Europe - Lighting designer Steve Bewley has been deploying GLP LED moving heads on the tour of Dizzee Rascal.
Over the course of his career, Bewley has turned to successive generations of GLP LED moving head solutions, starting with the original impression 90, before moving onto Volkslicht and X4/X4 S. Explaining his preference, he said, “I’ve always liked the products that GLP release as they are always of a premium nature.”
Bewley works across a range of music genres from grime to hip-hop, soul and even rock. He notes: “I could instantly see an application for [GLP products] across the board,” he admits. “I have seen X4’s on multiple tours and at trade shows - and as for the JDC1 [GLP’s new versatile hybrid strobe], I had a little play with one at Christie Lites and loved them straight away.”
the JDC1 have become a central part of his design for Dizzee Rascal after commandeering 27 x JDC1s and 72 x GLP X4 Bar 20s - the inventory supplied by Mike Oates at LCR, who have invested in the fixtures. The JDC1’s have a range of tasks - varying from an effects light, to a huge blinder while they are also used to colour wash the stage.
“The strobes are so versatile and I knew the onboard effects would achieve what I wanted for Dizzee’s show,” he said. “The lights are very easy to programme and the onboard macros are killer.
“As for the Bars they were intended to create massive fields of light around the large LED screen, coming from the sides and the roof. I had limited real estate on the show as they wanted to kee
Czech Republic - Robe BMFL moving lights were used to light the first Laver Cup international tennis tournament.
The new indoor hardcourt men’s tennis tournament is staged for the first time in Prague’s O2 Arena, with the action broadcast worldwide.
The fixtures were a mix of 108 x BMFL Spots, WashBeams and Wash XFs, plus 80 x Spiider LED wash beams. The BMFLs were the primary light sources for the main show court, which saw two teams - Europe (captained by Björn Borg) and World (captained by John McEnroe) - battle it out for the trophy.
The full lighting production was designed by SMART Productions, providing a team of 28 riggers and lighting technicians on site led by SMART’s Josef ‘Pepa’ Zenisek who was also the event’s overall technical director for the Local Organising Committee (LOC) and the host broadcaster.
It was Pepa who suggested utilising Robe moving lights to illuminate the courts. BMFLs were also used as part of the lighting design for the ceremonies of the 2015 Fed Cup Final also held in Prague.
“We proposed the lighting design and sent visualisations and renders to the organisers to explain how the ideas would look and work efficiently” he explained. It was a process on which Pepa collaborated with Australian based lighting designer Toby Harding from video and production design specialist Offset Dice who was the event’s lighting director.”
Offset Dice is part of Australian based live event production and solutions company Mediatec Asia Pacific who were also involved in delivering the event.
UK - For Robbie William’s Heavy Entertainment Show, sound engineer Simon Hodge is mixing on a Digico SD7 using an L-Acoustics K1 based system from Britannia Row Productions (Brit Row) and has not found it wanting.
“We have played some very tricky venues, acoustically speaking,” said Hodge. “The new amplifiers and subs that Brit Row has invested in have made a big difference. I was expecting the new subs to be better but actually the difference is pretty phenomenal - they produce notes that I’ve not heard before with what feels like effortless power. The new amplifiers have made a difference to the HF as well which seems extended in to the range that only dogs can hear. I have ultimate respect for Josh Lloyd’s system design and line up but that combined with the new system has resulted in the most even coverage that I’ve ever heard in stadiums.”
Lloyd’s approach to system design for each venue is rigorous. “I did all the advance work earlier this year so we have a system plan in place before we ever set out. But all shows, especially ones of this scale, evolve, so I do re-examine those plans and finesse them about a week ahead of arriving at each new venue. Using the new Composite Target approach whilst designing the system in Soundvision means we are getting even more consistent results across the audience listening area, so I spend time fine tuning the aiming of the system then finally pre-setting delays and filters in a more informed, empirical fashion; it’s all about making it sound as good as possible.”
The tour had a tou
UAE - World Class Events supported DXB Live and WorldSkills Abu Dhabi 2017 in the safe and successful delivery of WorldSkills Abu Dhabi 2017 held at Abu Dhabi National Exhibition Centre (ADNEC) from 15-18 October.
Project director John Adkins, senior project manager Brian Gowen and six project managers planned and oversaw the event build, which welcomed 1,300 competitors, 10,000 international visitors and 100,000 visitors from the UAE.
John Adkins, managing director of World Class said: “Make no mistake, the de-rig for World Skills Abu Dhabi 2017 was a mammoth undertaking! The scale of the event, size of the venue and large quantities of kit, equipment and exhibits and the timeframe we working to meant that nothing less than a precise and efficient plan would ensure a successful outcome. The way that Showforce switched on all of its departments to mobilise the numbers of crew involved, when they were busy with other projects, was really impressive.”
He added: “I personally really enjoyed this job, which was largely down to the people involved, it was a great team and everyone had a strong work ethic, this coupled with good personalities made for a great deal of camaraderie onsite a project imperative for successful execution. A clear and concise communication plan was implemented, from the WS Sector managers, to our zonal project managers to crew members etc which allowed us to deliver effectively and meet the deadline.”
Commenting on WCE’s performance, Aidan Jones, executive director of WorldSkills Abu Dhabi 2017 said: “It was g
Spain - A sizzling 2017 Ibiza summer season saw new clubbing experience Hï burst on the scene with fresh energy and impetus mainlined into the heart of the Balearic dance scene via visual productions created by Romain Pissenem and his team from High Scream.
Over 200 Robe moving lights helped Romain define Hï’s two spaces – the Theatre and the Club. These included 72 x Pointes, 24 x Spiiders and 36 x Spikies in the Theatre and 100 x Spikies and another 20 Spiiders in the Club, all supplied by their regular lighting rental partner, France based the SLS Group, who also supplied all Hï’s video.
The building was previously known as Space for years by the clubbing fraternity, so a major aesthetic objective was the total transformation involving everything apart from the exterior walls.
Romain teamed up with acclaimed show, lighting, set and video designer Willie Williams, whose clients in the concert touring sector include U2, REM, George Michael and Robbie Williams.
The team also included technical directors Bertrand De Saint Pern and Philippe Monlong, technical manager Ian Woodall and production manager Caroline Harrington.
Operating seven nights a week with the season at full tilt, they also wanted to be able to radically change the look of the theatre each night, so multiple motors, moving trusses and pods were installed in the roof, together with a custom tracking rail system that allowed whole groups of lights to be moved and re-shaped.
With these rigging aspects in place, the environment was structurally fluid and infini
UK - Ayrton fixtures were used in the lighting design of the 2017 Slam Dunk Festival.
The alternative music event was headlined by rock band Enter Shikari and held in Leeds, Birmingham and Hatfield, with warm up shows at The Dublin Academy and Belfast Limelight and a further headline date in Barrowlands.
LD Steve Bewley used Ayrton’s MagicBurst LED graphic strobe fixtures and MagicPanel-602 units to achieve the dramatic visual effects needed for the event.
Bewley said: “For this show we designed four rotating towers which we wrapped in haphazardly-arranged LED strips, and used these to flank the drummer by deploying two towers either side of him. We then rigged three MagicBurst units vertically inside each tower towards the rear which, concealed within the towers, we use to shoot huge blasts of light out between the LED strips – much to the surprise and delight of the audience.”
He added: “Enter Shikari are a wild band and the wilder the strobing is, the better they like it – so we have two or three different types of strobe for these shows which enable us to change it about for the audience. We chose MagicBurst as one of the main strobes effects because of the graphic capability, and the sheer power of the units. When the towers rotated we are able to show the audience the full force of what the MagicBurst is capable of.
“I can spin the units around to add interest, often pointing not directly at the audience, but at the roof or tilted at angles, and can introduce interesting chases to the music. Because the MagicBurst has
Hungary - Around 1,000 dance aficionados arrived at the Dürlin Budapest Event and Performance Space in Hungary recently to celebrate Bladerunnaz, the traditional annual opening of the autumn/winter season.
To ensure one of the country’s premier drum & bass events made its usual impact on the dancefloor, service company and Martin Audio partner, BG Event , provided its MLA Compact PA system.
According to BG Event’s Balázs Szentiványi, the promoters opted for Martin Audio’s technology after specifying the MLA Compact on the drum & bass stage at the Balaton Sound festival, which they also promote.
Szentiványi said: “We knew that MLA Compact, accompanied by the mighty MLX subs, would unquestionably provide the ultimate gear for such a bass-heavy event. Due to MLA’s sonic capabilities over the full spectrum it was an ideal choice. We were able to use the special features of the MLA system, the SPL optimisation, leakage prevention, and ‘hard avoid’.
He added: “There is no acoustic damping in the room so that we had to avoid slapback from the rear, using the unique control - as this is something that bothers artists and crowd alike.” The system design was in the capable hands of BG’s long serving system engineer, Viktor Meszaros.
The MLA Compact arrays were rigged in a traditional Left/Right formation, four elements per side, with the MLX subwoofers in a conventional stack, two pieces on each flank. The subs were driven at a constant 80-90% capacity to reflect the sub-heavy genre of the music.
USA - Audio-system integrator Solotech recently completed the world’s first permanent installation of JBL by Harman VTX A12 loudspeakers at The Colosseum at Caesars Windsor Hotel & Casino resort.
The Colosseum is a 5,000-seat venue that hosts a wide range of performances - from chart-topping rock bands to acclaimed comedians. In order to improve the sound quality in the venue, The Colosseum hired Solotech to replace its entire audio system in three separate phases. In the first phase, which was completed earlier this year, Solotech replaced the venue’s aging main hangs with 26 VTX A12 loudspeakers, JBL’s latest line array technology.
“We've got a world-class venue, and thanks to the VTX A12, we now have a world-class PA,” said David Cyrenne, production supervisor and audio engineer at The Colosseum. “We needed something reliable and versatile to complement our 5,000-seat venue. We had a VerTec system in here before that served us very well, which is part of the reason we ended up going with JBL again. With the whole system integration, including JBL Line Array Calculator and Performance Manager software, it's a complete package.”
“It's kind of like high-end reference-monitor-quality sound in a concert line-array,” said Mark Radu, senior systems designer, Solotech. “There’s no distortion in the high-frequency driver, so it's crystal clear. It is such a smooth sounding box from top to bottom. The sound is so ‘in your face,’ and sonically, it’s like nothing JBL has made before.”
Once all three phases of the upgra
Finland - Helsinki City Theatre, the biggest professional repertoire theatre in Finland, has recently reopened its doors after an extensive three-year refurbishment and upgrade process. The technical part of the multi-million Euro renovation project was designed and managed by international theatre consultants Theatreplan.
“We were first approached by HCT in 2014 to work with them on a complete refit of the entire building,” explained Theatreplan director and stage engineering specialist, Dave Ludlam. The project started in March 2014 and was delivered in July 2017 for inauguration in August to coincide with the 100th anniversary of the modern Finnish nation.
Theatreplan carried out work on two of the six stages within the building: the ‘big stage’ with a capacity of 947, and the 347-seat ‘small stage’. The big stage now benefits from a re-shaped proscenium which has improved sightlines; increased power flying capacity; two new concentric revolving stages with three elevators inside.
“The revolves are now much more flexible and it’s a lot easier to reconfigure the orchestra pit,” said Ludlam. “We also put in a new modular floor which is much easier to use than the previous solution, and all goes towards making the stage a far more versatile and easy-to-work-with space. The small stage also benefits from a new revolve, modular floor and expanded point hoist system with significantly increased capacity.”
Theatreplan also designed brand new audio and lighting installations for both venues.
HCT technical director, Antti
UK - Southampton Solent University has upgraded its performance studios as part of a £100m facilities improvement programme running up to 2020, with VDC supplying the cabling infrastructure.
The university’s TV, Film and Media Technology department already boasts a number of professional-standard facilities including 4K-ready broadcast studios, radio suites and newsrooms, and the decision was made to invest in similarly high-quality facilities for the Music and Performance students. The department has nine rooms in total, five full studios and four smaller workstations which can be used for mixing. Studio 1 was upgraded in 2016 but the remaining studios hadn’t been touched for around ten years so much of the kit was showing signs of wear and tear.
When the decision was made to redevelop Studio 1, Technical Instructor Jon Wills contacted VDC to provide the cabling infrastructure.
Wills explains: “I’ve been using VDC personally in my freelance work since the mid-1990s and I introduced them to the university when I joined in 2007. We’ve used their Tourcat Ethernet cables in our outside broadcast equipment which we take out to festivals with the students each summer, so we know they offer a robust solution.”
VDC supplied three patchbays in Studio 1 with a custom wiring solution. “It’s wired as I asked them to, it’s bespoke for me,” adds Wills. “It all comes out to 25-way D sub connectors and then, off-the-shelf from VDC, I purchased D sub tails to connect all the equipment up. It just meant it was flexible for me.”
Europe - Production manager Will Wilkinson engaged the services of Video Design, Negative Earth lighting and SSE for sound during Lady Antebellum’s recent European tour.
The band visited the Netherlands, England, Scotland and Ireland during the European leg of the tour comprising six dates between 1 October and 10 October, with the crew and band arriving on the continent on 27 September.
Wilkison says: “When you tour with such a tight schedule at an arena level, the key is being able to source close what we use in the US. In that sense of matched equipment, it was a very smooth transition from the US into Europe. As far as Video Design was concerned, our biggest concern was over the video content. With almost no time for production prep ahead of our first show in Amsterdam we needed to send our content over before we arrived and have it loaded onto the server.
Alex Leinster at Video Design sourced a Green Hippo server and prepared it for a short tech rehearsal that took place at Negative Earth lighting’s base before the gear was shipped off to Amsterdam. Wilkinson adds: “When we got there we just needed to plug it in and we were ready to go.”
The content, all commissioned by the band, played onto a large rear wall of LED; a set of Barco FLM’s projected IMAG onto flanking screens. Fed by a large camera package, five operated cameras included three long lenses out front for the three principal vocalists, two in the pit, and a couple of robocams on stage for some more intimate angles and reverse shots.
“Our LD Brent Maxon run
UK - Rental company Ian Livie Concert & Corporate Lighting helped set up Paul Rodgers’ Free Spirit Tour with a minimalist rig of moving light and Leko fixtures and video content on Resolume controlled from a grandMA2 console.
Ian Livie and LD Jared Trinnaman are committed MA Lighting control aficionados. Livie says: “I had worked with Warren Cracknell for many years on Joe Bonamassa, the US blues guitarist so when he discussed the option of working with Paul Rodgers on the Free Spirit Tour I knew I had to invest in a console I was confident would stand the test of touring time both now and into the future. The LD, Jared Trinnaman felt the same way; I saw the show at the Royal Albert Hall and was so impressed with what he did with the console.”
Trinnaman himself had already invested in MA control. He says: “I’ve been an MA user since 2012. It was suggested to me by designer Paul Guthrie and I’ve never looked back. I personally own a grandMA2 OnPC Command Wing and, if I’m not using it, it’s out on rental. It has been a fabulous purchase from that perspective.
“The best feature of the MA2 is, in my opinion, the flexibility for the programmer,” continues Trinnaman. “From the graphic user interface, to layout views, and macros... as the LD I can set up the console for exactly what I need for that particular show. I may need to see a different set of views than the last show I did and the software allows me, as the user, to set up my views any way I want.
“We triggered the video content on Resolume using th
France - Airstar became an official partner to the Régates Royales Cannes this year after five consecutive years of cooperation.
Airstar’s lighting solutions were once again installed at the heart of the historic classic yachting event - the 160th edition of which took place between 23 and 30 September.
Airstar’s Crystal lighting balloons took pride of place, with two 160cm and three 200cm envelope balloons in situ on the docks around the boats and at the stands in the exhibiting village in the centre of Cannes opposite the Palais des Festivals. Some were then relocated to Palm Beach for the evening’s festivities.
With a set up time of just 15 minutes, yet designed to withstand tough outdoor conditions including wind gusts of up to 70 km/h, the Crystal range is perfectly suited to an event of this nature and are maintenance free. The Crystal lighting balloons can be fitted with either LED or halogen lamps, and are equipped with an extremely quiet fan for cooling rendering them almost silent, making it the perfect solution for high end events.
For this prestigious event, the team at the Cannes office of Airstar European Network (AEN) fitted six 400 watts halogen lamps in each Crystal balloon, making each of them capable of lighting up a surface of 1,500sqm.
With its larger surface area, the two metres wide balloons also carried partner logos on each side for additional impact, giving Air Mauritius, Champagne Comte de Cheurlin and the Mauritius Island outstanding visibility towards a prestigious audience.
Pascal Gard, race dir
Czech Republic - Colours of Ostrava is the biggest international music festival in Czech Republic and one of the largest in Central Europe. With its unique location at the Dolní oblast Vítkovice, an old Czechoslovak mine with UNESCO World Heritage status, the festival draws some of the biggest musical acts from around the globe. This year, it treated fans to performances from the likes of Imagine Dragons and alt-J on five stages.
Tasked with creating a high octane lighting rig for one of the festival’s Absolut stage, lighting designer Martin Vocetka supplied a number of Chauvet DJ Intimidator Spot 375Z IRC and Chauvet DJ SlimPAR Pro H USB fixtures.
Vocetka used four Intimidator Spot 375Z IRC fixtures from Chauvet DJ to set the right visual tone for the intense musical performances on stage. Particularly stunning was the interaction between the Intimidators and the huge mirror suspended above the crowd at a 45° angle. Thanks to the Intimidator’s dual rotating prisms, they were able to create memorable aerial effects and looks with refracted coloured beams of light.
“The Intimidators provided extremely powerful and versatile looks throughout the whole stage area,” commented Vocetka. “We were able to create huge aerial effects by reflecting the spots off the large mirror, which created a cornucopia of colour and energy to support the music.”
While the Intimidator Spot fixtures provided the necessary energy for the crowd, to the festival organiser’s delight, the powerful aerial effects also ensured that attention was focused upon
USA - Grammy award-winning bluegrass singer Alison Krauss recently concluded a 21-city autumn tour with a lighting package provided by Bandit Lites. Lighting designer William Anglin held a singular focus in his design: make the artist shine. “Her talent and the talent of the band do not require a cue intensive show,” he said. “We treat her show in more of a theatrical style. It's always such a pleasure to work with a performer of her level.”
Bandit Lites supplied Martin MAC Viper Profiles, GLP X4S and GLP X4 Bar 10 fixtures, Elation CuePix WW2 Blinders, Robe Robin 600 LED Washes, Coemar Halos along with two grandMA2 Lite consoles.
“Alison is not a fan of spotlights, so it is very important to light her with two nice warm tungsten key lights,” said Anglin of the design. “We were really surprised by the Coemar IWash halos. They are a bit older fixtures but did the job very well from a 28' distance. I also have an upstage X4S on her and two ColorBlast Iwhites on the floor downstage of her.”
Anglin shared how Bandit’s support of the production was a testament to the great relationships Bandit has cultivated over the year. “Our production manager, Sean Murray, has a great relationship with Brent Barrett who always takes such good care of us,” he said. “We were also very happy to meet Gene Brian as our project manager. The two of them went above and beyond on this tour.”
“I am always excited for the opportunity to work with Sean and Will,” said Bandit’s business development officer Brent Barrett. “Both are true pr
Europe - Chilean composer Nicolas Jaar brought in Colourblind to design the lighting and video on his European tour.
The tour made its way through a host of venues and famous festivals, including Glasgow’s Barrowlands and Barcelona’s Sonar. Colourblind, headed by Lynden Gare, designed a show to compliment the Chilean’s explorative music creations, and centre to the operation was a Hippotizer Media Server. The Karst unit used both SDI outputs, as well as splitting the DP to feed the LED strips. Running Hippotizer, it also fed IMAG screens at a number of the festival appearances.
Scenarios covered during the run included projection at front of house on to a special 3m reflection surface (replaced with upstage LED at festivals); rear projection through smoke; LED strips by Light Initiative; and IMAG were present at festivals. The lighting team also used Marshall SDI POV cameras – all of which were on stage, and able to create video feedback loops to get output.
Green Hippo’s flexibility was crucial to Colourblind during the tour. Commenting on the Media Server maker, Lynden Gare said: “For a show with no fixed structure or set list, Hippotizer Media Servers gave me the flexibility to create a bespoke show each night in the same way Nicolas was performing."
USA - Superfly, organisers of the inaugural Lost Lake Festival in Phoenix, Arizona, entrusted long-time collaborator Bandit Lites with providing the lighting for the event’s two mainstages.
The lighting company supplied the lighting package for the Camelback and Piestewa stages, where performances included The Killers, Chance the Rapper, Pixies, Huey Lewis & The News, The Roots, Dreamcar, Run the Jewels, Odesza and Major Lazer.
“The main brief for the two SAM575 stages was to make them individual, so they each had their own character, and to make them logistically friendly for changeovers and any band lights or scenic pieces that would come in,” said Bandit production manager Dizzy Gosnell.
The Camelback stage had over 130 fixtures and featured Magic Panels, Rogue Hybrids, Cuepix WW2, VL6000 Beams and Illumipanel architectural washes controlled with a pair of grandMA2 full desks.
The Piestewa stage had another 120 fixtures including Clay Paky Mythos, Clay Paky Sharpys, VL3500 Washes, VL 3000 Spots, Flare, Illumipanel washes and DWE 4 lite fixtures, also controlled by two grandMA2 full size consoles.
Bandit’s crew for the three-day weekend included Vanessa Sexton, Brenna Rae, Jessie Hochinyavong, Joseph DiLeo, Ty Veneziano, Cody Cheatham and Jason Giaffo, with major support provided by project manager Gene Brian.
“The seven crew onsite really did a fantastic job of prepping, hanging and running the lighting systems,” added Gosnell. “There was a lot of tight tolerances in getting both large systems on the Sta
USA - SRae Productions and Clear All Visuals were responsible for the video & lighting production design for Lady Antebellum’s world tour.
Matt Geasy of Clear All Visuals specified two separate setups, each with a pair of Hippotizer Boreal Media Servers. Both setups were used to feed the LED screens and each one was triggered depending on the performer, switching between two or three outputs.
During the global event, the SRae team ran Hippotizer in conjunction with an automation system. The Kinesys motor control system fed PSN data to the servers, so that they could live-track the screen positions in real-time. The end-result was the content tracking of the screens as they moved throughout the show.
For Lady Antebellum’s automated screens, the system provided information regarding the vertical position of the two motors for each truss. This was a challenge, but using MacroManager, they were able to interject formulas between the automation data and SHAPE. This allowed them to take the vertical position of each motor and the horizontal distance between them to calculate the vertical position and rotation of each truss at over 60 times per second. This was vital as the team needed to know the resultant height and rotation of each truss in order to get the content to track across the screens as they moved through the ‘virtual canvas’.
This also allowed them to build in variables for the touring crew to adapt to changes in rigging setups for different venues - meaning that no matter the rigging limitations in a venue, they didn’t hav
UK - The Howl Scream Park made its annual return to Mead Open Farm for 13 ‘nights of terror’ in October, where the likes of Topper the Clown and Grandma Lycanthrope waited to greet you with rotting arms. FunFear is a team of experienced engineers, technicians and designers who specialise in creating Halloween attractions and for the past three years, they have been in charge of turning the much-loved family farm into a land of torment and nightmare.
There were five haunts to be explored at The Howl including Toppers Twister, The Shed, Hotel de Basquervilles, Squealers Yard and the House of Hounds. In each maze you could expect to encounter impressive audio, lighting and special effects, along with a legion of terrifying actors which combine to create an immersive experience where you were the bait.
The maze with the highest “scare factor” saw you running for your life from flesh hungry cannibals in Squealers Yard, where Crown Amplifiers and E-audio speakers assisted in ramping up the fear factor. “We chose Crown amplifiers because of their high-quality build, immense power and renowned longevity. This meant we could rely on the amplifiers to produce clear, crisp and consistent audio throughout the event,” said Duncan, Funfear’s head twisted tech.
Pushing thick clouds of haze and fog into the mazes were numerous Chauvet Hurricane smoke machines, making it impossible to see further than a foot in front of you – the perfect environment for creatures and werewolves to stow away waiting to jump ou
UK - S+H Technical supplied a 12mm LED surface for the 2017 TV Choice Awards.
The award ceremony brought together over 400 TV and entertainment celebrities at a gala dinner evening in The Ballroom at the Dorchester Hotel, Park Lane in central London.
Stoneapple Productions designed and produced the ceremony for many years and S+H has been supplying screen for the last three.
This year, four columns – two per side - of the S+H’s 12mm LED product flanked a main projection screen positioned upstage centre. The LED columns each measured 7m high by 1m wide, and in between each of these was a vertical row of blinder lights.
The LED columns were used to display a variety of video content produced by Stoneapple for the event, including Awards graphics and aminations, for which they were highly effective.
The 12 mm is an ideal product for events like this. It was chosen for its brightness and good resolution, light weight and modular construction, and the panels were supplied in touring frames for speedy installation – for which S+H sent a crew to site to co-ordinate and tech the kit for the get in / out and the show.
Pavani Watt and her team at Stoneapple are constantly in touch with S+H to supply a variety of products including LED starcloths and LED floors which are utilised on a variety of projects.
“Terry and all at S+H are great people to work and do business with. They have an excellent range of products which are different, interesting and often featuring new technologies. The service is fast and efficient - and always
Kenya - An Audient ASP8024 has been installed in Nairobi-based studio Supersonic Africa as part of a project to expand the facility.
The upgrade was prompted by the arrival of weekly music TV programme Coke Studio Africa, which was filmed at Supersonic earlier this year.
“Musicians from all over the world come together and work on original compositions and mashups,” says producer at Supersonic, Muna Chuba, explaining that this was the second year running that they have hosted the show. “This gives us a lot of coverage as a studio - it’s actually how some of the international musicians get to know about us.”
Those who’ve recorded and mixed at the studio include multi award-winning, local pop band Sauti Sol and international artist Wizkid. Enter the large format mixing desk from Audient, which according to music producer and Supersonic studio owner, Matty Peevers is the next step towards “expanding our horizons into the music sector. The routing system helps to make this an incredibly flexible desk,” he says, particularly admiring its “great sounding EQ”.
Resident producer at Supersonic and engineer behind Coke Studio Africa season four, Sean Peevers also described the Audient ASP8024 as “an extremely versatile desk”.
Comprising two studios equipped with digital and analogue gear, the business focus was initially television and radio advertisements. “Clients ask us to produce the entire ad - from voice over recording, creating the music to sound design and mixing,” says Muna, citing Coca Cola, KCB Bank, S
South Africa - DWR Distribution provided new lighting installation for the annual Christian Revival Church (CRC) Dreamweek Explosion conference held simultaneously in Bloemfontein and Pretoria in October.
Phase 1 of the upgrade saw CRC Bloemfontein’s Main Auditorium receive a huge facelift. The 5 000-seater Auditorium situated in the South of Bloemfontein was extended to accommodate an additional 1 200 people. The ceiling was removed, air conditioning installed, and a new 24m wide stage, more than double the size of the original stage, was built.
The DWR team, headed by Robert Izzett, installed Prolyte H40V trussing above the revamped stage onto which both the church’s existing lighting fixtures and the new LED power saving units comprising of 18 Robe Spiiders, six Robe Pointes and 28 LED Parcans for audience wash were hung. An 8 Port Node was added to the MA system.
A 3.9mm Absen LED screen made up of 144 panels and measuring 8 x 4,5m, was erected on stage. Also on stage ,70 Absen LED panels to form two side screens. Over and above this, additional Absen LED screens were positioned on stage on custom made floor brackets, designed and manufactured by DWR’s Rob Young and Keith Pugin.
At CRC Pretoria, a 90m curved Prolyte truss was erected above the auditorium, midway through the venue above the gallery line, onto which 48 Robe LEDBeam150s and 18 LED Parcans were positioned. “It looked absolutely amazing,” said Robert Izzett. A 4 Port Node was added to the existing MA System.
On stage, to match the auditorium in Bloemfontein, 70
UK - The audio system in the main concert hall at the Lighthouse arts centre in Poole, Dorset has been upgraded.
The venue was originally conceived as the home of the Bournemouth Symphony Orchestra and has adequate acoustics for classical performances, but the increase in speech orientated material performed there in recent years meant a new system was needed to improve speech intelligibility.
Jake Sutton, technical manager at the Lighthouse explains: “The system we had in place was really only suitable for public address and simple amplification for events. We augmented this for music and other performances that required more audio support but it was very hard work to get an acceptable sound. Our main issue was lack of direct speaker coverage and uniformity of sound across the whole auditorium. We, alongside theatre consultants Charcoal Blue, invited three PA companies for a speaker shoot out in the concert hall.
“The guys from d&b really understood our challenge. They talked us through the various options and advised on best performance. It was a really smooth outfit from the moment they pulled up to leaving the venue.”
The project was tendered out to Complete Production Solutions (CPS) who have a long association with both Lighthouse and d&b. Based on the venue’s requirements d&b suggested a system of primarily Y-Series arrays, driven by 30D and 10D installation amplifiers.
Adam Hockley of d&b GB’s Technical Sales team says: “The new system needed to be able to handle every programmed event from spoken wor
UK - Stormzy’s Gang Signs and Prayers tour was extensively lit with Ayrton fixtures.
Lighting designer Steve Bewley opted for an Ayrton-laden specification for each incarnation of Stormzy’s show, which visited various academy venues this year before concluding with two Brixton Academy gigs.
“There were 38 MagicPanel-R units and 10 MagicBurst on my list. The UK and Ireland shows were all of a decent size, Brixton Academy has a capacity of nearly 5,000 and then we had various festival variations and a special rig for Glastonbury. Altogether, there were six different designs but the Ayrton fixture choices were always central to the show. Their dynamic look is not something that can be replicated and they were versatile enough to adapt to all the different venues and configurations.
“For the academy shows, we stripped out the house rigs to make it entirely Stormzy’s show in each venue. Our rig was composed of straight truss with the MagicPanel-R fixtures deployed in uniform lines across the mid and back trusses to give a great linear effect, and again across the floor. When we reached Brixton for the two showcase nights that were filmed, it was important that the rig delivered for camera as well as the audience.
“We pulled out all the stops then, increasing the number of MagicPanel-R units and loading them onto six moving trusses arranged in a horseshoe shape and split into three sections downstage and upstage; two further satellite trusses moved up and down behind that and more filled in across the front of the stage and downst