the art involved and the process of lighting and visual design as a whole – from the initial ideas, the pitch to the client, the plots, drawings and renders, right through to seeing the rig for real onstage. Then feeling the music and the vibes and delivering the show and most of all, the audience reaction.
“I still get goose bumps when I hear an audience reaction to a lighting cue or some drama that I have helped create with a visual cue,” he says. “It’s such a special feeling to be able to make a lasting contribut
Italy - Held on 9 December at the Bologna Unipol Arena, Circoloco, an international show of club house music featured an Outline GTO system as the main PA for the event.
Circoloco is a format and a brand born in Ibiza many years ago, supported and created by Antonio Carbonaro - the owner of the famous DC10 music label. Circoloco has its own identity and includes many international artists who accompany this project around the world.
The audio design and set-up was entrusted to Emporio on Stage (Scandicci - Florence), with the support of the Outline staff. It was composed of 12 GTO systems plus GTO-DF (down-fill) modules for sides, 12 + 12 DBS 18-2 sub-bass units, 4 + 4 infra-sub LAB 21 HS and 6 front-fill comprised of 2 Mantas 28 each.
Angelo Catoni, owner of Emporio on Stage, comments: “For the main PA we installed 12 GTO + DF (down-fill) systems on each side of the stage that guaranteed optimal coverage of the venue and six Mantas 28 systems as front-fill to balance the medium / high frequencies. We have chosen to work with a ratio of 1/1 between top and sub adding 4 + 4 LAB 21 as infra in the central part to have a very important sum on the bass, given the type of event.”
The audio sound design for this event had to follow very precise directives required by the concert’s production. For the Unipol Arena production, the importance of high coverage and sound pressure in a very large arena, like the Unipol, was a fundamental requirement for the success of the show.
Production manager Gualtiero Sabatini comm
USA - Dollywood in Pigeon Forge, Tennessee, is a theme park success story for several reasons. Besides having one of country music’s leading personalities as co-owner, the park is a mix of traditional thrill rides spiced with crafts and culture, a successful recipe of entertainment that attracts nearly 3m guests a year.
Each fall, Dollywood holds a popular Harvest Festival and this year sought a family friendly, fall-centric addition to the autumn event. Park leadership decided on a pumpkin-themed evening concept to support the park’s Year of the Family theme. The new experience, Great Pumpkin LumiNights, is an outdoor installation of thousands of illuminated jack-o-lanterns, artistic sculptures, playful scenes, pumpkin-themed food and entertainment.
Since lighting would play a vital role in the evening event, Elation Professional dealer StudioVibrant of Lexington, Kentucky, was asked to join the design team from the initial conceptual discussions. “Early in the process, I determined that a theatrical approach to illuminating the show sets was important,” stated Matt Cooper, principle lighting designer at StudioVibrant, who was key in specifying both Elation and Acclaim lighting on the project.
“Most pumpkin events we researched tended toward interior illumination and negative space but focusing on only interior illumination misses the opportunity to highlight the form of a pumpkin. It became clear that sidelight, uplight and washing the exterior of the show sets would be critical not only in setting LumiNights apart
South Africa - Lighting designer Joshua Cutts and the SOS Charity Fund raised money to help a student from the Tshwane University of Technology to complete his tuition.
“Daniel Meledimo, a young gentleman from TUT, arrived on our first day of Idols South Africa set-up and to see if he could assist and gain valuable knowledge,” says Joshua, who has worked on Idols for the past eight years. “Daniel remained with us for the full duration; every day we were there he was there. He never asked for any payment. He was very grateful for the knowledge and experience.”
It was evident that he was an extremely hardworking and dedicated student with the right temperate and someone who would clearly do well in the industry.
“After chatting to Daniel I realised that he may have to drop out university as he could not afford to pay his outstanding account,” said Josh. Daniel needed R40 000.00 to complete the year.
Joshua approached Duncan Riley of DWR to see if they together could raise the necessary funds.
“If you’re in, we will be in,” said Duncan without hesitation, and each party has contributed R20 000 to assist. “I hope to see great things from Daniel, the passion is already there. It’s an honour for us to help when we can.”
South Africa - Production company Rapid Blue produced the eighth season of SA’s Got Talent, with event technical specialists Blond Productions teaming up with production design company Visual Frontier for the first time.
“We decided to join together to do this, using the strength of Blond Productions’ technical delivery and the strength of my design capability for television,” explained Joshua Cutts, lighting designer from Visual Frontier. “We thought if we joined forces it would be a good exercise and in the end, it turned out to be very successful.”
There were two portions to SA’s Got Talent namely the auditions hosted at the UJ Theatre in Johannesburg and at the Baxter Theatre in Cape Town, and then the main televised competition held at The Soweto Theatre in Johannesburg.
Mauritz Neethling, general manager from Blond Productions, professionally handled all the technical and logistics for the lighting alongside Stephan Kruger, also from Blond, who took care of all the audio aspects for the auditions and live shows.
There were two lighting operators. Ryan Lombard from Blond operated on a grandMA2 light at the auditions, while Andre Siebrits from Visual Frontier operated the seven live episodes broadcast from the Soweto Theatre every Sunday evening using the same desk. “It was the first time that Andre ran the show all by himself,” said Josh. “It was a proud moment for Visual Frontier.”
The winners of the competition was Anecnote, an acapella band, who along with runners-up Art of Dance and Amazebra
UK - Northampton-based full-service production company Stage Right Productions has recently extended their already considerable dBTechnologies inventory with the addition of the VIO 2-way line array system from dBTech’s UK distributor CUK Audio.
Part of the system is already deployed in the Deco theatre in Northampton for the annual star-studded pantomime. This year’s production of Peter Pan features Coronation Street’s Nick Cochrane as Smee, The Voice finalist Lydia Lucy as Wendy, Grange Hill’s Colin Ridgewell as Captain Hook, West End actor Chris Wills as Peter Pan, and Northampton’s own Naomi Wilkins as Tiger Lily.
Stage Right operates in a wide range of sectors in the event industry, from outdoor concerts, to corporate events to theatre shows. The company has been investing in dBTechnologies products for over 10 years and held a large amount of the DVA T4 and S20 modules. However, as Stage Right’s production manager, Craig Burgess explains, the time was right to invest in new technology.
“The DVA T4 system has served us valiantly for many years, but we felt that now the time was right to invest in some new gear, and of course more recent technology. Earlier in the year, CUK Audio organised a visit to the dBTechnologies factory in Italy to see how the products are designed and manufactured. We were extremely impressed with VIO’s capabilities and functionality so investing in VIO seemed like a natural progression and an obvious choice for us in adding new PA to our inventory.”
The Stage Right tea
New Zealand - Lighting rental company Oceania invested in 24 x X4 L LED heads from GLP that were used to support the British & Irish Lions’ rugby tour. Over six weeks the fixtures were ever present on all regional games and the three All Blacks tests.
At Auckland’s Eden Park, the company supplied all technical rigging, lighting, vision and sound equipment, technical management and crew, both in the venue spaces and the large fine dining 1,200 and 2,000-capacity party marquees on the practice ground, measured a colossal 400 sq.m. and 350 sq.m. respectively, requiring a lot of truss and expertise.
“The GLP X4 L and X4 Bars really impressed us both,” confirmed Oceania general manager, Simon Garrett. “The X4 L offers both workhorse and bling modes. A fast, very compact wash light with a source range from low to very high 10,000K colour temperature, giving some beautiful cold variation in straw, steels, lavenders etc. as well as some bling, with a myriad of looks. I particularly liked the straight lines and V shapes of the pixels, and the randomised strobes using macro mode.”
He said his company had needed some mid-sized LED wash for some time as their previous fixtures “ran out of puff at around 8m”. But none of the other options were inspiring him until he and designer Jeremy Fern ran into the impression X4 L at last November’s LDI show in the States.
Oceania also supplied the same range of technical services at the Queen’s Wharf Auckland Fanzone Activation. This provided the Auckland hub for the DHL New Zealand Lions Ser
South Africa - Audio engineer Emily Adams, was working on Pieter Toerien’s previous production, Joseph and the Amazing Technicolour Dreamcoat, when asked to do Evita, the original West End and Broadway production of Tim Rice and Andrew Lloyd Webber’s musical which premiered at Montecasino Teatro in Johannesburg and recently moved to the Cape Town’s Artscape Theatre. It is to be followed by an Asia tour in 2018. Emily is operating the show on a DiGiCo SD7T.
It has been an considerable experience for Emily. “It’s my first production as head of department on a show of this scale. I started as a RF technician and I have done many shows at the Teatro Theatre, but I’ve always been the deputy head of sound and only mixed the occasional show, not actually running the show. This has been really challenging and I’ve loved every second of it so far.”
This is not the first time that Emily has worked on the DiGiCo platform. “I would definitely choose the SD7 if given the choice of console for a musical,” she says. “The SD7 is so user-friendly and easy to navigate. Doesn’t take long before you’re jumping between layers and editing.”
The programming for Evita came from Broadway and was adjusted according to the SA version of the production. The audio cues are extensive. With many of the finer details done already, Emily took the basic structure and cleaned it up to adapt it. “I did things like assigning the correct cast members to each control group per cue, I shifted a few groups around and renamed them.”
Thailand - Fuzion Far East (FFE) has installed Nexo’s new Geo M10 mid-size line array at the Brighton College Bangkok.
A subsidiary of Brighton College UK, the newly-opened Bangkok college is the result of a collaborative partnership with the Ocean Group, a Thai company, led by the Assakul family. The school is housed on a 20-acre campus, and includes a purpose-built auditorium with facilities for music, art, dance and drama.
High ceilings and glass walkways characterise the Performance Arts Centre, a key part of the campus which houses a 620-seat theatre, dance studios, rooms for musical instruction and practice, art and design rooms, Mac suites and a traditional photography darkroom.
FFE recommended the newly-released Geo M10 line array for the PAC auditorium, designing a low-profile flown system which uses L/R arrays each with three Geo M1012 and one Geo M1025 enclosures, below a single 15” MSUB. Additional subbass support is delivered by two Nexo RS15 cabinets hidden from view.
Front-fill is provided by another new Nexo product, the super-compact ID24, with four of these small speakers along the front of the stage. Each unit is partnered by another ID24 which faces into the stage to provide monitoring. The entire system is powered and processed by just one Nexo NXAMP4x4 and three NXAMP4x1s.
China - Taiwanese artist Huang Guolun recently brought his No Impossible show to China’s Beijing National Stadium.
Also known as the Bird’s Nest, it was fitted with an expansive system comprised of Adamson’s E-Series and S-Series loudspeakers that ensured sound coverage for every seat.
Yongjun ‘Park’ Li of Le’er Culture & Art Studio was the system designer and FOH engineer for the performance and explains that his choice to deploy Adamson for both the main house system and the delays covering the upper bowl was based on a few key factors.
“Adamson’s E-Series is very widely applicable, from studios and theatres to major indoor and outdoor stadiums, and I’ve found it excels in any application,” shares Li. “The E-Series has an incredible throw, with smooth highs, powerful mids, and low end that seemingly has infinite power. The system is very dynamic; it feels like there’s always power to spare, even in productions of this scale.”
Sourced through Adamson’s Chinese distributor, Real Music, Li’s system included main hangs of 18 E15 three-way, true line source enclosures per side, plus eight flown and eight ground-stacked E219 subwoofers per side. An additional 15 E15s per side were deployed as side hangs, and small complements of four E12 three-way, true line source enclosures handled both front in-fill and out-fill on each side of the stage.
Additionally, eight arrays of between 9-12 S10 two-way, full range enclosures were flown from the roof overhangs to cover the entirety of the upper bowl.
UAE - Event technical production specialist Maestra’s UEA based operation, delivered rigging, staging, sound, lighting and video / AV for Blend Abu Dhabi, a special event to relaunch the YAS Marina Formula One circuit meeting space.
Attended by event organisers, production companies, suppliers, social influencers, media and other organizations and individuals from across the event spectrum, all with different interests in the world of live events, the pressure was on for Maestra’s team on site, led by project manager Aaron Merchant, to deliver something unique.
They co-ordinated technical production for four different areas, the main conference space, the pit garages, the reception area and entrance and the afterparty staged in the chic, rooftop Luna Lounge.
A stunning sculptural set design for the conference session’s stage was conceived by the YAS Event Centre team and augmented by Maestra, who suggested the lighting scheme which really energized the idea.
The set comprised 28 geometric structures made from semi translucent white sheer material which was stretched over a series of wooden frames in different shapes and various sizes with the largest around 2 metres wide. All were internally lit with a single LED PAR.
The colours and intensities could be changed and chased to great effect creating a fantastic ‘living, breathing’ ambience to the room.
The PARS were all controlled via the ChamSys MQ 60 console which was running the other stage and room lighting which comprised Martin MAC Aura LED Washes and MAC 700
USA - On 4 April, 1966 a local bluegrass band stepped up to the makeshift stage at a small suburban Washington DC restaurant/bar called The Birchmere. Few took notice of it at the time, but their performance on that cold April evening marked the start of an American music hall legend, giving rise to a venue that would count Bob Dylan and Bill Clinton as audience members and play a pivotal role in the careers of stars like The Indigo Girls, Alison Krauss, Mary Chapin Carpenter, Lyle Lovett, Jerry Jeff Walker, Dave Matthews, Vince Gill, and k.d. lang.
Gary Oelze, the Kentucky native who booked the original bluegrass band because he wanted to boost traffic at his restaurant, still owns The Birchmere. He still comes to work every night too – and he’s still open to new ideas for enhancing his business. This openness was very evident recently when he okayed a lighting system upgrade that features Chauvet Professional Maverick MK1 Spot fixtures, supplied by JR Lighting Design.
“Gary has never been afraid to make changes,” said David Beebe, The Birchmere’s lighting designer and director. “He’s moved the club to larger locations and continuously expanded into new musical genres. He’s always looking outward for ways to do things better, even though we are routinely in Pollstar’s top club listings for worldwide sales. He gives me leeway to do what I want with the lighting, so we continue to remain on the cutting edge.”
A key goal at The Birchmere when adding the Maverick fixtures was to enhance the flexibility of its stage lighting, so it
Germany - German rock/indie band Kraftklub recently undertook their third major tour with Martin Audio’s flagship MLA PA, provided by Complete Audio.
The five-piece outfit is a long-term client of the Berlin-based service provider, having embarked on their first tour of duty with MLA back in 2012.
This time around, the band played mostly arena-sized venues ranging between 8,000-14,000 capacity, with a few club gigs (through house systems) thrown in “for fun”.
The standard PA set-up comprised 13 MLA and a single MLD Downfill per side, with either three and four MLX subs flown next to the main hang to add further sub bass to the bleachers and to support the flown out-hangs comprising 12 MLA Compact. A further 12 MLX along the stage apron, stacked in pairs, were designed as a broadside array.
Joint system techs were Benny Franke and Thomas Birnbaum. And according to Complete Audio MD, André Rauhut, “With flown subs that powerful, they had to pay a lot of attention to time-aligning the MLX properly in order to blend in well with the rest of the system.”
While Franke was taking care of the pre-production and MLA set-up, Nico Lindner took his place in the FOH mix position. It was the latter’s first tour with flown subs and he was more than happy with the outcome. “With this setup, you can easily achieve the same sound in the bleachers, compared with just having subs on the ground.”
At around the same time Complete Audio also had an arena sized MLA system out with German/American rapper Casper on his Lang Lebe Der Tod<
USA - With perseverance, a vision and a good message, a congregation can grow beyond expectation. Such is the case with Life Centre Ministries in Harrisburg, Pennsylvania, a church that has continued to expand since its formation in 1978 as Word Fellowship. In 1994, it adopted the name Life Centre, attracting exponentially more attendees that, in turn, required a larger location. So, in 1999, the congregation moved into a spacious industrial building, a former AMP Corporation showroom.
Enter Clair Brothers in 2015, whose role in helping to fullfil the Life Centre ‘AMPlification’ can’t be overlooked. At first performing minor upgrades to amplifiers and mixing consoles, Clair Brothers has witnessed the church’s continuous growth and has been there every step of the way, right up to today, where we find Life Centre constructing a new balcony within its AMP space to accommodate even more new attendees.
The church has shown interest in purchasing a new PA system to replace what they’ve been using for 15 years. But until now they’ve been waiting to evaluate their needs with regard to the architectural addition of a balcony under a 23ft bar joist ceiling.
Clair Brothers understood the height limitation would require a strategic approach to the expansion of the sound system. Initially budget was a concern. As a result, the church did due diligence by consulting with several installer and audio production companies. But ultimately it was the Clair Brothers experience and clear recommendation to upgrade Life Centre to a larger PA system that won
South Africa - A grandMA2 full size, operated by Glenn Duncan, runs the musical Evita which kicked off at Johannesburg’s Montecasino Teatro, moved to Cape Town’s Artscape Theatre and will complete an Asian tour by mid-2018.
“This production of Evita has been publicised as the original production,” said Glenn. “We had a few of the original creatives out for the set-up, some wonderful people. It was interesting to see them interact with each other, people who have known each other for over 20 years and who are not scared of speaking their minds.” These included lighting designer Richard Winkler from New York, along with his associate Gary Echelmeyer and programmer Joe Allegro.
The current lighting show was originally built on MA in a visualisation studio and arrived in Johannesburg complete, based on the 1998 production. While untested on a full physical rig, the programmers had examples of each light fixture to ensure correct colour matching.
“I didn’t get to really do much with the desk until the first performance,” says Glenn. “Joe even operated the final dress so that they could do live notes. It was great to see him work, and he did interesting things on the console - which I had fun reverse engineering to know what was actually inside.”
The show runs on a grandMA 2 full size FOH console, and there is an MA light on stage – both networked and sessioned. Three NPUs run 10 universes of DMX. “The onstage console is the backup so if anything goes wrong, the on-stage lighting tech will run cues until I can
India - Initiated in 2014 by Yamaha Music India, Teens Rock: The Battle of the Bands is a bold initiative for promoting music playing and performance amongst teenagers. The idea is to provide a platform to teenagers to showcase their talent and interest in music which often goes unnoticed. The fourth edition saw the participation of schools from Delhi, Gurugram, Jaipur, Chandigarh, Lucknow, Indore, Kochi, Bengaluru and Kolkata.
The Grand Finale of the 2017 event took place at DLF Place Saket in New Delhi, with 11 school bands. In front of an audience of 2000+, the MD of Yamaha Music India Hitoshi Mochizuki hosted some accomplished professional musicians as judges – well-known drummer Gino Banks, Subir Malik from Parikarma, and Rahul Ram from Indian Ocean.
Sound systems for the event were provided by Yamaha Music India, with support from the Daedal Prodigy rental company. For the main PA, a Nexo STM M28 system was deployed. The L/R arrays included two STM B112 bass modules, two STM M28-90 and one STM M28-120 module. Four STM S118 subs were ground-stacked just in front of the stage.
On stage, all the monitoring was Nexo, with PS15s for most positions and a pair of 45*N-12 line monitors for the centre of the stage. The show was mixed on a Yamaha CL5 digital console, with RIO3224-D.
The winner of Teens Rock The Battle of the Bands 2017 is Sacred Heart Plus Two Thevera, from Kochi. Runners up were Gopalan International School, from Bengaluru, and home-crowd pleasers Amity International School Saket, from New Delhi.
“We are c