USA - An Allen & Heath dLive S Class S5000 with DM64 MixRack played a leading role on the tech crew for the Million Dollar Quartet’s recent North American tour. Part theatre, part rock-and-roll concert, the show tells the story of the day in 1956 when Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley performed together at Sam Phillips’ Sun Records studio.
Chris Wilson mixes both FOH and monitors on the tour. Wilson says, “I’ve mixed theatre and I’ve mixed rock-and-roll. But, this show is different because it goes from theatrical dialog to full rock-and-roll. So, I have to marry the two for the audience while I manage monitors for the cast.”
Wilson requested the dLive for this tour from equipment provider Epicenter Productions of Bedford, Texas. “I ran three big metal stages with dLives at the 2017 NAMM,” he said. “They outperformed anything I had ever used and changed my mind about what digital can accomplish.”
To manage both tasks for the Million Dollar Quartet, Wilson splits each input channel to the dLive’s Layer F for FOH and Layer A for monitors. On both layers, he keeps DCAs on the right-hand fader bank as his master show control. He uses dLive effects to help maintain the show’s 1950’s atmosphere.
“I’m running a nice hall reverb on all of the Super 55 mics and a tap delay on Elvis and Johnny Cash to give them that nice, thick 55 ‘echo/slap’ feel on Ghost Riders and 16 Tons,” he said. “I’ve implemented the automatic mic mixer on my dialog over-ear mics to keep them from comb filteri
USA - Empire of the Sun’s 23 March performance at Ultra Music Festival offered all the visual magic that fans crave from this Australian electronic music duo. But for Davey Taylor, the band’s long-time lighting designer, their appearance on the popular Live Stage represented something of a challenge, since the festival rig did not have his customary complement of colour mixing fixtures.
Taylor was able to meet this challenge, however, with help from his ChamSys MagicQ MQ500 Stadium. Drawing on his console’s networking features, cue stacking and visualiser, he created a stunning and immersive 32-universe 162-fixture lightshow that enhanced the visually rich Empires of the Sun experience.
“Ultra Miami was a little different from the other shows that we have been doing for Ultra lately,” said Taylor. “The festival rig on our stage had a large percentage of beam fixtures. They were great, but it wasn’t what we normally work with in our designs. There was very little in the way of colour mixing on the festival rig, which of course is normally a big part of an Empire show. So, we focused on getting some more colour mixing onto the floor by adding 30 washes and battens, while at the same time pushing beams back onto the band and dancers.”
Taylor used his MQ500’s visualiser to add beam cues to the show that endowed it with more colour. “I had only a small amount of time with the console for preprogramming and really needed to focus on incorporating the beams into the show in a way that contributed to the kind of look associated with Empi
USA - Being located in the heart of Nashville, it’s only natural that The Belonging Church would count quite a few musicians as congregation members. On any given Sunday, the music that resonates through this former-warehouse-turned-house-of-worship rivals an arena concert. The lightshows that accompany these performances are equally impressive.
Andy Rushing, the lighting designer for Grammy Award-winning worship music stars Lauren Daigle and Kari Jobe, is also a member of The Belonging. Rushing’s artistry was on full display recently, as he created a dazzling lightshow anchored by Chauvet Professional fixtures at a special fourth birthday party held for the church at the Tennessee Centre For The Performing Arts.
Marking the fourth anniversary of The Belonging, the two-hour event combined worship services with a commemoration of the church’s accomplishments and a reaffirmation of a commitment to achieving new goals in the year ahead. Endowing the proceedings with bold, uplifting looks, Rushing’s lightshow featured 12 Rogue R2 Wash and 18 STRIKE 4 units, along with a collection of other fixtures, supplied by 4Wall Entertainment.
“Lighting the birthday party was an enjoyable project for me,” said Rushing. “The stage at the Tennessee Centre For The Performing Arts is very large, with a proscenium about 40’ tall by 50’ wide, so we had a lot of space to light. This allowed us to some big looks on stage for the people in the audience at the centre, which seats 2400.
“At the same time, though, we had to light for video,” contin
UK - A new venue in London’s East End is reinvigorating UK clubland with a refined focus on technical perfection and substantive musical experiences.
Blazing onto the capital’s live electronic music scene at the beginning of 2018 with a 27-hour New Year’s Eve launch party, E1 blends simple industrial minimalism with cutting-edge technology to provide the perfect backdrop for a quintessential clubbing experience.
Occupying a two-room converted warehouse space, E1 is a location-turned-destination. The brainchild of Yuval Hen and Oren Arush, the venue is an evolution of the founders’ existing Studio Spaces facility – an events and high-production photo shoot destination catering to global brands and the biggest names in fashion and film. Having already run a series of successful warehouse style parties over the past few years, the team wanted to hone their offering; redesigning the space to place the focus on audio excellence and a heightened consumer experience.
Marketing manager, Tim Hinson, explains: “We decided to create a space that was the combination of a rough and ready warehouse space with the luxuries of a full club, whilst still retaining a blank canvas feel – something we felt London was lacking.”
Taking inspiration from clubs like Trouw, The Cross, Tresor and The End, Hinson wanted to ensure the new venue could tap directly in to their guests’ emotional state. “People’s experiences - whether it be in a club, at a football match or in a restaurant – are all based upon their senses,” notes Hinson. “We feel
UK - British metalcore band Architects recently played their biggest show to date at London's 10,400 capacity Alexandra Palace as part of their current European and North American tour. Long-term lighting and show designer, Paul McAdams, designed the production's high-energy 'lunar' lighting and set, selecting the Claypaky Mythos and Claypaky A.leda B-EYE K10 fixtures as key tools in his lighting arsenal.
McAdams has worked alongside the band for four years and for the current tour design drew inspiration from the band's latest album. All Our Gods Have Abandoned Us is the seventh studio album from Architects and features ethereal, burnt-out lunar imagery that McAdams brought to the stage through a series of clever light landscapes.
"The band are really involved in the show design and we have a great relationship where we're able to discuss ideas openly," says McAdams. "For this tour the initial design concept all came from the band's latest album artwork. As a live show, it's quite aggressive, and the lighting matches that. It's very 'in your face', quite rhythmical and full of staccato."
McAdams' production design expands around a central circular screen onto which video content of a lunar eclipse is projected throughout the show. Six 'finger trusses', each holding four Mythos, draw the audience's eyes toward the central screen, whilst a number of Mythos on an angled front truss provide key light and audience beam effects.
"On this tour, lunar and space imagery led the way in realising the looks and colour palettes," says McAdams. "The
UK – Version 2 Lights are back on board with lighting director Oli Richards for the second series of Sounds Like Friday Night.
Returning to Studio TC1 at BBC Television Centre, the show is broadcast live on BBC One in a series of five half-hour episodes featuring live performances from some of the biggest names in global music.
A core feature of the show is its stage architecture, designed by the creative Misty Buckley. The mammoth set takes up the entire footprint of the flagship TC1 studio, with its trim height soaring up into the impressive grid level at some 34 ft. above. The design provides an amphitheatre for the audience with its contours drawing influence from the iconic doughnut design of the Television Centre building.
Using Buckley’s installation as his canvas Richards utilises Martin Viper Performances to give shuttered animation to the vast set.
A range of ProLights LED fixtures are used to both to tone the fabric of the studio and to also provide a vibrant range of colours into camera. Vari-Lite VL1000 TS units are relied upon heavily for key lighting duties, Martin RUSH Par 2 Zooms are utilised in place of traditional floor cans. Martin MH7 Hybrid, Claypaky Sharpy and Alpha Beam 1500s are deployed across the four stages to give a diverse array of beams. Martin Mac Aura XB Wash are installed to wash both the set and the 520-strong audience.
The rig of 155 intelligent fixtures is installed, programmed, rehearsed, performed and struck in a 24-hour period along with the colossal set. This sizeable task is undertake
UK - This month sees one of Audient’s USB audio interfaces, iD14-LE take to the stage in the capable hands of theatre sound designer, Kenan Trevien who is working on Pericles, Prince de Tyr at the Barbican. This Cheek By Jowl production is an adaptation of a rarely seen Shakespeare play directed by award-winning Declan Donnellan in collaboration with Nick Ormerod, and performed in French with English subtitles.
Kenan explains the setup he’s used in the run up to this latest production: “I have one laptop dedicated to the cues on the PA, and the iD14-LE is plugged into the laptop I keep for designing new sounds. As the monitor outputs and the main outputs are independent, I can easily choose to work quietly with my headphones or to test new sounds on the PA whilst the actors on stage.”
The play follows the hero, Pericles on a journey involving pirates, magicians, brothels, tournaments and divine intervention, all of which have their own challenges when it comes to creating the right aural atmosphere in the theatre.
After a brief testing period in his studio, Kenan took his iD14-LE out on the road, and has found working with the British interface has many advantages. “The headphone amp is very quiet, the ScrollControl is very useful to adjust the plugins’ parameters and I can count on two nice preamps for additional recordings.”
Both Cheek By Jowl’s co-artistic directors, Donnellan and Ormerod were made OBEs in the Queen's birthday honours last year with Donnellan also awarded the Golden Lion of Venice for his lifetime ac
UK - The Harrogate Convention Centre has been evolving as a conference and events venue since what was then the Spa Rooms hosted the British Medical Association in 1884. The first purpose-built halls were added in 1959, and today HCC is recognized as one of the country’s leading multi-use venues with 147,000 sq ft (13,700 sq m) of completely modular exhibition/event space across nine flat-floored, interconnected halls.
In order to bring the venue fully into line with modern standards and expectations, HCC has recently invested in a brand new distributed, networked audio system with a Symetrix DSP backbone and Dante audio networking supplied by CUK Audio and installed by Acoustic Solutions.
“We clearly needed to replace our old system which was becoming unreliable,” explained HCC’s technical manager, Ross Simpson. “The site has grown considerably over the years and “bolt-on” additions to the existing PA system resulted in a clunky, difficult to assign and often inaudible product. We needed a system that would allow multiple inputs and outputs which were useable at the same time.
“The site often has multiple tenancy which each require use of a hall’s PA in their contracted areas. The PA volume requirements of these multiple tenants differ, so we needed a system that allowed for easy and reactive volume adjustment, and even allowed limited end-user control. Programming of the system for individual client areas and requirements needed to be simple and flexible.”
CUK’s Stuart Cunningham and Charlie Brown from Acoustic Solution
UK - There’s something out of the ordinary about doing a gig in a cave. However, when Jonathan Stafford of Cornish band Haunt the Woods approached Plymouth music technology college dBs Music to supply a PA system for their much anticipated EP launch gig, it seemed like a perfect challenge for dBs Music’s team Live Sound.
The complex nature of trying to optimise a sound system which would cover the audience area equally throughout the cavernous 500-capacity space outside Liskeard, meant that careful thought was required ahead of the show to ensure the right equipment was specified. However, the newly supplied Martin Audio MLA Mini system was a perfect solution to achieving this.
According to dBs music lecturer and live sound technician, Olly Wickes, discussions regarding a next generation PA system had begun more than a year earlier. It was Simon Honywill, one of the founders of the course, and an ambassador for Martin Audio, who proposed the MLA Mini solution, while the connection between the College and Martin Audio is further extended by the fact that the company’s newly appointed product support engineer, Ben Tucker, is a recent graduate.
The PA system consisted of eight MLA Mini elements ground stacked on a pair of MSX subs per side, optimised using the proprietary Display 2.3 software and controlled over the network using VU-Net.
Tucker was on hand throughout the day to ensure the new MLA Mini system was optimised to its full capability. He joined the team for the day, headed by programme leader Jim Parsons, Olly Wickes and three
UK - Rick Wakeman recently recorded a live version of his successful 2017 Piano Portraits release in front of an audience at Lincoln Cathedral.
Longtime Wakeman studio engineer / producer Erik Jordan employed an Allen & Heath dLive system for the project, comprising an S7000 surface with M-Dante card, DM64 MixRack and DX32 Expander, supplied by Tech-Serve Audio Consultants.
Jordan found that dLive’s ease of use and fast, flexible routing made it the perfect choice for a challenging live recording scenario.
“I knew from Ian Barfoot, Rick’s FOH engineer and a longstanding dLive user, how flexible and intuitive the system was to use and although this was my first real dLive experience, it took very little time to become familiar with. We had around twenty mics for Rick’s vocal, piano, audience and ambient pickup and – because the show was filmed for DVD release – I was able to very easily route different mix permutations for the cameras etc.“
Jordan was also impressed at how the interface options made it simple to set up multi-track recording to various devices and capture high-quality audio.
“Among the priorities for the project was complete reliability and the ability to use multiple recording devices with minimum fuss,” explains Jordan. “Thanks to the dLive, rather than bringing in racks of additional Pro Tools rigs, we were able to simply run a pair of laptops as backup recorders. And of course, the preamps sound great, so overall it was the ideal choice for what was a pretty high-pressure live recording s
The Netherlands - Don’t Let Daddy Know (DLDK) is one of the biggest international EDM parties taking its Ibiza roots and transitioning into a worldwide dance phenomenon known for spectacular production values. The 2018 Amsterdam edition, produced by Dutch7, returned to the renowned Ziggo Dome for two nights, for the first time with creative lighting designed by Bas Knappers from Netherlands based creative practice, Live Legends.
Live Legends has previously provided programming and operating teams for the event and in the design ‘hot seat’ Bas specified 122 x Robe Pointes and 40 x MegaPointes as part of a large lighting rig? supplied by Rent-All together with video and sound.
An all-star line-up included Axwell Λ Ingrosso, Steve Angello, Nervo, Nicky Romero, Timmy Trumpet, Sunnery James & Ryan Marciano, Headhunterz, Wildstylez and much more superlative music.
Bas wanted bright, powerful beam lights with plenty of punch and creative options to hold their own over humungous amounts of LED screen at the back and surrounding the stage, and Pointes and MegaPointes proved a great choice to kick some serious ass!
The fixtures were positioned on a series of trusses above and to the sides of the stage and the venue as well as on four large moving objects flown above the audience - each with nine Pointes on-board - plus six static structures over the audience.
The imaginative challenge for DLDK, which packed the venue to its 17,000 capacity each night was that the show has to be big, and also needed to have some intimate and close punctu
Australia - When Ben Hunt, head of lighting at the Empire Theatres, Toowoomba, in Queensland first fired up their new Robert Juliat Dalis LED cyclorama lights, his first impression was “finally we’ve found something up to the task”.
“It’s no secret that to light a cyclorama with conventional asymmetrical floods is going to require some serious power along with its consumable lamps and colour filters – especially when you’re lighting a 14m by 9m cloth,” commented Ben. “That task had been dealt with by sixteen, four cell Selecon Aurora cyc floods and you could hear the power meter groan every time we flicked the switch on!”
Ben added that the theatre had been looking at the LED cyclorama light market intently for the last few years waiting for the right product to pop up that would allow them to light their cyclorama with a quality light, but also give them ultimate flexibility on how and where they use them in the precinct across their venues.
“We wanted something that could light a cyclorama one day, light a three-act ballet with multiple scenic cloths the next and finish off the week in another room theming a corporate function; something that would require a special unit to achieve.”
Ben and his team decided to test all possible product contenders onsite so they could properly evaluate them in different usage scenarios and spacing options.
According to Ben, the Dalis 860 cyclorama light was the only unit on test at the time of the shootout that could tick every box, a true standout. Consequently, the theatre pu
Portugal - Portuguese National Broadcaster RTP, in a joint initiative with the European Broadcasting Union (EBU), selected the combination Ampco Flashlight and local Portuguese partner Pixel Light as supplier for lighting, rigging and motion for the upcoming Eurovision Song Contest in Lisbon.
The combination of Ampco Flashlight’s international experience and local Pixel Light’s professional knowledge proved a winning team for one of the most demanding and popular live TV shows in the world, with a live TV audience of over 200 million.
Dennis van der Haagen, CCO/COO Ampco Flashlight Rental comments, “For years we have been the supplier of motion systems through our CyberMotion technology. The experience we have with this production and our international acclaimed status as a full-service company convinced us that we should apply for the lighting and rigging package as well. We are very happy to join forces with Pixel Light, a well-known Portuguese company that extends our technical and local knowledge.”
Tiago Correia, CEO Pixel Light, adds: “Cooperating with Ampco Flashlight offers clear advantages for both parties and gave us a unique opportunity: working for one of the world’s most spectacular and demanding TV productions in our very own city. A wonderful challenge that we confidently took up.”
ESC2018 will take place in the Altice Arena in Lisbon, originally built for the 1998 EXPO. Shaped after a ship’s hull, it presents a beautiful reference to Portugal’s rich naval history. For ESC this naval history is being emphasised
USA - The North Carolina Museum of Art amphitheatre has used various PA systems over the years but has now settled on a Martin Audio MLA Compact, deployed by RMB Audio.
Asked to describe the current system, RMB’s Tobias Cannady says: “We’d originally used speakers stacked but then negotiated for the ability to fly MLA Compact for an improve the Joseph M. Bryan Jr. Theatre is known for its summer concert series.
“The set-up includes eight flown MLA Compact cabinets per side with four Martin Audio DSX subs ground-stacked on each side of the stage and CDD-LIVE 15’s for side fills and delays.
“There’s been a significant improvement in several areas with the new system,” Cannady continues. “Even though the stage is lower than most of the seating, the MLA Compact system is able to throw much further, with a more cohesive sound quality while cleaning up the area in front of the stage which can sound muddy.
“Overall, visiting sound engineers and artists have been very impressed with MLA Compact. Everyone is very happy with the coverage, control and audio quality we can provide for them.”
RMB owner/founder Cooper Cannady adds, “We’d been aspiring to fly a system at the site for years, an idea which was not well received initially because the theatre is a North Carolina government facility with its own rules.
“Finally, our discussions led to a structural engineer coming in and approving load points and we were able to move ahead with flying a system. In this case, it was the MLA Compact that was also a really
China - Hong Kong-based Cosmo Pro AV partnered with AV Stumpfl to deliver a media server solution for Ocean Park’s new theatre, the Applause Pavilion.
Ocean Park, Hong Kong’s most impressive theme park, merges education with entertainment. With 44 rides and 7.7m visitors on average annually who come from all over the world to see its attractions, the park first deployed AV Stumpfl’s systems in 2016 for its Cyber Illusion Show, when it rented the Wings Stage Engine and RAW Engine from Cosmo Pro AV. Such was its success that Ocean Park decided to invest beyond renting and instructed Cosmo Pro AV to design a comprehensive, permanent video system using AV Stumpfl technology for its Applause Pavilion.
Jason Yeung, sales engineer at Cosmo Pro AV, who project managed the installation from start to finish and trained the staff, explores Ocean Park’s special requirements: “They needed a powerful and stable media server system that had up to four DVI outputs, in addition to live input, both 3G-SDI and SDI. AV Stumpfl’s Wings Engine Stage was simply the perfect solution.”
The Wings Engine Stage is a technologically advanced media server featuring a solid hardware platform, automatic camera based soft edge and warping calibration, as well as DVI/3G-SDI Live inputs. Harry Gladow, global business development manager at AV Stumpfl, comments: “Whether as part of live events, corporate presentations or themed installations, the wide-ranging feature set combines hardware reliability with software flexibility - perfect for the kind of enviro
USA - When singer-songwriter Cole Swindell announced plans for his 2018 headlining tour, it was easily his largest to date. Swindell has continued to grow both as an artist and as a touring phenomenon. Looking to now build a high-energy, yet intimate storytelling experience for his first arena headlining tour, Swindell’s production team once again teamed up with the Nashville-based production provider Elite Multimedia for lighting, LED video, and live IMAG video support.
“We have done headlining tours before, but nothing on this scale with our own opening acts for an extended arena tour run,” began production designer James ‘Mo’ Butts. “As an artist, Cole will give us broad stroke ideas, but then will leave a lot of the technical aspects up to us to sculpt into the final design. Going into this tour design, we really wanted to showcase Cole’s evolution as an artist, from playing cover songs at a college bar at Georgia Southern University, to headlining in arena’s, so we knew video would be a key element in helping us tell the story.”
Aptly named the Reason to Drink, the design would serve as the backbone of the rig and would accommodate support acts Chris Janson and Lauren Alaina. As the headlining artist, Swindell now had the full stage all to himself.
“Cole really likes video, but in our production, we don’t use side screens,” explained Butts. “To do this successfully, we strategically deploy the IMAG using seven different cameras, and then work with our video content creator Andy Reuter, who is excellent at what
UK - Edinburgh based lighting, sound and AV company, Black Light, continues its relationship with ETC by acquiring 26 High End Systems SolaFrame 750s to their already impressive hire stock.
Calder Sibbald, head of hire & production at Black Light says: “Black Light has been looking for the next addition to our ever expanding moving light stock and eager to see what High End Systems could bring to our strong relationship with ETC. We were blown away with the demo from Jeremy Roberts from ETC, with its high output, smooth operation and excellent price point - it was the perfect unit for us to add to our fleet of moving light.”
The SolaFrame 750s are the smallest and newest LED framing fixture in the Sola Series family of automated tools. Designed for use in small to medium sized venues, the SolaFrame 750 features a compact footprint but with a massive feature set. Features include; 11,300lm output, 6° - 50° zoom, on board lense defogging, rotating gobo wheel plus fully continuous animation and much, much more. The SolaFrame 750 provides the largest arrangement of effects currently available in a fixture of its size.
Since Black Light acquired them, the new fixtures have already been hard at work touring across Scotland with both the Royal Conservatoire of Scotland’s production of Spring Awakening and Grid Iron Theatre Company’s production of Bingo.
Grant Anderson, lighting designer for Spring Awakening comments: “The SolaFrame 750 was chosen as the backlight workhorse as it’s a compact unit with great sat
Greece - CinemaNext recently deployed a complete Martin by Harman LED wall lighting solution in its first Sphera theatre installation at Village Cinemas.
CinemaNext recently debuted its new premium format Sphera theatre concept at Village Cinemas in the Mall of Athens. Combining the latest in projection, audio and lighting technologies, the Sphera theatre at Village Cinemas includes an 82ft wide wall-to-wall screen, 669 luxury seats, 4K digital video projectors and a high-quality Dolby Atmos surround sound system. To provide an innovative movie going experience, CinemaNext decided to incorporate Martin VDO Sceptron LED video fixtures to create a dynamic lighting system that complements the visuals on the screen.
“Our goal was to offer a more enthralling experience by including an immersive multi-dimensional lighting effect,” says Jérôme Michel, business development manager, CinemaNext. “We wanted to be able to create different moods and ambiences that react to the visuals on screen in real time. We’ve had great success with HARMAN solutions in the past, and the VDO Sceptrons were no exception. The fixtures were super easy to configure using the Martin P3-200 controller - it was the perfect solution to accomplish our goals.”
The lighting system is comprised of 160 Martin VDO Sceptron 20 (1000mm) and 30 VDO Sceptron 20 (320mm) fixtures deployed in vertical columns on the left and right theater walls. In order to keep the light from spilling onto the massive screen, CinemaNext outfitted the VDO Sceptron fixtures with asymmetric wall-washin
Indonesia - Djakarta Warehouse Project (DWP) began in 2008 as a dance club event by entertainment company Ismaya Live. A hit from the start, the event moved to the Djakarta International Expo (JIExpo) in 2014 and has blossomed, with Clair Brothers as a key ingredient, into an all-out festival that spans two days. In 2015, DWP was crowned 'The Best EDM Festival of 2015' by EDM Sauce. Today, DWP is Asia’s second largest two-day dance music festival, boasting more than 90,000 attendees in 2016, with an estimated 20,000 travellers from 39 different countries each year.
It was the move to the JIExpo outdoor stage area that i made clear the need for a sound system that could handle such a large space. Clair Brothers was the first choice of the production company - Live Production Indonesia, based on its partnership since 2012 with Clair Brothers’ rental partner Total Audio.
Says Houwdy Boenadi, managing partner of Live Production Indonesia, says: “I first experienced Clair Brothers speakers in 2012 and was immediately impressed. Since then I’ve come to the conclusion that there is no match for Clair Brothers signature sound, especially in a space this big. The audience area alone is 390 meters long by 100 meters wide. It’s a lot of space to cover.”
The resulting sound system consists of Clair Brothers 78x i218-LT/i218-M, 68x iS218-M, 12x i212-M, 16x CS218-M, 4x R2D-M and 8x 12AM speakers. The FOH consoles employed for the festival were the Midas Pro6 and the Avid Profile; with the monitor console an Avid Profile.
“Because this is our
Sweden - Niklas Pohlman is a freelance lighting designer based in Sweden’s two largest cities, Stockholm and Gothenburg. He focuses on lighting artworks and fine art installations.
Recently, he specified Anolis ArcSource 4 MCs LED fixtures to illuminate Do You Go Here Often?, three striking pillars wrapped with a bronze fabric effect created by sculptor Yvonne Thornqvist outside the Göteborgs Stadsbibliotek (Gothenburg City Library).
The bronze treatment is actually a wrap of the pavement-to-first floor level sections of three concrete structural pillars running through the front of the building, which is one of the busiest public facilities in the city. Fulfilling many roles, the library is a hub for literary vibrancy and learning, a meeting place and a lively community and social space.
The work was commissioned by HIGAB a community-based provider of public buildings like libraries and schools.
The columns have a paint finish which is unusual for bronze, and because they are in the shadows of the first floor overhang above the entranceway, the artist was particularly keen that they were lit and therefore able to be enjoyed and appreciated after dark.
Each pillar is highlighted with five ArcSource 4MC units which are concealed in the false roof void immediately above, which has been added to stop birds congregating.
Originally, the installation didn’t involve lighting, but it was added when it became apparent that this would trigger a whole new dimension to the work. It was Niklas’s idea to add the kinetic movement.<
UK - The record-breaking production of Shrek the Musical has exploded back onto the stage this year on a second UK & Ireland tour and Hawthorn has joined the adventure.
With lighting equipment supplied to meet the design of leading lighting designer Hugh Vanstone, Hawthorn invested in Martin MAC Viper Performances and MAC Aura XB fixtures to meet the requirements of the Shrek tour and many others, expanding its lighting inventory as part of its ongoing programme of investment in new equipment.
The rig was further made up of MAC Viper Wash DXs and ETC LUSTR2 Profiles. Utilising Chroma-Q Color Force 72 Battens, Hawthorn offered an updated Cyc lighting solution, removing the need of the older, heavy ETC Par battens. Hawthorn also supplied smoke effects and two Robert Juliat Cyrano Followspots to complete the design. All this was controlled off a GrandaMA2 network.
Hugh Vanstone comments: “Going to Hawthorn allowed me to use all the latest equipment which in the end resulted in a better, brighter show! The equipment was all in great condition which is especially important to me as a designer when you have a very limited time to tech and light the show.
“Shrek, unsurprisingly, has a very green set which is very difficult to light in some (non-green) scenes. Being able to move away from the scrollers I previously used was great because now it’s much easier to get from one colour to another without ghastly colour clashes.”
In preparation for the tour, Hawthorn welcomed senior production electrician, Fraser Hall and hi
Singapore - The Lo & Behold Group owns and operates two OverEasy American-style diners in Singapore overlooking the Marina Bay skyline. To improve the overall sound experience for OverEasy patrons, and a permanent solution for outdoor space events, the Lo & Behold Group commissioned Electronics & Engineering Pte Ltd to design and install a new audio system for the One Fullerton Road venue.
In addition to a substantial upgrade in audio quality, the owners wanted better zoning and greater level control within each of the zones. The permanent outdoor part of the system also required loudspeakers that could handle all weather conditions, particularly torrential rain and high humidity.
Case Woo of Electronics & Engineering Pte Ltd was the audio consultant for the project, tasked to meet the varied requirements for indoors and outdoors with good aesthetics and sonic capability. To meet all of the requirements, he chose compact Community loudspeakers that not only delivered the performance, but are also unequaled for reliability in all-weather environments.
For the high-table dining side of the outdoor deck, Case Woo chose Community W Series W2-228 8-inch premium performance quasi three-way loudspeakers, with four W2-218 8-inch two-way units providing lower volume fill for the low-table family dining side. Two XLR-input panels are strategically positioned to allow for the addition of a subwoofer on featured DJ nights.
The indoor dining room, which includes low and high lounge dining areas, utilizes seven Community D Series DS8 8-inc
USA - As the newly launched d&b Soundscape system continues its worldwide rollout, it is finding itself in all kinds of creative and inspirational company. One such liaison is with Berlin-based experimental electronic pop outfit, Mouse on Mars.
The creative duo behind Mouse on Mars - life-long friends Jan St. Werner and Andi Toma - seized upon the potential of d&b Soundscape as the tool with which to demonstrate the complex, layered aural dimensions of their multi-collaborative new album, Dimensional People.
The album launch event, presented with the aid of percussion-playing robots, took place during a conference presented by the Massachusetts Institute of Technology (MIT) called Dissolve Music.
For Mouse on Mars, it was the ideal environment in which to showcase the special ‘spatial mix’ of their new album, through d&b Soundscape. “In this album the material, from many musicians and collaborators, was so dense, with so many elements, that we didn’t want to reduce it to a stereo mix,” explains St. Werner. “So the idea of making a ‘spatial mix’ came up, and of course we took the opportunity.”
Says Toma, “We have always tried to mix our music as if it were a spatial experience – with sounds coming and going, as if the music is surrounding you. Soundscape, as a spatial technology, actually makes that possible, the tool becomes an additional instrument.”
St. Werner adds, “With Soundscape, you are not limited to that stereo perspective any more – you can actually walk around in the sou
USA - Orchestral Manoeuvres in the Dark (OMD) is out on the road with a lighting package provided by Bandit Lites. The British electronic music band, comprised of Andy McCluskey, Paul Humphreys, Martin Cooper and Stuart Kershaw, has been a staple in the synthpop scene even nearly 40 years after their debut performance in Liverpool.
With 13 albums under their belts including the most recent release, The Punishment of Luxury, the OMD (so named to refute any potential punk band assumptions) has offered their insight on society ranging from the relationship of man and machine to a commentary on modernism. And with a decidedly contemporary sound, it is only fitting the lighting complement the music while keeping focus on the band.
Bandit Lites supplied Showline Nitro 510C LED Strobes, Elation Paladin Strobes and Clay Paky Sharpys for the tour where lighting designer Andrew Liddle handles all lighting advances and Paul Bird acts as the board operator.
“We were approached by an old friend Ryan Westbrook, the band’s tour manager, and he introduced me to his lighting team consisting of Andrew Liddle and Paul Bird,” said Bandit’s vice president, Mike Golden. “Working with all three of these gentlemen has been a refreshing pleasure and I very sincerely hope we continue working with the entire entourage for many years.”