Germany - The 2018 edition of Deutschland sucht den Superstar (DSDS) featured another eye-catching lighting design created by the show’s long-term LD Manuel da Costa and Jonas König of MDC Lichtgestalten, utilising over 100 Robe Pointes which were supplied by Magic Light+Sound from Cologne.
Manuel has been involved with the top TV series since the very start in 2002. It was again recorded in studios 30 and 31 of the Coloneum complex in Cologne and broadcast on RTL’s Saturday night prime time. Now the 15th series, DSDS has become one of the most successful shows on German TV.
The set was designed by Florian Wieder of Wieder Design who also has a long-standing relationship with the series. He always produces a spectacular, multi-layered environment fusing interesting structural and geometric elements with innovative video and digital aspects.
This year Manuel worked alongside his associate and chief technical lighting supervisor Christoph Dahm. It is important to have a close-knit team on hand, familiar with the format and specific demands of the show, where the challenges are always to transform the stage and setting for each competitor, covering a wide range of musical genres.
For this they need the rig to be as flexible as possible, hence the choice to have a large contingent of Pointes on the rig.
The fixtures were distributed in the mid-stage area, around the second of two large circular trusses and along the back of the set in high positions on what they called ‘the matrix’ as well as left and right beside the LED wal
UK - Located in London’s Covent Garden, the Poetry Café is a cafe and events space for poetry and literature recitals, music, community groups, interdisciplinary arts, craft and much more. A recent refurbishment project has seen a Yamaha audio installation satisfy a diverse client brief.
The Poetry Café is run by the Poetry Society, now over a century old and described as ‘the heart and hands of poetry in the UK’. The venue caters for all ages and demographics, attracting both independent and corporate groups by day and night. A recent major refurbishment included replacing its ageing AV system. Surrey-based systems integrator Flipside was tasked with delivering a solution that was high quality and versatile, but came within the limited budget of a small venue.
“After finishing a modern but cosy refurbishment, we were without any sound. The equipment we had been using was clumsy, difficult, unreliable and very unattractive for our corporate users,” says manager Olissa Francisco.
“Our task was to provide maximum utility and quality, but without a huge price tag,” adds Flipside managing director James Cooper. “The space has a clean aesthetic and is a blank canvas for exhibitions and events, yet still has a quirky character and warmth. Above all, usability was key. Not only would the system need to be operated by staff throughout the day, but outside organisations and individuals hiring the space also had to be able to use it without a ‘crash course’ in its operation.”
After carefully looking at all possible options, Flip
UK - With a string of recent hits such as Chewing Gum, The Best You Had and Somebody Special, Swedish-Scottish singer Nina Nesbitt has earned critical success both in the UK and throughout Europe.
After a successful string of US concerts, Nesbitt recently returned for a UK tour. Lighting designer Ollie Wilkinson, managed to craft equally catchy visuals with the help of Chauvet Professional Maverick MK Pyxis fixtures supplied by Arranpaul.
After searching for a fixture to complement his existing rig, Wilkinson decided to utilize the Maverick fixture’s dual beam and wash features to provide something special to round off his lighting concept. "I wanted a fixture that could be used to fulfil a number of practical functions in addition to providing eye candy," commented Wilkinson. "After considering a number of options, I decided to give the Pyxis a try."
Thanks to its ring of nine 15W RGBW LEDs and a single 60W RGBW LED serving as a centre pixel, the multifaceted tool box that is the Maverick MK Pyxis proved itself more than a match for Wilkinson's versatile lighting style. "One of the key looks which I wanted to achieve was to illuminate Nina from the side, and to then go into a full stage wash," he said. "Thanks to its incredible zoom range (7° to 45°), the Pyxis was able to effortlessly make this switch between these phrasings."
Positioned on either side of Nesbitt, who stood for most of the show on an illuminated Perspex plinth in the centre of the stage, the Maverick MK Pyxis covered the artist with a wide spectrum o
Portugal - The Eurovision Song Contest lighting designer Jerry Appelt, working alongside stage designer Florian Wieder, specified a total of more than 600 GLP lighting fixtures for the mega event.
Among the most impressive elements of the show were eight rings, set within truss circles over the audience area, for which Jerry Appelt used the KNV Arc modules from GLP for the first time on TV worldwide. "The most secret light in the world", as production manager Ola Melzig described the modules, at the same time making no secret of how powerful these modules really are. "They're damn bright,” he said, describing his first impression. “It's best to put on the sunglasses before these things come on."
GLP product manager, Michael Feldmann, explains: "The KNV is a modular LED system and combines strobe, blinder and pixel block. There are two basic shapes, the cube-shaped KNV Cube and the KNV Arc in the shape of an eighth of a circle.
“Originally, Jerry Appelt brought the idea of modular strobing to GLP, and our CEO, Udo Künzler, immediately put the entire team at our newly formed Danish development department on the project. The result was there for all to see,” he stated.
Other GLP fixtures in use at ESC included the JDC1 hybrid strobes, of which Jerry Appelt deployed a total of 262 units. "With the JDC1 we were able to perform several tasks with one lamp. On the one hand there is the crisp white of the strobe tube and on the other the color surfaces, which can be animated in segments. Depending on the situation, we were also able to col
UK - Europe’s largest digital marketing conference, the Adobe Summit EMEA 2018 returned to Excel London earlier this month. Creative technical event production expert, Hawthorn was once again chosen by agency Taylor Bennett Partners to deliver the full technical design and production for the two-day event.
Focused on the future of digital marketing, over 5,500 delegates from across Europe, the Middle East and Africa gathered to hear the latest’s updates from Adobe Marketing Cloud and its partners.
Led by group creative director Pete Harding, Hawthorn was tasked to bring Taylor Bennett’s impressive vision to life, delivering the technical production for the main conference plenary, exhibition space, break-out rooms and the Summit Celebration evening event.
Hawthorn collaborated with Cinimod to create a spectacular 6m interactive projection mapped globe that formed the centrepiece to the Adobe stand. Designed to represent the brain of Sensei, Adobe’s artificial intelligence engine, delegates were able to control the content on the globe using facial recognition and RFID technology embedded in smaller coloured replicas.
These combinations then created a unique live experience that exploded out across the exhibition space, appearing on an LED floor underneath the globe, eight surrounding screens, LED blades and 30 LED panels inset in to sponsor stands. To complete the immersive setup, eight aroma machines delivered different scents depending on each unique users interaction with the experience, along with accompanying audio tracks deliver
UK - Situated in the heart of Newcastle, Perdu, established as a long running champagne bar, was moving further and further towards louder club nights with DJ sets – pushing the existing sound system beyond the limits of what it was originally designed for.
County Durham-based Promotion Time NE were tasked with specifying a new system that could handle the rigors of the new requirements, but could be integrated within the existing cabling infrastructure and without disrupting the running of the venue during key weekend trading.
KV2 Audio’s passive ESD products were deemed the right choice for the task, with the built-in delay and crossover networks ensuring balanced and phase correct signal without the need for any external processing.
With the positioning of the main top boxes restricted to the existing speaker positions a system was designed based around a combination of 2-way 10” ESD10’s and 2-way 12” ESD12’s as the primary loudspeakers with a snug area covered by 2-way 6” ESD6’s all powered by KV2 Audio’s dedicated ESP2000 2x1000W amplifiers.
Low frequency reinforcement was provided courtesy of active EX1.5 15” subwoofers and EX1.8 18” subwoofers and an NST id48 System Controller was deployed for limiting and control of the overall system.
Brian from Promotion Time comments, “KV2 Audio’s ESD products were a great solution for Perdu, especially given the short time frame in which we had to complete the installation. The KV2 boxes have given the venue exactly what it needs in terms of SPL and added bass extens
New Zealand - Singer, songwriter, and record producer Lorde has been out on her international Melodrama tour, which accompanies the new album of the same name. The show is also set to visit some of this summer's biggest festivals, and front of house engineer Philip J Harvey has been along for the ride, engineering on the first international tour on the road with the new L-Acoustics L-ISA Live multichannel immersive technology. To complement this, Harvey needed a console that could do justice to the band and L-ISA, so he chose SSL Live.
The stage set-up is relatively simple. An acoustic drum kit, guitar amp, and vocals are the main analogue sources, with two keyboard stations and triggered drum samples making up the rest. "It's a nice, quiet stage," says Harvey. "As the majority of the inputs are the keyboards, software synths, and playback, I have 34 inputs from stage, plus clicks, guides, and so on."
The L-Acoustics L-ISA Live uses multi-array ‘scene’ technology to distribute up to 96 objects (console channels) across the full width of the performance space in either ‘Wide’ or ‘Focussed’ deployments, depending on the show requirements. Object panning is taken care of by the L-ISA system, as is spatial configuration and 3D processing – using the L-ISA Room Engine.
“The L-ISA goal is to widen the venue sweet spot by expanding the mix over the entire floor, using multiple hangs,” explains Harvey. “Each input is sent post-processing, post-fader into the L-ISA processor and each one shows up on the L-ISA controller as a dot
USA - Located in Reading, PA, the Santander Performing Arts Centre is home to the Reading Symphony Orchestra and hosts numerous events which have included acts such as Willie Nelson, Alice in Chains, Jerry Seinfeld, David Copperfield, Melissa Etheridge, and many more.
David Farrar, general manager for the venue was well aware of the fact that his 2,000-seat theatre was special and would require a custom approach to achieve a consistently powerful sound that show-goers would never forget. Says Farrar, “Clair Brothers provided more than I could have expected with their specifically-customised C8-TrueFit sound system.”
Beyond overcoming unique architectural nuances of an historic venue, the new Clair Brothers C8-TrueFit system had to bring out the best for a wide range of performances, from children's shows and comedians to orchestral performances and heavy metal bands. There was no question that Santander would require a truly tailor-made sound system. After much investigation, consultation and measurement, the C8-TrueFit system, with its ability to minimize architectural reflection and anomalies, was the unanimous choice as the best way to go.
An added bonus and special feature of the new C8 sound system at Santander is that the majority of the system is portable, including its main PA, amp racks, cabling and motors. In this way, it’s much akin to a road system, where portability makes the unit much more flexible for any venue and its customers.
“My staff and I are big fans of the Clair Brothers C8-TrueFit system,” explains Farrar.
Portugal - Ampco Flashlight played a major role as supplier of all lighting, rigging, video and motion systems for the 2018 Eurovision Song Contest.
Preparations started as early as October 2017. The dedicated team of commercial, technical and logistics specialists, working closely together with local Portuguese partner Pixel Light, laid a solid base for a flawless production in the Altice Arena. Build-up started early April and ended with a 60-hour speed load out.
Over 2500 fixtures, almost four kilometres of truss and a huge amount of, cabling, dimmers, distro’s and a state of the art data network was used in this massive TV production attracting over 350m viewers worldwide.
Marc van der Wel, project director, commented: “It was very exciting being part of the team, and seeing how our specialists put so much effort, experience and knowledge into this project. I am extremely proud of the way we handled this, and I am grateful for the opportunity and the great cooperation with RTP, head of production Ola Melzig, Tobias Aberg and their team.”
USA - CyberHoist by CyberMotion is on tour again, this time with Vegas native band The Killers on their Wonderful, Wonderful tour. The band finished their European leg at the end of 2017 before starting their US leg at the beginning of the year.
The primary driving visual elements on the stage were video-constructed triangles with one anchored on the stage and an inverted triangle hanging above it nicknamed ‘The Flying V’ made up of video tiles that would fly apart, turn, twist and move into different shapes utilizing the CyberHoist automated moving system. 12 active CyberHoist 1000kg and 1 MotionCue control system, all with spares, turned the Flying V into an ever-changing video spectacle. These automated hoists came from CyberMotion North America and controlled by David Diamond, the show operator and motion specialist.
Diamond explains, “Working with LD Steven Douglas, Michael Oberg and the entire team of The Killers was great. Steven had a clear idea of what he wanted. CyberMotion has the opportunity to automate what was known as ‘The Flying V’, an inverted triangle video screen. Working together we were able to push the boundaries of what the screen could do for their previous Europe run. Adding barrel rolls and slants added to the visual effect of the 70’ wide screen.”
Rob Gardner, tour rigger for The Killers commented, “With the weight of the show and the closeness to some roof capacities, the abilities of the motors and the accurate real time data feedback allowed us to produce smooth and safe multi hoist single objec
World - Queen + Adam Lambert will complete their current year-long, 78-show world tour in July, which has seen them play sell-out shows in North America, Oceania, and over Europe. The tour provider is Clair Global, and at the heart of all things audio, is a pair of DiGiCo consoles.
FOH engineer Tom New moved into live sound when a former bandmate began promoting live shows at a small venue in Brighton asked him to help out with the sound.
“With limited knowledge, and a healthy enthusiasm, I threw myself into it, and didn’t look back,” says Tom. “Nowadays, I try to view things holistically: a show is about combining all the elements of a production, in much the same way you combine the elements of a mix, so when everything comes together in the manner that this has, it’s a huge feeling of job satisfaction.”
Tom has been with the band for nearly four years, and feels the current production is one of the finest he's ever seen.
“Adam's vocal range is nothing short of incredible; he throws himself into the role every night, and his performance is extremely consistent. Like many in his position, he is sensitive when it comes to his monitor sound, and that’s something that we all work together on – FOH, band, and monitor engineer - so that he feels comfortable.
“As you might expect, the band have a keen interest in how things sound, particularly where it involves effects or sound cues. There is always the question of whether or not to try to mimic the original recordings, or to allow the song to be 'live', and its genera
UK - Ghost Notes, a new bar and music venue in the heart of South East London’s Peckham, hosts an array of music each week, ranging from live bands and DJs, through to spoken word and speeches.
To cope with this diverse array of events and the building’s challenging acoustics, SSE Audio has installed an L‑Acoustics X Series system, providing Ghost Notes with a high-quality solution that also delivers on brand recognition, thus meeting the demands of visiting artists and engineers.
Ghost Notes, which shares its space with sister business vegetarian and vegan restaurant Wildflowers, is located within the Peckham Levels, a thriving multiuse business space with a host of facilities for local creatives and professionals. The Levels is a converted multi-storey carpark and the venue is situated within a wide, low-ceilinged, concrete room.
“Providing a system that can deliver a high-quality audio reproduction across a wide range of events can be challenging in itself,” says L‑Acoustics application engineer Jeff Woodford, who worked with SSE on the project. “But the width of the room, the low ceiling height, and all round highly reflective surfaces posed an additional challenge for the audio design.”
SSE Audio opted for an FOH system that comprises a pair of L‑Acoustics X12, chosen for their short throw and ellipsoid directivity to minimise reflections, with the venue financing the new installation using SSE Audio’s Contract Rental model, rather than an outright purchase. This has a number of advantages for Ghost Notes, including
USA - Leading AV industry manufacturers, L-Acoustics, d&b audiotechnik, Meyer Sound, Biamp, AudioScience, Avid and Luminex have joined together to create a new network solution that “will reshape the AV networking industry and future of high-performance professional media”.
All will be revealed during a presentation and live demonstration during InfoComm 2018 next week.
The solution is a result of over 18 months of close collaboration among industry leaders under the umbrella of Avnu Alliance.
USA - The brainchild of The Who’s guitarist and primary songwriter, Pete Townshend, Tommy – a rock opera that tells the story of a deaf, dumb and blind boy who achieves a personal breakthrough when he becomes an expert pinball player – was first performed on stage in 1969.
Featuring some of Townshend’s best-loved songs, including Pinball Wizard and See Me, Feel Me, Tommy has enjoyed remarkable creative longevity as a staple of The Who’s live repertoire, as well as multiple theatrical and touring productions and a celebrated film directed by Ken Russell.
For the musical component of the new production currently being staged at Colorado’s Denver Centre, director Sam Buntrock and sound designer Ken Travis had several motivating ideas in mind. “This is not to criticise some of the more recent stage productions, but we wanted to get away from a synth/keyboard-heavy sound and get back to guitars – in effect, ‘to put The Who back on stage’,” says Travis. “We wanted an energy and a rawness that audiences would closely associate with The Who.”
To deliver this all-encompassing sonic vision Travis was certain “from day one” that he wanted to incorporate immersive audio with localised sound effects into his sound design. He had experimented with several immersive systems on previous projects, but it was his experience as an audience member of The Band’s Visit – David Yazbek’s acclaimed new musical that opened on Broadway in November 2017, which makes extensive use of the Astro Spatial Audio
France - Every year, the future graduates of the French school of architecture of Tournai organise the JNDA (Journée et Nuit de l’Architecture), an event that gathers over 4,000 visitors. A disused industrial site is specially transformed to host conferences as well as artistic and cultural performances. At dusk, the venue becomes a concert hall with three stages, where renowned and emerging bands entertain the crowds until late.
For this 34th edition, the event took up residence in the former 7,000sq.m Louis Carton industrial workshop. In order to cater for an eclectic crowd, three stages - each dedicated to specific music genres - were set up in the three workshop warehouses: EDM, Urban and Alternative.
For the technical side, the organisers trusted YES Event to manage the audio set up of all three stages. The event service provider turned to French manufacturer of professional loudspeakers APG to offer the best possible experience to a 4,000+ crowd: "Choosing the Uniline Compact was a no brainer for us, as we were looking for a discreet but powerful sound system to fit the raw environment of this old industrial workshop” commented Frédéric Van Durmen, CEO of YES Event. "Thanks to its compact size and excellent modularity, the Uniline was the perfect fit for both the venue and the eclectic line-up."
The main stage for the event was dedicated to EDM. YES Event deployed a full Uniline Compact sound system made of 12x UC206N rigged loudspeakers coupled with four UC206W for the front-fill. Completing the set up were six UC115B dedicated bass sp
UK - Taking in selected venues, Tokio Myers, who stunned the judges to claim victory on Britain's Got Talent has been showcasing his genre straddling fusion of classical and contemporary musical experiences on stages across the UK.
Collaborating closely with Vision Factory show designer, Sam Tozer, the VER London operation has supported the tour with a comprehensive video, projection and lighting package that helped realise the designer’s creative vision for the shows. Set against a 9 x 4m upstage LED wall, the show blends live performance with filmed footage, cutting edge graphics and intense colour that silhouettes the artist at work.
Speaking about the show’s visual elements, Sam says: “Tokio Myers Our Generation tour design revolved around the basic idea of cinematography and immersing Tokio in a halo like parallel cube of light. I found using VER high definition video screen brought out the rich textures and colours of the content and allowed myself to create stark silhouette moments throughout the performance. Alongside we toured five projectors used as a light source casting beams and saturating the stage with abstract imagery.”
The lighting design that accompanies the show has been carefully crafted to complement both the visual and musical impact of each performance, helping bring an additional dimension to the production.
Sam continues, “Above and around the stage was a collection of Solaris Flares, GLP x4 Bar 20’s and Viper Performance’s that sat in harmony with the video elements.”
USA - Ultra Music Festival, turned 20 this year and the occasion was marked, in part, by big beam lighting effects from an array of Elation Professional IP65-rated Proteus Beam moving heads that lined the top of the festival’s Main Stage.
Production and lighting design for the Main Stage was by The Activity, their ninth year of involvement with the festival. The Las Vegas-based production and design firm, headed by lighting veteran Patrick Dierson, wanted to do something special for the festival’s 20th year and chose the Proteus Beam for a prominent look
“Because this was Ultra’s platinum anniversary we wanted an element within the design that would specifically represent its 20 years of celebration and the Platinum Beam’s bigger brother, the Proteus, seemed like the perfect choice,” stated Dierson, who served as lighting and production designer on this year’s Main Stage. The Activity worked directly with Ultra’s creative director Richard Milstein, as well as AG Production Services who supplied all of the lighting and video elements for this year’s Ultra.
Dierson approached the project with a simple design aesthetic in mind for the Proteus lights but their role expanded as show time approached. “During performances they were to simply be 20 static beams reaching out over the downtown Miami skyline emanating from the structure and then produce sky tracking movements during the short set changes to maintain a level of visual excitement,” he said. “By the time we were in full show mode, many of the guest LDs started to incorpo
USA - Originally established in 1853, Levi Strauss & Co. is one of the world’s largest apparel companies with 500 stores worldwide, and products available in over 100 countries.
At their flagship retail location on Market and 4th Street in San Francisco, the Levi’s brand managers wanted to heighten the consumer engagement for the 8000sq.ft retail space located one of the world’s most highly visited shopping areas. With two large windows looking out onto the busy street, Levi’s worked with their long-time digital partner Reflect, who installed two FLEXClear transparent LED video displays from PixelFLEX.
“Levi’s has been a client of ours for many years dating back to about 2013,” began Brandie Perkins, senior account manager, Reflect. “As a forerunner in the jean industry, they haven’t always played a lot in the digital space, but for their San Francisco Market Street location, they really wanted to make a statement and connect with their customers. Having seen the possibilities of a transparent LED video display at a tradeshow, they asked us if we could implement the technology into their retail design, so we reached out to PixelFLEX about the FLEXClear LED video.”
Perkins continued, “They wanted to install a big experience and attract consumer attention without impeding the natural light that comes into the store. With the way the store is physically laid out, the natural light is essential to the space, so they loved the idea of being able to put in a transparent LED display. This way they could still get light into the
UK - Cardiff-based events services provider 11th Hour has been appointed by Associated British Ports South Wales to supply a temporary passenger terminal in Cardiff Bay for the Marco Polo cruise ship.
The terminal comprises a 57m marquee fitted out with a bespoke interior, with the company also supplying several security elements, including bag-scanning and metal detection equipment.
Project manager Bruno Hunt is in charge of the technical aspects of the terminal, whilst business development manager Jason Venables oversees the customer-facing side of the operation.
The project overlaps with 11th Hour’s involvement in the Volvo Ocean Race, a round-the-world yacht race that arrived in Cardiff on 29 May, with the company supplying a range of facilities for the Race Village.
USA - After recently expanding its inventory with a large complement of Claypaky Scenius Unico and Mythos2 fixtures, Elite Multimedia Productions has provided a portion of that equipment to Cole Swindell’s nationwide Reason to Drink Tour.
The country singer-songwriter kicked off his headlining tour in Allentown, Pennsylvania in February and wrapped the first leg in LA in April. He resumed the tour a month later in Austin and will continue to play dates across the country through September. Nashville-based Elite Multimedia is the production provider for lighting, LED, video and IMAG video support.
Production designer James ‘Mo’ Butts deploys 16 Claypaky Scenius Unico and 24 Mythos2 fixtures for the tour. His design for the show, in which video plays a key role in the storytelling, depicts Swindell’s evolution as an artist from playing cover songs at a college bar to becoming a country superstar headlining arenas.
“The design really seemed to come together organically starting with a complete redesign of our previous rig to expand out to the 48-foot wide stages,” says Butts. “We then looked at what production elements had been most successful on our past tours and morphed [them] into a much larger stage design.”
The show features a 40x20-foot LED wall that displays one big look or as many as six different areas of content designed to give each song a different look and feel. IMAG from seven cameras is integrated into the content instead of occupying side screens.
The lighting rig is outfitted with many of Elite Mul
USA - Pomona College’s Seaver Theatre is tucked away near the foothills of the San Gabriel mountains outside LA. The school’s leafy campus is reminiscent of a New England Ivy League institution, with academic standards to match having been ranked among the top 10 colleges by Forbes and US News & World Report.
The college holds an attraction for visiting designers in the form of a lighting system that’s been enhanced with greater colour-mixing and zooming capabilities thanks to the addition of 60 COLORado 2-Quad Zoom Tour fixtures and 14 Ovation B-2805FC cyc lights from Chauvet Professional.
“Excitement and joy have been the main reactions to these lights by the designers who’ve used them,” said Janelle Asti, the master electrician and sound engineer of the school’s Department of Theatre and Dance. “The designers who have come in and used our new fixtures have been blown away. The zoom capabilities alone have been overwhelmingly impressive. The new fixtures have helped with load-ins too, since we no longer have to add a conventional par to the LED wash units.”
Pomona is utilising the COLORado fixtures at The Allen, its Black Box, as well as at its main Seaver Theatre stage. The Ovation units are being used in the main stage at Seaver Theatre only.
“We use the COLORados and the Ovations for every type of performance we have in our theatres, which includes straight plays, musicals and dance,” said Asti. “The COLORados work very well as stage wash pars, but we also use them to wash sets. The Ovations serve as cyc and g
UK - Star Events’ X Stage highlights the creativity at AEG Presents’ first All Points East festival in Victoria Park, where sets from LCD Soundsystem, The XX and Bjork drew sizeable audiences this Bank Holiday weekend.
Working with Loudsound and LarMac Live, including the main East Stage, a 20m VerTech, the North Stage, with its concentric arches, the West Arena and all the requisite support structures.
An ambitious in the round experience, with a hovering DJ platform, the X Stage “puts the finest electronic talent into the heart of the audience”.
Star Events’ design team joined two 5m wide/38m span arches at the apex to bring the X Stage to life, using kit from the yard together with ‘specials’ built for the project.
Alongside its considerable lighting capacity, each leg of the structure houses an inward facing speaker configuration, which delivers an immersive experience. audiStar Events supplied the festival’s four principal platforms.
Gavin Scott, Star Events’ project manager, comments: “With a lot of work behind the scenes, the X Stage came together brilliantly. There were significant structural challenges, everyone involved with the design played a part in bringing it to fruition, and it’s a great achievement.
“AEG Presents, Loudsound and LarMac Live have been a pleasure to work with. The vibe on site has been really good, a collective of people working to achieve something special, and safety levels have been noticeably high, which is great to see.”
Ian Greenway, director at LarMac Live,
Europe - Singer-songwriter Adel Tawil is again on tour in Germany, Austria and Switzerland. Prior to the tour, he used a number of festival appearances to present his current album So Schön Anders before embarking on an extensive theatre tour that ended with three sold-out arena shows last autumn. These included all the essential production elements of his other shows.
The man responsible for the lighting design is Bertil Mark, who wanted to implement a symbiosis of clear spaces and chaos. Production rehearsals took place over three days at Black Box Music in Berlin, where most of the band now resides, and where the lighting designer now runs his own studio.
"Since the band is well-rehearsed, we were able to use the three days in the rehearsal studio almost exclusively for the design," reports Bertil Mark with satisfaction. "I had listened to the album in advance and wanted to try and implement my ideas and thoughts, using the nobility of Tawil’s songs to trigger these ideas." Together with the artist, a modern and intense lighting design evolved, which is both minimalist and elegant in creating moods and pictures.
As with many previous designs, Bertil Mark has drawn heavily on GLP's portfolio. Other than a few conventional fixtures, the rest of the design comprises 90 GLP X4 atoms, 170 GLP impression X4 Bars and additional 40 GLP JDC1 hybrid strobes.
Over the course of the evening, an imposing chandelier, made of 90 GLP X4 atoms, shines above the stage, which at first glance is spartan and without visible technology. The fragile co
UK - British rock band Marillion treated fans to a series of immersive shows in April, with theatrical-style lighting controlled using an Avolites Tiger Touch II with Titan interface.
The band worked with its long-serving lighting designer Yenz Nyholm on the light show, designed to synchronise with pinpoint accuracy to video content and on-stage action.
"Each song on this tour required lighting that would act as if it were a mini-play, reflecting the stark nature of the music and immersing the audience into the experience," says Nyholm. "The design was based on beautiful, symmetrical beams of light.
"Programming with Titan was a godsend - I used the Capture Atlas Suite, which integrates with Titan, allowing me to sync the lighting with the video and performance. Pre-programming using Capture meant that my position palettes were pretty much spot-on when I got to each venue."
Nyholm began working with Marillion way back in in 2002 as a lighting technician, before taking over the lighting design role in 2005. He has been using Avolites control for even longer, first learning his craft on a Pearl console back in 2001.
"Avolites' Titan just keeps getting better and better - the new screen design, and the ability to customise all the different views are really great," he says. "The new enhanced features are a lifesaver. The Set List function, where cue pages follow the show's running order, was essential at one gig when the band threw in a different song at the last minute! I was able to dial up what I needed in seconds."