Germany - Lleyendecker Event Solutions has chosen the immersive spatial audio capabilities of TiMax SoundHub to animate its various auto industry clients’ corporate events; ranging from Porsche, BMW to Volkswagen, TiMax is used to add immersion, presence and impact to large-scale multimedia tradeshow booth creations as well as dealer meetings and launch events.
Due to the high-profile nature of such events, Lleyendecker always install a pair of TiMax units ensuring full and immediate cover for redundancy. To this end, the company recently invested in two TiMax SoundHub-S64 frames, each providing 64-tracks of playback, audio editing and spatial rendering, plus 64x64 channels of source and system EQ and group control, dynamic delay-matrix and Dante64 audio networking.
Lleyendecker deployed their two new TiMax units immediately, first for BMW at the IAA, Germany’s International Motor Show in Frankfurt, and then in Johannesburg for a prestigious Porsche promotional event.
Typically, the exhibition stands Lleyendecker works on for the auto shows are vast, with room enough to demonstrate cars from all the ranges on offer from one manufacturer. Lleyendecker uses TiMax to render immersive multichannel playback and effects surround soundscapes across multiple distributed speakers configured as different immersive zones around each product, as well as for focussing on live presenter hot spots. For BMW’s Frankfurt IAA presence, TiMax was hooked up to ZacTracks real-time tracking for triggering of audio spatialisation Cues in response to cars driving arou
Dominican Republic - More than 50,000 fans packed the Dominican Republic's Olympic Stadium in November to experience The Festival Presidente, the Caribbean's largest international music festival.
On the festival's opening night, Latin music star Gabriel performed in front of epic LED screens displaying florid, fast-paced graphics, powered by Avolites' Ai R8 media servers.
Yamil Charif of YC3 Lighting Design worked with a team of South American creatives, including lighting design partner Richard Vincens, to create the vivid Gabriel set. He initially programmed it using an Ai template at his Miami studio using dummy content before the real content, designed by a team of animators, was delivered just days before the event.
With a team of people inputting ideas and many last-minute developments, Charif needed to continue programming the R8 servers right up until show time. Due to the number of artists performing at the festival, including Justin Timberlake, Ricky Martin and Enrique Iglesias, Charif's programming time on site was limited so he programmed both off-site and on the fly.
"Some of the final content was only delivered a day before the show," he says. "Thankfully, the R8 servers are very strong because they are intuitive. You can tweak parameters as you go, producing really fast results. With the R8s you have versatility - by just right-clicking on a clip you can make changes to it or add timecode time to it. It's not complicated at all."
The R8's processing power delivered the "spectacular, cartoon-like" graphics, which we
UK - It had been more than 20 years since the EMAs descended on London, but it certainly did not look or sound that way at the SSE Arena on 12 November, 2017. Hosted by Rita Ora, the production was in the safe hands of long-time MTV audio supplier, Britannia Row, whose specification this time around was dominated by DiGiCo.
After more than two decades of working with the EMAs, Britannia Row's console deployment has now been condensed mainly to DiGiCo consoles.
Company director, Lez Dwight reports, “We have a long-standing relationship with DiGiCo, and find the technical support and service absolutely world class. MTV is always a challenge from a technical perspective, and this year was no exception; the performance area covered the entire arena floor, but this area was also built up off the floor by 4.75m, giving room for large lifts and sub stage space. We had three separate locations for monitor desks, RF, and FOH, and the five DiGiCo SD Racks and fibre loop capabilities helped us to achieve this.”
Two SD7s were assigned to monitors, with three SD5s at FOH - two for the show, one for prep - and the presenters and guests all went through two SD12s. Every artist on the night, barring The Killers, used DiGiCo, and it was a very smooth operation all round.
“It was a spectacular show from an audio and visual standpoint,” says Lez. “Fourteen acts performed in just two hours without any issue, but really that's just another day in the office for our stellar crew, led by Pete McGlynn.”
It was, as usual, very much an international a
USA - Lighting designer Herrick Goldman used Elation Professional’s Artiste DaVinci LED moving head spot for colour and visual effects on a Syracuse Stage production of The Wizard of Oz and praised the award-winning luminaire as a flexible workhorse that performed a number of duties throughout the show. “The DaVinci took so much of the work load I could have saved the time and energy of hanging 25% of the light plot,” the LD stated.
The family favourite musical, which ran from 29 November to 7 January, was directed by Donna Drake, and was Syracuse Stage's holiday co-production with the Syracuse University Department of Drama. It is the story you know well but is told in a new way with tumbling and flying elements from acrobats turned actors from New York’s 2 Ring Circus.
Although the Syracuse Stage theatre houses 100s of conventional fixtures along with some older moving heads, a fantasy production like The Wizard of Oz gives ample opportunity for creative use of colour and effects, therefore Goldman sought a more state-of-the-art fixture that would give him those possibilities. “I wanted a fixture that would help tell the story while shining new light on a familiar tale,” he said. “A creative production like this lends itself well to a theatrical fixture like the Artiste DaVinci. I’d been looking for a good replacement fixture for a 700W discharge fixture I’ve used in the past and this fills the gap.”
The Artiste DaVinci is an energy-efficient CMY and graphics luminaire with a 300W LED engine and 7° to 48° moto
UK - Working with set designer Joshua Grace and lighting director Gurdip Mahal, LED Creative played a part supporting the crew at A Night for the Emergency Services, a seasonal celebration and show of appreciation for the work carried out by the nationwide heroes in uniforms.
Filmed in front of a live audience at The London Studios, host Ashley Banjo was joined by high-octane dance troupe Diversity to introduce and share performances by talented members from all sectors of the emergency services.
Created around Grace’s linear installation awash with movement and intense colour, the set incorporated the LED Creative BYTE Pixel Control System matched with an array of the company’s Sigma Sparkle Wands which the designer suspended across the entire stage to add crisp, highly controllable accents and depth to the performance.
Commenting on the versatility of the Sparkle Wand fixtures, Joshua Grace said, “This is the best product out there by far. The Sparkle Wands help make coming up with numerous looks for such an action-packed show, easy.”
Available as ‘plug and play’ rental kits, the Sparkle Wands are a simple but highly effective way to build dynamic lighting effects into an installation. The Wands were paired with LED Creative’s BYTE Control System to allow precise, intelligent pixel management and maximum artistic control with minimum DMX footprint. The Wands sharp, colourful visuals coupled with LD Gurdip Mahal’s atmospheric lighting installation delivered stunning results throughout the evening.
USA - When the young man who celebrated his bar mitzvah at Georgetown’s upscale Park Hyatt was born in 2004, Pac-Man was about to celebrate its 25th anniversary. Such is the staying power of the video game invented by Toru Iwatani, that the youngster opted to build his reception around a Pac-Man theme. Digital wall images of the yellow circular figure with the gaping mouth adorned the reception area, as did representations of the game’s famous labyrinth.
To create a classic video arcade atmosphere in the reception area and accentuate the digital Pac-Man images that decorated it, the event organizers draped the walls in black. This created a stunning effect, but it also made it challenging to colorize the room’s dining tables. Eric Hertsch of John Farr Lighting Design successfully met this challenge with the help of Chauvet Professional Ovation E-910FC ellipsoidal fixtures.
Hertsch positioned eight of the RGBA-Lime colour-mixing fixtures on 12’ truss towers located throughout the room and used them to wash its long rectangular tables in warm appealing colours. In addition to engendering an inviting atmosphere, the saturated light from the Ovation fixtures created a balanced look against the room’s dark walls.
“The colours made the tables stand out aesthetically as part of the décor,” said Hertsch. “We selected the Ovations specifically for the colour-changing capability of their RGBA-Lime colour-mixing engine. We also like their tight zoom, since it allowed us to frame the tables in colourful light without spilling over. We were abl
USA - LD Matthew Ardine transformed a Kia Motors America dealership into a large-scale lighting display for a 2017 holiday season TV commercial.
Set to the Trans-Siberian Orchestra’s version of Christmas Eve in Sarajevo, the ad featured masterful pacing from subtle car headlights to a massive 65,000 DMX-channel paragon of holiday lighting highlighting the showroom building and surrounding landscape. Featuring nearly 500 various lights communicating over two V-LAN groups, with a total of 75 Ethernet devices, the network relied heavily on its nerve centre, four ProPlex EZ-LANs.
“The EZ-LANs were easy to use and kept costs down,” says Ardine. “EZ-LANs formed the backbone of the network, shuttling the two VLANs around the location. From the EZ-LANs we cascaded to other switches and we had no network issues. We created two versions of the 30-second commercial and one 72-second version. We used two MBOX units to pixel map the lights on the walls and the bushes, then sent that sACN data into GrandMA2 to do an HTP merge so that we could visualise on the model of the building in MA 3D.”
Ardine adds: “The EZ-LANs worked great and they’re the answer to simplifying complex networking productions. I’ve used them in instructional classes but this was the first real-world application, and their performance exceeded our expectations. Our thanks to Matthew Shimamoto of Volt Lites for providing the units. We’ll definitely use them again.”
Austria The Men's World Cup Night Slalom is the biggest party in the Alps, attracting 50,000 spectators and skiing enthusiasts annually to Schladming-Dachstein at the end of January.
Lighting designer Daniel Reistenhofer from D-TWO Stage&Light Creations was asked to light the 2017 season opening event and he enlisted the help of over 100 Robe moving lights - 74 x Pointes and 34 x BMFL WashBeams.
Event organisers, Leutgeb Entertainment Group and the Planai Hochwurzen Bahnen Gesellschafft, saw some of Daniel’s other stage designs and wanted something totally different to what had been done before.
The format was similar to a large EDM event, a large stage - 40 x 24m - was set up next to the Planai ski slope - normally the finish line for the Night Race - and around 16,000 people packed in to enjoy the start of December opening event and the international line-up that included Martin Garrix, Alle Farben and Alan Walker rocking the slopes.
Daniel was asked to design set, video and lighting, which was a massive bonus…, so he proposed a design based on four hills representing the contours of the Planai mountain cableway, with the big one in the middle being the Dachstein. This was topped, jauntily, by a large scenic bobble hat.
Lighting-wise, he wanted to give as much scope and flexibility as possible to the guest LDs arriving with each of the headlining DJs, so with limited programming time, they had the chance to make up great looking scenes quickly and easily.
The Pointes and BMFLs were rigged on six tall towers upstage and a
UK - Nick Cave and The Bad Seeds were on the road for much of 2017, performing in world-renowned theatres and major arenas across Australia, North America, mainland Europe, and the U.K. When it came to the large-scale venues like Manchester Arena and London’s O2 Arena, it was an E-Series audio system from Adamson Systems Engineering amplifying the band’s haunting melodies and weighty words for a notoriously dedicated fan base.
“Both the E15s and S10s are sounding beautiful,” FOH engineer Matt Crosbie said amidst the run. “Even from when we first tried them in Australia, it was clear we had the right system, and with the new V4 preset, the mids and highs are pretty close to perfect.”
Considering the wide range of venues comprising the tour, the system was designed with scalability in mind. The typical configuration featured a combination of Adamson’s E15 three-way, true line source enclosures and E12 three-way, full-range cabinets, along with compact S10 two-way, full-range enclosures for fills and E119 subwoofers for low end.
As an example, the system deployed at Manchester Arena boasted main arrays of 15 E15 and three E12 cabinets per side, with side-hangs of a dozen E15s and three E12s. System tech Simon Farrell of audio production provider Eighth Day Sound also had eight S10s across the lip of the stage for front-fill and 12 stacks of two E119 subwoofers in a cardioid configuration lining the stage. A complement of 30 Lab.gruppen PLM 20K44 amplifiers drove the system.
“It’s sounding great in these bigger rooms thanks to
UK - Powersoft Quattrocanali amplifiers are providing the beating heart of a new entertainment experience in the UK.
Created by the award-winning producers behind the BBC series and arena show Walking With Dinosaurs, the Dinosaurs In The Wild production (read a detailed report in LSi September 2017) uses the latest in AV and animatronic technology to generate a realistic, interactive walk-through back to the Late Cretaceous period.
Central to the successful creation of TimeBase 67 (built by Chronotex Enterprises) is the sound and lighting design along with the animatronics and the latest in 3D AV technology. The accent is on authenticity and accuracy.
There are three elements to this mix of theatre, theme park and the latest scientific research: the infrastructure and set design; the technical sound, lighting and AV content and the live action actors who inhabit the set and guide the visiting time travellers.
Sound has been entrusted to Remarkable Projects, the newly-formed partnership between leading West End theatre designer, Bobby Aitken and Scott Willsallen, who has been responsible for many major Olympic Games and other landmark opening and closing ceremonies. The company was also closely involved in the Pink Floyd exhibition: Their Mortal Remains.
The idea of forming a partnership fomented after Aitken and Willsallen had worked together on the London 201
Denmark - The Live Company AS showcase event co-hosted with Chroma-Q enabled rental production clients to experience the multi award-winning Color Force II LED cyc, wash & effects light.
Leading lighting designers and specifiers from all sectors were invited to Tivoli in Copenhagen, one of Denmark's most prestigious entertainment resorts. Delegates got hands-on with Color Force II, followed by dinner and a show, where they were able to see it in action during a performance of The 35th Crazy Christmas Cabaret Show - Planet Rump - The Farce Awakens.
Freelance lighting designer Mark P Jones, who attended the event commented: "Having a history of using and specifying Chroma-Q products, it's great to see that Color Force II builds on the reputation of the original fixture - the output, colour range and stability on camera make them a great lighting tool."
Bjarne Olsen, show lighting designer for Planet Rump - The Farce Awakens noted, “I am very impressed with the fixture's colour palette. It can produce both deep saturated colours and vivid pastels. The amount of light output is also very impressive, and the individual pixel control allows for some nice effects."
Italy - Florence’s Nextech festival chalked up a sold-out 12th edition in December at the city’s Fortezza da Basso under the techno banner, with 3,000 fans flocking to see and hear the man many of them call the Techno King, Chris Liebing, ably preceded by a blistering set by up and coming local DJ Marco Effe.
Frankfurt-based, but constantly globetrotting on the international club and festival circuit, Liebing is a techno pioneer, DJ, producer, podcast and radio host, as well as being the driving force behind his CLR label.
One of the first DJs to use the new possibilities offered by the digitalization of music in an original creative manner, Liebing is constantly on the search for new methods of creative expression. These include real-time manipulation of individual tracks and sounds in his DJ sets, so the sonic quality of the sound systems he uses plays a fundamental role in the success of his performances.
A veteran of the Florence music scene, Fernando Fanutti is the man who had the idea for the Nextech project, a festival that has brought top international EDM artists to the Tuscan “capital” for 10 years, with its combination of digital AV art, music and design. When he moved from Rome to Florence in the seventies, Fanutti continued his work, programming the bands in the some of the city’s venues and as a music journalist and critic, with a particular focus on electronic music.
Regarding the Outline GTO, he says, “Since my aim has always been to achieve quality sound even in difficult situations, I must say that I noticed the d
South Africa - The Acts Christian Church in Midrand has invested in two Robe Spiiders that will work alongside their current Robe rig.
When it comes to mission work, Acts Church reaches out to people with Acts of Love, whether it’s providing toilets to a needy community, setting up a library, giving food to the homeless or preparing gifts for senior citizens and children over the Christmas period.
With a North and South Campus to accommodate the increasing congregation which is now just short of 6 000 people, the church has five Sunday services (three at North campus and two at South Campus with an additional evening service held at the North Campus once a month) and hosts various events from children’s productions to conferences that cover topics such as Business Excellence, Bible studies or fasting periods. The auditorium has also doubled up as a venue to assist other churches in the area when needed.
It’s this passion to make a difference to the lives of others that has made coming to work each day all the more worthwhile for Jason Sampson, who has been with Acts Church for two years and who is responsible for the Visual Media and live streaming of services and events hosted in the church. “I believe in the vision,” said Jason. “It’s a healthy church as we teach what I believe is true.”
Jason and his team run the lighting department. “A couple of years ago we invested in two Robe Pointes which have worked really well and which we often use to light the roof or as spots,” he explained. “We have eight Robin LEDBeam 100,
Europe - The current tour by Jamiroquai, which started last spring with a run of festival appearances and a short stretch round Japan, is now touring Europe in earnest with a full production.
From the out-set, their FOH engineer Rick Pope has been using Yamaha’s new flagship mixing console, the PM10. “We have looked after Rick and Jamiroquai for many years now,” said client manager Dave Compton at Britannia Row. “Although investing in a new top end console was not in our cap’ex plan at the time it was at Clair Global. They already carry a large inventory of Yamaha consoles and were more than willing to make the investment to support this tour.”
For Clair Global, Pope’s experiences have proved a useful test-bed. With the tour now in Europe, Britannia Row are also taking a long hard look at the desk. Pope, who has mixed Jamiroquai for many years, explains why: “I’ve been a Yamaha endorsee for maybe 25 years and have contributed to their R&D consistently over the years. A replacement for the venerable PM1D was long overdue, so I was relieved when the PM10 was first presented to me.”
“Quite simply, it is fantastic. It’s the most powerful desk out there; it’s ridiculous what you can do with it. Yet in spite of its functional power it’s so easy to operate. Any engineer with basic knowledge could rock up to find the PM10 out front at a festival and have no trouble; I can think of some desks where you need to take a three-month training course.”
Much is made of the contribution of Rupert Neve to the development and f
Indonesia - Finn's Beach Club in Bali recently relocated to a new building on the famous Berawa surf beach and has installed a new Yamaha audio system.
The environmentally-friendly bamboo structure allows every guest to have a guaranteed sunset view accompanied by music from the club’s resident DJs. The soundtrack is enhanced by a major Yamaha audio installation, designed and installed by David Soewondo of Surabaya-based DMP Musik.
A complex, multi-zone system was needed because the club features six indoor bars, a restaurant, spa, boutique, changing rooms, DJ booth/stage, two swimming pools, a pool bar and numerous outdoor hammocks and single/double day beds.
“The client needed a system that could distribute sound throughout the venue, however the different zones have different volume settings, depending on how each area is used,” says David. “Some of the zones overlap and it was very important that people would not perceive delays in the sound, because this would deliver an inferior customer experience. So it was very important for staff to have a very quick and simple way of adjusting the sound of each zone, to maintain the best audio quality at all times.”
Based on three Yamaha MRX7-D, an MTX5 and an MTX3 matrix processors, with six EXo8 output expanders and a DCH8 digital control hub, the system is controlled by eight DCP4V4S and eight DCP1V4S surface-mount control panels. Fourteen Yamaha power amplifiers drive loudspeakers located throughout the venue, with an MGP16X mixer also provided for live events.
“We chose Yamah
UK - Based on the world renowned 1950 novel by Patricia Highsmith, Strangers On A Train is a spine-chilling tale that tells the story of a fateful encounter between two men in the dining carriage of a train crossing America.
Originally seen in the West End, the production is now being revived and is touring across the UK. Starring television favourites Christopher Harper, John Middleton and Hannah Tointon, it is adapted by Craig Warner and directed by Anthony Banks. As a leading supplier to touring productions, White Light is providing the lighting equipment.
Strangers On A Train sees the creative team from last year’s production of Gaslight reunite, which WL also supplied. The lighting designer for both is Howard Hudson, who says: “The set for Strangers On A Train is built on two levels and relies on a lot of projection to suggest the setting. The vast majority of my job was to light the small spaces revealed for each scene. This involved having to be quite precise in not interfering with the projected surfaces but lighting each scene in such a way as to make the projected image believable in context.”
As preparation, Howard attended rehearsals and began to formulate his design. When it came to choosing the exact fixtures, it was actually a demonstration at WL that helped influence his decision. He comments: “Having attended the WL demo of the Martin MAC Encore, I was very impressed with what this light could offer; particularly the warm version and its emulation of a tungsten source which was the feel we were a
USA - Located in New Middleton, Ohio, Hitch-Hiker Mfg. leads the way in design innovations for the mobile food concession industry. When approached by Chicken Charlie’s in San Diego, California, they were asked to help create a LED video display for the new FryBQ mobile concession stand.
Needing a solution that could overcome the challenges associated with an outdoor, traveling environment, they called upon Nashville-based PixelFLEX who provided a completely IP65-rated FLEXStorm 6mm LED video system.
“I’ve been in the restaurant business for 34 years and we’ve had the mobile concession stand for 23 years now,” began Charlie Boghosian, Chicken Charlie’s owner. “We have a season every year that last about 5 months where we travel across Southern California, and I first put LED video on a stand about 10 years ago.
“This year, as we were building this new trailer with Hitch-Hiker, I wanted to create an even better multimedia experience, and when we shared our vision with PixelFLEX they really helped us take it from an idea to a reality using the FLEXStorm LED video.”
“This really was a great team project to find a custom LED video solution for the ‘FryBQ’ mobile concession stand,” explained Mark McIntosh, PixelFLEX sales engineer. “As we started getting into the details of the project, one of the biggest challenges was that the displays would need to be securely attached to the top as the stand traveled from one location to another.
“We also needed to go with an outdoor-rated, modular solution to help shave as
UK - Global brand experience agency Jack Morton Worldwide once again organised London’s New Year’s Eve firework display – an event which it has produced for 14 consecutive years. Contributing to this year’s event was a ChamSys MagicQ MQ500 Stadium console, which was used by lighting programmer Paul Cook to control the 18-universe lightshow that supported the firework display.
The display, which took place over the River Thames and the Coca-Cola London Eye, is a global showcase for the city, reflecting its dynamism, creativity and openness. The show was seen by millions of people on BBC One and live by over 100,000 people in viewing areas on the banks of the River Thames.
Synchronised and triggered by GPS to Big Ben’s chimes, the 12-minute show lit up the River Thames with 2,000 lighting cues and 12,000 fireworks producing 50,000 projectiles. The FOH station, with its MagicQ MQ500 Stadium desk and MagicQ MQ80 backup, was situated on the river bank directly opposite the London Eye. From this position, the console controlled the 640 RGB panel lights permanently installed on the London Eye, as well as 32 profile fixtures, 32 blinders, 30 LED hybrid units and 16 batten washes that were brought in for the spectacular New Year’s Eve event.
“We were extremely happy with the MQ500 console,” said Cook, who worked the console with Durham Marenghi. “It operated superbly controlling lights in sync with the music to support the fireworks. The advanced power of the onboard processing was quite impressive, allowing us to output a large number o
USA - Allied Esports announced the grand opening date and a major partnership for Esports Arena Las Vegas, and the first stop for its new mobile arena, Esports Arena Drive.
Esports Arena Las Vegas, The Strip’s first dedicated esports arena, will open at Luxor Hotel and Casino on 22 March with a series of events, including an invitation-only, multi-day, live-streamed tournament.
“Esports Arena Las Vegas is the cornerstone of our property, brand and content development and will allow us to engage esports communities, brands and stakeholders like never before,” said Jud Hannigan, CEO of Allied Esports. “With Las Vegas rapidly becoming a hub for esports, Esports Arena Las Vegas at Luxor will be the city’s home for competitive gaming and interactive entertainment.”
Allied Esports also announced an exclusive partnership with Harman Professional Solutions, the global leader in audio, video, lighting and control systems, including networked AV (AVLC), for Esports Arena Las Vegas. Harman Professional has created a uniquely designed product solution for the new arena, including AVLC products from its brand portfolio including JBL Professional, Martin Professional, AKG Acoustics, AMX, Crown International, BSS, and dbx Professional. The agreement covers the integrated AVLC systems for the 30,000sq.ft venue and production studio.
“We are proud to be chosen by and aligned with Allied Esports whose development of the Esports Arena Las Vegas further solidifies their leadership position in the massively growing competitive gaming space,” sai
UK - Tasked with creating a fresh regime of visual anarchy for Prodigy’s most recent tour, lighting and set designer Tim Fawkes chose to work with rental specialist HSL as suppliers of lighting and a crew who were chiefed by Matt Brown.
Tim took a brief from the band and long-term manager John Fairs. This led to the development of four custom semi scenic old-style searchlight assemblies upstage, with big hexagonal outer shells and packed with more modern lightning technology. These, together with three scenic CCTV camera towers were the main set pieces,
”The underlying idea was to create a scene of dystopia on stage,” explained Tim. The set was built by Stage One. Tim devised the shape and size of the searchlight housings which he modelled and tweaked in WYSIWYG before finalising. They were a compromise between being tourable, relatively light at under 300kg each fully loaded - and looking the part.
The two onstage ones sat on risers upstage with the two offstage ones on the deck. Prodigy have always played in a relatively smaller area downstage, so the concept fitted the space nicely.
Inside each searchlight pod were seven Claypaky Sharpies, a Martin Atomic LED, two Philips Nitro 510C strobes and eight individual PAR 36 ACLs. The shells were outlined with LED tape so they glowed menacingly in the upstage shadows.
A typical Prodigy lightshow involves layers of visual effects and for this one Tim alternated between beams, strobes and Moles / blinders, flipping between tungsten and LED.
The strobes punched jauntily out of the f
UK - Helping to bring a touch of nostalgia to TV screens across the UK, illumination specialists LED Creative supported scenic designer Chris Webster and lighting director Dave Davey on Talkback Thames’ recently revamped The Price is Right.
Recorded in front of a live studio audience, the programme was hosted by Alan Carr who invited members of the audience to “Come on Down” against the backdrop of Chris Webster’s vivacious set.
As a part of the build, LED Creative supplied the team with over 2km of their Alpha 60 RGB system which the designer used to create the myriad of light boxes, which were bursting with colour across the back of the stage. Additionally, each lightbox was fitted with a saturation diffuser, sourced specifically for the project to deliver consistently vivid colours in all key lighting conditions.
Elsewhere within the set, the Alpha 60 was cleverly woven into the set-pieces to provide the crew with almost infinite control of colour, depth and intensity, to perfectly complement LD Dave Davey’s installation.
LED Creative’s Ges Smith commented, “It’s always exciting to assist in putting together vibrant, fun installations such as this. Chris’ set design was bursting with colour and he made great use of our Alpha RGB to enhance the various elements used to create the set. Very worthy of such an iconic gameshow.”
UK - Imelda May recently completed a short run of concert dates with a commanding performance at the Royal Albert Hall, where Bob Geldof and Ronnie Wood were among her special guests.
With the London concert hall the only venue on the itinerary requiring an imported sound system, Capital Sound, the artiste’s equipment vendor for the past seven years, fielded their flagship Martin Audio MLA PA in a new sleek format, tailor made for the RAH.
With a new front of house engineer in Waynne Smart, and a requirement to provide 270° coverage (only the choir stalks at the rear were left empty), they deployed a more compact and efficient system that had first been successfully trialled at the RAH back in late Spring, with shows by Roger Hodgson and the Beach Boys.
Stating that Smart had readily given his blessing to working with MLA, Capital director, Paul Timmins, explained why the RAH had necessitated changes for their front-line PA’s. “We wanted to introduce an easier way of rigging that would no longer conflict with the Hall’s big lift. We were conscious that our system design hadn't changed in a while, and during that time, loudspeakers have become much lighter; we needed to look at designing a universal rigging package that would be more beneficial from a loading perspective.”
The PA now consisted of 12 flown MLA elements per side, supported by 11 MLA Compact on each flank for out-fills (rather than the previous 12). The central hang comprised four MLX subs, with one reversed. Providing low frequency at ground level were three further M
USA - Bandit Lites supported Canadian rock band Death From Above on their autumn tour in support of their third studio album Outrage! Is Now.
Death From Above were looking to take the lighting in a new direction and contacted Dara Guiney. Following a discussion with tour manager/production manager Markus Gilgan, Guiney crafted a floor package that would provide the ‘something different’ while staying on budget: a simple rectangle of tilting, zoomable LED bars around the band.
“I had got the idea when I saw a band called Explosions in the Sky play,” said Guiney. “They had a row upstage and downstage of LED bars, designed by Tobias Rylander and operated by Corey Mattonen. Corey explained a lot to me about the LED bars and how positive he was about them, selling me on the LED bar idea. I proposed this idea to the band, drafted it and did a couple of visualisations for them to properly demonstrate the capabilities.
“I proposed the LED bars running through a media server giving us complicated effects and shapes that would otherwise be unobtainable. We could go from having no additional lighting to cloning and morphing the floor into overhead house fixtures, giving us a mirrored effect. It is also a departure from the usual couple of moving lights on truss behind the band kind of vibe. The band was on board.”
At Bandit vice president Mike Golden’s suggestion, Guiney tried the Robe Cyc FX 8, a choice that garnered praise for their speed from other LD’s who came to see the shows.
“The Robe Cyc FX 8 are a fantastic fix
The Netherlands - As part of their recent move to expand Podium Victorie’s audience capacity, the owners of the Dutch club recently decided to move to an inner-city location.
The venue’s owners wanted to install a state-of-the-art lighting rig to provide visiting bands with the most modern powerful high-energy support. Dutch distributor Rolight upgraded the club’s stage lighting using Chauvet Professional Maverick, Rogue and COLORdash fixtures.
In total, 20 Maverick MK2 Spot LEDs, 61 Rogue R2 Washes, six Rogue RH1 Hybrids and 36 COLORdash Par-Hex 12 RGBAWUV fixtures were specified for the stage. The versatile lighting rig ensures a practically unlimited selection of looks to fit a whole manner of needs, from bold rock ‘n roll looks to subtle theatrical scenes.
“The combination of Maverick LED spots, and Rogue LED washes and hybrids creates a perfect concoction of lighting for the main stage,” commented Rolight Project Manager Christian Borgers. “And thanks to the competitive price point of the fixtures, both the lighting crew and management could be happy about the installation.”
Maverick fixtures are used as back lighting, as well as front lighting for the band and effect lighting on the dancefloor. The powerful Maverick provides the punchy energy needed for high-octane rock shows.
“The fixture is a true workhorse,” commented Borgers. “Its super-bright beam cuts through any wash, and the optics keep the gobos very crisp all through the beam field. Even putting a mildly saturated colour over a projected gobo will n