USA - The members of German supergroup Alphaville always dreamed of playing at Hollywood’s Whisky A Go Go. The synth-pop stars’ wish came true recently when they journeyed to the US and performed two Whisky a Go Go shows over the Memorial Day Weekend. Supporting their high-energy performance with fresh looks were eight Chauvet Professional Rogue R1 FX-B LED fixtures.
“This was a dream come true not only for Alphaville, but also for many of their diehard fans in the US,” says Richard Kay, who has been with the band as its lighting designer since 1998 and has toured 91 countries with them. “The whole experience was a bit surreal – LA, Hollywood, palm trees, who wouldn’t love it? Marian Gold (the band’s lead vocalist) always wanted to perform at Whisky a Go Go. We were on tour in the US last year; we all knew about Marian’s dream so we did some sniffing, met some people – and presto, here we are!”
Kay adds: “Whisky was very different from the larger venues we typically play at. Space is at a premium on the stage. I Skyped Raffi Ganounian at Neptune Productions, the producer, to get as much information as I could about the venue and the house rig. What I learned was that the stage here is small, and it’s in a corner.
Complicating matters for Kay was the 15’ trim of the venue’s house rig, which limited what he could hang from a floor package. “Luckily, Whisky had just added four Chauvet DJ Intimidator Spots and some flat spots to the house rig,” says Kay. “That served as a good foundation. Then it became a question of
USA - Hayley Kiyoko tour engineers Dusty Black (FOH/TM) and Nic Monaco (Monitors/PM) continue to expand their use of the Allen & Heath dLive digital mixing system as they set off on their latest summer tour season. Building upon the buzz of Kiyoko's recent hit album release, Expectations, upcoming performances include shows at dozens of arenas across the US and Canada supporting the Panic! At The Disco Pray For The Wicked tour.
Having worked together for over a year as a FOH/monitor engineer team, Dusty and Nic each selected a compact C1500 dLive Control Surface along with a shared 96kHz 160x64 FPGA Core DM48 MixRack as their console of choice. Utilising the multi-surface feature within the dLive, the same MixRack engine works across two surfaces.
Speaking to the sound of the dLive, Dusty says, "The desk is very transparent and easily transfers from PA to PA. You can push tube pre-amp emulations and on-board compressors to get colour and personality, but also being able to be clean and pristine is great."
Nic commented, "And pristine not in an overly sterile way. Pristine and really precise. I’d make very small adjustments in tenths of milliseconds between guitar mic delays and the guitarist was hearing those subtle changes on stage."
Due to the cost savings resulting from the use of a single MixRack engine, the group was able to purchase the system outright instead of renting along the tour. According to Dusty, "We both wanted something that we can fly with. We also always wanted to use dLive and it is so much more cost
Belgium - ArKaos continues to expand its work and partnerships in the architainment, architectural and commercial creative media installation sectors on a recent project in the International Terminal at Brussels’ Zaventem Airport.
This is a collaboration with lighting and visual designer Koert Vermeulen of creative agency ACTLD.
The power and flexibility of ArKaos’s Kling-Net control protocol and Kling-Force LED interfaces have been harnessed to bring dynamic control to a 30,000 pixel video and kinetic sculpture which runs above the main travellator leading from the jetway to the baggage reclaim hall.
ACTLD was commissioned by Toerisme Vlaanderen (Flanders Tourism) to design, specify and supervise the production. For the installation, integrators Create won a public tender to deliver the project based on ACTLD’s specifications.
ArKaos and ACTLD have partnered on several previous projects, and ArKaos managing director Agnes Wojewoda comments, “We work with a number of production companies and designers and were very happy to co-operate with Koert again on such an imaginative installation. His pioneering work in the creative media field really pushes our technologies and these are the challenges we love.”
The animated installation is 100m long and a combination of low and medium resolution LED strips and panoramic video panels in the ceiling, fitted above a special kinetic fabric.
A loop of content runs on the display 24-7 in this tough and demanding environment, giving all passengers arriving into the main International
Germany - Berlin-based Complete Audio has been supporting local punk rock band Beatsteaks with production almost since they formed more than two decades ago.
Now the group can sell out the massive 24,000 capacity Waldbühne Berlin amphitheatre - and for their recent outdoor show there André Rauhut’s company rigged their flagship Martin Audio MLA.
Complete Audio had been the first company to invest globally in the new MLA platform when it was launched eight years ago - and it was the first choice both for this show and a second open-air show the band are due to play in August, this time at the slightly smaller Kindl Bühne Wulheide in Berlin.
The rental company are no strangers to the Waldbühne, having worked there many times in the past, and Rauhut has system pre-sets to meet the challenges of a sensitive site. “Due to it being situated close to a residential area, they have strict SPL limits,” he says, “and the measurement point is located at the very top of the venue. With MLA we are able to tweak out a few extra dB´s due to its ability to ‘Hard Avoid [sensitive areas]. This means less spill over the edge of the venue.”
As for the hardware, Complete Audio deployed 15 x MLA and two MLD Downfill enclosures per side, while out-fills comprised nine MLA Compact per side. They ran 10 MLX subwoofers on stage, left and right, with another broadside row in front of the stage comprising 10 further MLX.
This presented head of sound Benny Franke, accompanied by Martin Eckert, Nils Uhthoff and Roman Herbert, with a well-balanced set-
Italy - Italian singer-songwriter Vasco Rossi entertained 50,000 fans at the Stadio San Nicola in Bari as part of his Non Stop Live 2018 stadium tour.
Lighting the tour was the artist’s long-term LD Giovanni Pinna, who included over 300 Robe moving lights on the rig - a mix of MegaPointes, Spiiders and LEDBeam 150s - all supplied as part of the lighting package by Rome-based lighting rental company, BOTW, and used to create plenty of excitement and hi-impact.
The starting point for the tour design for Giovanni and the Vasco creative team - was the show-stopping event in Enzo Ferrari Park, Modena last summer, Vasco’s one and only live appearance to celebrate 40 years of mainly-thrills-with-a-few-spills in entertainment - in front of around 250,000 people, the largest rock concert in Italy to date.
The Modena Park design presented a simple, bold, raw industrial looking set and both the artist and his management wanted a continuity from this. As a seasoned performer, Vasco is so charismatic that the enormous but essentially streamlined and Spartan look works brilliantly as a performance backdrop.
As with the Modena show - where Giovanni used over 550 Robe fixtures - he wanted to use just one type of profile or spot and this time he chose Robe’s new MegaPointe, with 135 of the luminaires scattered all over the rig.
For the primary wash light, he picked Robe Spiiders and these were also deployed everywhere he could fit a fixture, and used to wash the vast stage space, PA wings and runway out into the audience at the front with li
USA - Light City Baltimore is an annual event that takes place at the Baltimore Harbour celebrating light, music and innovation. This year, the Baltimore Office of Production and Arts decided to add a new stage to the event - Club Light City - to showcase DJ sets in Kaufman Pavilion by Rash Field. The organisation tapped Baltimore-based RCI Systems to provide sound reinforcement for the new music venue.
“The stage featured DJ acts which require a dynamic stage monitor system for the performer while also covering a small dance floor in front of the stage. The main PA was designed to project sound into the area in front of the Pavilion, which was approximately 200ft wide by 400ft deep,” explains David Hoover, senior account manager for RCI. “We used our EAW KF850 rig for the stage monitor system and our new EAW RADIUS sound reinforcement system to cover the outdoor area. The tight pattern control of RADIUS kept the sound contained while still hitting 115dB when needed - everyone in the area was immersed in sound.”
Hoover specified a left-right PA, with each array made up of four RSX208L stacked on two RSX18 subwoofers. Two KF850 loudspeakers stacked on two SB850 subwoofers were placed stage left and right for monitor purposes.
“We are an EAW house,” adds Hoover. “When we decided to add a new system to our inventory it made sense to check out Radius. Sticking with one manufacturer makes it easy to interface different components and provides a commonality of tone that we, and our customers, appreciate.”
The Club Light City Stage
USA - In the Netflix original comedy series Grace and Frankie, characters played by Jane Fonda, Lily Tomlin and Martin Sheen learn to adapt to their worlds gone haywire.
But for Scott Webb, lighting programmer from Local 728, all is in control in the studios with High End Systems’ Road Hog 4 and Hoglet 4s.
Webb purchased and supplies the Road Hog 4, which runs lighting for the two main stages for the Emmy-nominated series. The show is now filming its fifth season at Paramount Studios in Los Angeles. In prior seasons, Webb rented a Full Boar 4, and purchased the Road Hog 4 at the start of season four.
Webb also owns and supplies two Hoglet 4s with DMX Processor 8000s. One system runs lighting on a third stage, while the other is moved to other set locations when needed.
Citing 500 conventional dimmers and various LED film lights in the rig, Webb notes, “This show doesn't have anything real flashy. No movers or cool effects. It's more about managing lots of channels and maintaining the proper looks from scene to scene, episode after episode.”
Webb manages the channels and maintains proper looks by using a few favourite console features to help him run the show.
“One feature I use quite a bit is Dotted Fixture Numbers. It allows me to manage LED fixtures with multiple channels quickly,” he explains. “I use the function keys for quick access to commands I use non-stop. I also like the large screen, which enables me to lay out my group buttons according to how the set is laid out. I use an (optional) external monitor
USA - Technological innovation is nothing new at the Rio Grande Theatre. Opened in 1926, as a silent movie hall, the two-story building was retrofitted three years later with sound equipment, making it among the earliest theatres in its state to show ‘talkies’. It was also the first business in Las Cruces to be air conditioned.
History repeated itself earlier this year, when the venue, which now hosts a diverse mix of theatrical productions, concerts and special film showings, took a technological step forward by replacing its old stage lighting with a new LED system that features a collection of Chauvet Professional fixtures supplied by Hubbard’s Music.
“This project involved replacing the existing conventional fixtures that Rio Grande was using,” said Will Sadler, project manager for Hubbard’s Music. “The theatre wanted a more flexible lighting system to handle the wide variety of shows it hosts. It also wanted to reduce the heat load in the space and bring down costs. This was not a straight one-to-one fixture trade. The venue’s mission has changed since it last installed a lighting system, so the new system had to represent a new approach to reflect the variety of new uses.”
The Hubbard’s Music team installed five Ovation E-160WW warm white ellipsoidals and an equal number of Ovation E-910FC RGBA-Lime colour mixing ellipsoidals for front lighting from the catwalk position. This gave the theatre an optimal balance between full colour and warm white stage lighting without the use of gels.
“This was the first time I’v
UK - Artists Ross Ashton and Karen Monid returned to York Minster to deliver an immersive and intricately crafted sonic and visual work - Northern Lights.
The video projection and sound installation was commissioned by the York Minster Fund as the culmination of The Northern Lights Dinner fundraiser. This was held as part of a four- year campaign to build an on-going endowment for the protection and restoration of the Minster’s historic glass. This involved illuminating the vault of the nave and famous Great West Window, known as The Heart of Yorkshire.
Ross & Karen are known for their projection and audio artworks. Their style of mixed-media 'installation performance' has developed over a series of innovative projects at many different locations. They worked at the Minster in 2010 when they produced Rose, another spectacular artwork which focused on the celebrated Rose Window. They have also created other artworks for the Illuminating York festival in 2008 & 2013.
"York has been very good to us, giving us the freedom to create several major works here. We were delighted to be back, and this time working inside the Minster," says Ross.
The 10-minute artwork was seen by an audience of 700 at the Northern Lights dinner. This was followed by two days of performances with the Minster being opened to the public at dusk each night. This allowed another 3,300 people to see the artwork.
The projected images covered the entirety of the 65 x 20m nave vault and the West Wall. Ross used eight ble
USA - Audio-over-IP has proven its worth in countless installed-sound applications. Now, as concert touring has become the single largest source of revenue for most music artists, AoIP (specifically the Dante protocol) is going out on the road, saving space, weight and time - all critical elements in the economics of touring.
Redhook, NY-based Firehouse Productions has been an early adopter in the transition to Dante and this year has both Jack White and Nine Inch Nails on tour using AoIP systems they’ve built using Focusrite RedNet components.
Jack White and band hit the road on in April in his erstwhile hometown of Detroit in support of his new LP Boarding House Reach, which was released a month earlier. The tour is covering the U.S. and Europe, and the audio control system assembled by Firehouse Production utilises an array of RedNet units that will allow White’s audio crew to record up to 72 channels of audio every night for archiving, as well as allowing those same recordings to be used for virtual soundchecks through the tour’s analogue FOH console.
Four RedNet A16R 16-channel analogue I/O interfaces take signal from the stage to a pair of Mac Minis using two RedNet PCIeR Cards as interfaces. “Jack wanted an all-analogue rig for the tour, and the AoIP system we built for this tour lets the audio stay analogue right up to the console,” explains Chris Russo, Firehouse Productions’ director of touring. “At the same time, the band has all the benefits of being able to record every show digitally, ready for archiving, remixin
USA - A large brassy blues and funk ensemble should be supported by a bold lightshow that covers the stage with intense, colourful and fast-moving light. Or so thinks Jeff Hinton, owner of 815 Productions, who put this theory into practice in late April when he lit a benefit show by Late Nite Blues Brothers and 10 of Soul with a high-octane lightshow created with a collection of 14 Chauvet DJ Intimidator fixtures.
“When I have a super energised band with a lot of people in it, I like to get a lot of light directly on the performers and keep my light sources close to the stage,” says Hinton. “In my view, this is the best way to support the music. If you don’t do this, you always run the risk that your lighting will get lost.”
With its high-domed ceiling and deep stage, the historic Dixon Theatre, where the benefit was held, and which was the beneficiary of the fundraising concert, did not offer the hanging points that Hinton was seeking. To get the proximity he wanted, he erected a 28ft goal post on stage.
Aside from the goal posts, Hinton also had four 3ft truss totems, located two apiece, stage left and stage right. He positioned four Intimidator Spot 255 IRC moving fixtures on these totems and relied on them primarily for side lighting as well as for aerial effects.
In addition to the four Intimidator Spot 255 IRC units arranged on the truss totems, Hinton flew 10 Intimidator Beam LED 350 fixtures on the overhead section of goal post truss.
UK - White Light was recently chosen to oversee a bespoke lighting installation in the Making the Modern World gallery - one of the flagship galleries at the Science Museum, London. The gallery features some of the museum’s most remarkable objects and artefacts, such as the Apollo 10 Command Module and the first-ever Apple computer, that are now illuminated by SGM’s R-2 Rail Lights.
“I was looking for a source that could fulfill a range of functions, including daytime exhibition lighting and event lighting. As a result, I needed a fixture that allowed full remote control of colour and intensity,” explained WL’s lighting designer, Jason Larcombe, in regard to choosing SGM’s R-2s.
WL was asked to deliver a system that would keep the museum’s existing look during the day, yet have the ability to be transformed at night for special events.
“I treated the design in a very theatrical way as I wanted the exhibits to look and feel realistic. We programmed a range of coloured scenes, which can be recalled via an iPad, and offer the in-house event teams the opportunity to easily change the colour of the gallery for their individual events,” comments Larcombe.
For this particular project, it was important to provide a long-term lighting solution alongside an installation that was sympathetic to the exhibition.
“At all stages, we were looking to provide the most affordable solution to the museum, which meant minimising infrastructural work. SGM’s R-2’s integral wireless option and ability to be track-mounted did ju
UK - Liverpool-based rental and production specialist Adlib supplied lighting and sound equipment and crew to the recent Just Passing Through acoustic tour by American singer / songwriter and musician Ray LaMontagne.
The UK dates saw the artist get up close to his fans in an intimate touring environment, joined onstage by Wilco bassist Jon Stirratt. It’s the first acoustic tour by LaMontagne for seven years and has been “extremely successful”.
The production team was led by production manager Mark Jones. Adlib provided an L-Acoustics K2 sound system with system tech Mike Thorpe and the lighting rig was looked after by Adlib’s Kevin Byatt.
The K2 was actually specified by Mark Jones and LaMontagne’s FOH engineer Ryan Pickett was very happy to go with that decision, “It’s such a smooth and ‘musical’ speaker and that’s why Mark chose it and why I love it so much,” says Ryan.
The K2 also gave him and Mike the consistency they needed venue to venue, which was a mix of theatres and Apollo style rooms.
The average setup featured 10 or 12 x K2 elements flown left and right, with two KS28 subs a side on the ground, together with some Kara and ARCS which were used as front & side fillers primarily for the stalls downstairs.
Ryan specified an Avid Profile console, while monitor engineer Rob Elliot used a DiGiCo SD12. Both artists utilised Sennheiser IEMs.
Jeremy Roth has been a lighting professional since the 1990s and now concentrates on touring and art installation work with light and other visual me
Germany - Countless parties take place on May Day in Germany and this year one of the best took place in Cologne as hometown band Brings rocked Lanxess Arena with a high-energy Polka Party. TSL Production of Cologne supported the event as the full-service technical provider and used a full complement of Elation lighting gear to support the rock ‘n’ roll show.
Brings have been performing for over 25 years and the evening proved a nostalgic journey through the band’s long list of hits. Some 13,000 guests attended the four-hour concert, which took place in combination with an after-show party. Lighting design was by Dominik Schmid, head of lighting for Brings, along with Frank Schmitz, technical supervisor and owner of TSL Production.
TSL Production supports Brings as technical provider at all their concerts and developed the entire technical concept (lighting, video and sound) for the May Day Polka Party show.
The lighting rig was large and included some of Elation’s newest stage lighting luminaires, namely 20 Artiste DaVinci LED moving spots and 16 DARTZ 360 narrow-beam LED beam/spot moving heads, as well as 30 Platinum HFX moving heads, 24 ACL 360 Bar LED moving battens and 16 ACL 360 Matrix moving head effect panels.
“The DaVinci and DARTZ were solid and gave us some unique looks,” says TSL Production’s Frank Schmitz. “We used pixel mapping between the large LED screen strips and the ACL 360 Matrix and ACL 360 Bar fixtures, which made for some nice visual looks as well. We then interspersed effects from the Platinum HFX fix
UK - LM Productions has added two new AV products to its expanding rental fleet.
The Eastbourne-based event production company has taken delivery of Digital Projection new M-Vision Laser projectors. These projectors pack a real punch at 18’000 lumens and 10’000:1 contrast ratios and produce amazing images, says the company. All LMP’s rental projectors come complete in flying frames ready to go and we offer 8’000 to 35’000 lumens and everything in between. LMP has also added a Kinetic lighting system with over 150 pieces. This system offers high performance DMX winches with a drop of up to 6m coupled with 25cm RGB LED lighting spheres and is controlled by the latest Matrix5 software & hardware systems.
The Kinetic lighting system is modular and offers the flexibility to configure to bespoke designs. The system had been well received on a recent project of the company, which involved creating an immersive attraction at a major UK exhibition.
China - Daydream Festival, first staged in Belgium in 2010, is a multi-national music festival that has travelled to Mexico, Spain and the Netherlands, and landed in China in April 2018. Daydream China boasted more than 54 international artists playing across three stages in Shanghai International Music Park.
The organisers chose NEXT-proaudio for the Bass Dream Stage, with the equipment supplied by Real Music, local distributor for NEXT-proaudio.
The main hang was 10 LA212x per side, and 24 LAs418 stacked in front of the stage as low-end-fill. The DJ monitor featured two LAs118 plus three LA122 per side and another four X15 deployed as the floor monitors.
Richie Wang, Real Music’s CEO, adds: “The sound pressure on the Bass Dream Stage with LA212x was amazing.”
South Africa - South African rock band Prime Circle have acquired Robe lighting fixtures for their current live tour. DWR Distribution supplied Robe MiniPointes, Robin LEDBeam 150s, Robe VIVAs and a Le Maitre MVS Hazer.
“We’ve worked with DWR for quite some time now and the products are just amazing,” said Marco Gomes, bass guitarist and Prime Circle’s manager. “We firstly wanted to get lighting kit for touring purposes, but we also wanted to make sure that the product would be right. To us, there is no better product than the Robe gear.”
Prime Circle are currently touring their seventh album If you don’t you never will. Their new gear includes eight Robe MiniPointes, eight Robin LEDBeam 150s, two Robin VIVAs and a Le Maitre MVS Hazer.
“We are excited and hope that this will up our game, up our touring, and take the performance a step higher,” said Gomes. “We are fortunate enough to already have a nice little dot2 console. While our former lighting designer for many years, Vincent van Niekerk, has recently joined the DWR team, we have a new chap on the road, Benjamin Mills and we are happy to have the new set up.”
UK - Christie Lites UK has made a major investment in Kinesys automation equipment. The stage lighting company’s British operation has purchased 24 half-tonne Liftket motors with Kinesys Elevation 1+ vari-speed controllers, complete with LibraCELL load monitoring shackle pins and the brand’s powerful and flexible Vector control software package.
Christie Lites UK account handler Andy Strachan comments: “Kinesys is constantly appearing on riders and technical specifications - a strong sign of their success and that is across all sectors of our work - corporate and industrial, concert touring, television and theatre”.
Christie Lites CEO and founder Huntly Christie made the decision to go with Kinesys, together with Andy Strachan, Roy Hunt and Mathew Ilott who are all part of the Christie Lites UK’s account management team.
The Kinesys investment is an initial investment by the company with more expected in the future. “Kinesys is known for its quality, flexibility and robust engineering,” adds Strachan. “The Elevation 1+ and Vector products are well established and proven and have helped provide inventive and creative solutions to a multitude of productions and events.”
The Christie Lites UK system went straight out on a Queens of the Stone Age European tour where it was utilised to move 10 pods around the stage creating a series of different abstract looks at any given time. CL also used Kinesys on the 2018 Mercury Music Prize event at Hammersmith Apollo, on the recent James Arthur tour and many other cool and creative shows.
Finland - Hippotizer is the media server of choice for Finnish National Opera and Ballet’s landmark production to mark 100 years of Finland’s independence.
The Finnish National Opera and Ballet (FNOB) marked 100 years of Finnish independence with a number of exclusive events. Its headline event, Land of Kalevala, premiered in November 2017 running for 26 performances until February 2018.
Taking place in the FNOB’s home base, the Opera House in Helsinki, Kenneth Greve’s ballet spectacle explores the very essence of Finland and the Finns through dance. The team behind this occasion was very carefully assembled, with Mikki Kunttu taking charge of set, lighting and projection design.
The main concept of the stage design was 38, 12m tall pillars flying through space, creating different three-dimensional scenes and transitions. Mikki’s wish was to create lighting and projection content to compliment the ‘mass’ of the pillars, creating a single, visual entity. One which, in Mikki’s vision, represents the weight of Finland’s history and subconscious memory, which carries from generation to generation.
Working with Mikki on show nights were operators Tommi Kiviranta and Heikki Riihijärvi from the Opera House, together with head of lighting, Tommi Härkönen. Mikki was already a confirmed fan of Hippotizer Media Servers, in particular its responsiveness in terms of how quickly intuitive changes can be made during stage rehearsals, so it was second nature for him to specify a pair of Hippotizer Boreal Media Servers.
USA - The annual Billboard Latin Music Conference landed in Las Vegas in April with a series of star-studded events featuring Avolites-controlled lighting supplied by Miami-based production specialist 3G Productions.
The four-day conference was held at The Venetian hotel's Marcello Ballroom and hosted a series of performances and talks from Latin music stars including Steve Aoki, Maluma and Bad Bunny. The conference's audio, lighting and video were provided by 3G, who this year introduced Avolites consoles for the first time following the company's recent investment in the brand's Titan and Ai ranges.
"We've been doing this event for 12 years in conjunction with our client ACME Productions," says Juan Ugas, 3G's lighting sales manager and production manager for the conference. "ACME trust our ability to be able to control the conference's various shows live and deliver lighting looks that best support the diverse range of artists that attend and perform at the event."
The 3G team headed by Ugas opted for the Avolites Arena and Tiger Touch II consoles, both loaded with Avolites' powerful, feature-rich and user-optimised Titan software. This proved essential when 3G was asked to be "open-minded about changes throughout the event and to be prepared for last-minute additions to each set".
"The Tiger Touch II has proven to be a robust console for our programming needs at 3G," says Ugas "The console's compact form is essential in smaller rooms and Titan's powerful feature sets make programming and answering our clients' needs a breeze."
UK - The National Theatre has embarked on a ‘progressive upgrade’, predominantly of its Martin TW1 halogen tungsten wash inventory. This month, the theatre took delivery of a total of 42 MAC Encores from Martin by Harman dealer Stage Electrics. All 42 units have been installed in the permanent rig at the Olivier Theatre.
The acquisition forms part of a 10-year plan, as Paul Hornsby, the NT’s lighting resources manager, explains. “We review which equipment has reached end of life and decide what needs to be retired first - but the decision is driven by LDs as well. We only go dark for five days a year and we managed to replace these on the rig without losing a show.”
The purchase was authorised jointly by Hornsby, head of lighting Matt Drury, and Jack Williams, lighting supervisor for the Olivier Theatre, following a three-day evaluation against a number of competitive brands.
The final installed inventory comprises 29 MAC Encore Performance (24 x WRM 3000K versions and five CLD 6000K versions) and 13 x MAC Encore Wash WRM fixtures. The Performance fixtures were specified with optional enhanced frost flags and the Wash fixtures with optional PC lenses.
Hornsby confirms that achieving the tungsten look from an LED fixture had been the initial aim. “Our start point was to recreate what the Tungsten Wash did - and then look at additional feature set.” Key features include the quietness of operation, flexibility, energy efficiency and power output.
Paul Roughton of Stage Electrics, adds: “We have supplied and supported Martin
Hungary - Event management company TéDé Rendezvények has invested in a Martin Audio Wavefront Precision Series (WPC) system. The order comprised iKON iK42 amplifiers and was completed via Martin Audio distributor BG Event Kft.
The new PA debuted at the two-day Bősi Motoros Találkozó (Bősi Motorcycle Meeting), with 10 bands entertaining 2,000 people. “We received a lot of positive feedback from visiting technicians, many of them amazed by the sound of the system. It not only delivered power but pure, highly intelligible sound in every way.”
According to Balázs Szentiványi, purchasing manager at BG Event Kft., the idea of upgrading the rental company’s inventory came about as soon as Martin Audio announced the Wavefront Precision family. He says: “TéDé already owned a W8LM Mini system and since they are on a healthy growth path they were in need of a larger PA.”
Tamás Dávid, who took his technical team along with Balázs to Martin Audio’s open day last September, adds: “I heard the WPC system there for the first time and decided immediately to change my old system to this new series.”
Russia - Funktion-One Russia has supplied and installed a permanent sound system for Volgograd Arena - one of the World Cup 2018 stadia. Working closely with the Funktion-One design team in the UK, the company’s Russian arm specified a system comprising 638 Funktion-One loudspeakers and 50 MC2 Audio amplifiers.
The project, which began in spring 2017, demanded significant support and commitment from both manufacturers in order for Funktion-One Russia to meet all criteria and deadlines en-route to delivering the audio installation.
Funktion-One sales director, David Bruml comments: “We are extremely happy with the sound system installation at the Volgograd Arena and are grateful to our Russian partners for their unwavering support and excellent communication throughout. The whole company was energised by this major contract, which is amongst the largest Funktion-One installations to date.”
XTA’s technical brand manager, Waring Hayes, adds: “This was an amazing opportunity to showcase our latest DSP amplifier platform, and we were thrilled that Funktion-One chose to specify DSP amps exclusively for the entire system. The amplifiers come in DSP and non-DSP (but still with network audio) flavours, so the additional monitoring and control aspect was important in the choice of DSP models.”
The loudspeakers are accurately arrayed and aimed using bespoke metalwork – 24 C-shape clusters along the sides and 12 Y-shape clusters for the corners. Each array features Evo 6SH loudspeakers with 50° horizontal dispersion for the closer seats an
Europe - Bullet For My Valentine have recently embarked on their summer trek across the UK and Europe, supported by two Allen & Heath dLive S Class systems.
Supplied by SSE Audio, the band’s set-up includes two S5000 surfaces, each paired with its own DM64 MixRack, covering FOH and monitors, with gigaACE split and Dante Cards for virtual soundcheck.
“The Allen & Heath Range has been a ‘go to’ for a number of years now for me. I used to mix BFMV on iLive, then the GLD for fly shows, before making the move to dLive at the end of 2017,” comments FOH engineer, Adam Boole.
He adds: “The effects on the board are great. The depth of the sound is deep, warm and very precise. Functionality wise I’ve not managed to get into a situation I can’t get out of with this console, there’s always a way and it is limitless.”
The band themselves are also big fans of Allen & Heath, having used the digital mixers for many years. Scott Howarth (monitor engineer for BFMV) says: “dLive gives the band exactly what they want in their personal mix. They like a big sound with lots of bite and depth, they don’t want a super clean polished sound and the dLive achieves this with very little effort. Cranking the PEQ and driving things into the on-board FX achieves the perfect blend of tonality and drive for the band.”
The tour covers multiple dates across the whole of Europe including several major British and European festivals such as Rock am Ring, Download Festival, Graspop and Impact Festival.
Scott, who is new to Allen &a