USA - The iHeartRadio Jingle Ball Tour presented by Capital One visited 12 cities from 28 November to 7 December. Select dates included Taylor Swift, Ed Sheeran, Sam Smith, the Chainsmokers, and many more – with a spectacular lighting rig including many Solaris Flares.
“Love those Flares,” says the shows’ LD Tom Kenny. “A few years ago, TMB gave me some Flare demos to try out. Since then, after using Flares very successfully on many TV shows, including Kids’ Choice Awards, as well as the VMAs and Europe’s EMA award shows, I specified them for The Who Hits 50! tour.
“I always get wonderful compliments when I use Flares because of the fixture’s terrific colour and strobe effects. I was introduced to the Linear Flares last year and eagerly used them on this year’s iHeartRadio Music Festival, and then on the Jingle Ball tour. Both of those events have the best of the best programmers, including the folks that work with me: Mike Appel, Tiffany Spicer-Keyes, Jason Baeri, Andrew GIF, and Joel Young on Jingle Ball.”
Kenny adds, “Everyone comments on the Flare’s brightness and the quick action. I’ve been very fortunate to be offered all the newest and coolest products to try, and Flares blow everything away by far.”
At LDI 2016, TMB debuted Solaris’ revolutionary Q+ Driver Technology, which made the classic rectangular 96-LED Flare even brighter, with a new Theatre Mode that virtually eliminates fan noise. lso at LDI 2016 TMB introduced the new Flare Q+ LR, a 108-LED linear version. At PLASA London 2017, TM
USA - Seattle-based duo Odesza (Harrison Mills, Clayton Knight) wanted to make an outstanding visual impact with their current A Moment Apart Tour that kicked off in San Diego and Staples Centre in LA and ran through Barclays Centre in mid-December.
Their creative team led by Luke Tanaka, Sean Kusanagi and the two artists called on Kyle Kegan of Voyage Productions to help sculpt a lightshow and add extra visual magic that would work harmoniously around their video and striking overall concept.
Kyle, known for his lighting and visual designs for Major Lazer and others, specified 185 x Robe fixtures to assist him in the task, with 27 x BMFL Spots, 74 x Pointes and 84 x Spikies.
“By the time we came on-board the concept design had been evolved and developed by Luke and the team, so we took that and applied practical elements like truss, motors, fixtures and all the associated production to support the overall creative design,” explains Kyle, adding the lighting was a vital part of the bigger picture, “not just for us, but it was critical to the artists.”
They all spent considerable time in the initial meetings discussing different fixtures, the precise effects they wanted and which fixtures would work best in achieving these goals.
Harrison, Clay, Luke and Sean all wanted fast beam fixtures with plenty of versatility, so the Pointe was chosen and this became the design’s base fixture.
Kyle suggested BMFL Spots as a nice balance. They also needed all these dynamic BMFL features for lighting the architecture and as the
Germany - Independent lighting and show designer Patrick Rabus used SGM's new all-in-one P-10 for the recent Itchy tour.
Being on tour with the punk band posed certain challenges when it came to equipment - Rabus needed to achieve maximum output with just few resources and he chose four SGM G-4 Wash-Beams, two SGM P-5s, and six of the brand new SGM P-10.
Rabus says: “The new features that SGM has implemented, such as the power-out and the degree indicator on the side of the lamp, make setting up much easier. So, if it has to be really bright and flexible, I'll take the P-10.”
“For bands this size, the budget and the equipment weight are usually the main challenges. Since we were traveling with two Sprinters, there was not much room for lighting gear,” he reveleals. “In this equipment situation, I needed a fixture with a large coverage and, of course, the right output.”
Rabus was thrilled by the colours, powerful output, and variety of effects of the P-10 that works as a strobe, wash, blinder, and effect light.
"Because of the much narrower beam, SGM’s P-10 is especially great as an effect and is what sets it apart from its predecessors. I control the lamp with the built-in Pixelmapper in my console, and this easy setup creates the most incredible and beautiful effects. I also like to use the built-in macros," Rabus explains. "Exactly what a punk band, who likes to stray into tougher tones, needs. Anyway, the band is really happy and of course I am too.”
USA - Worship technology provider AGI has joined the Adamson Network and is now providing sales and integration services for Adamson loudspeakers.
The Oregon-based company recently installed a S-Series audio system at Capital Christian Centre in Sacramento, CA.
“We had the opportunity to hear the Adamson S10 when [applications engineer] Rick Woida set up a system in our parking lot. Within moments, I knew we needed to be involved with this ground-breaking product,” says AGI CEO Greg Slape. “Being able to offer our customer base new technology in form factors designed for their market is exciting. The new IS-Series, along with the S-Series, are premium products with a very good cost-to-performance ratio, providing the HOW community with excellent premium loudspeaker solutions.”
Rick Cole, lead pastor with Capital Christian Centre, explains: “AGI provided an extended demo of the Adamson S10 system in our worship space, and we knew we couldn’t let it leave. The quality of the sound is excellent and easily meets our diverse musical and spoken word needs. We couldn’t be more pleased with its performance."
Capital Christian Centre’s new system comprises a left-right stereo deployment of eight S10 two-way full-range enclosures per side, with eight S118 subwoofers in a cardioid configuration handling the low end.
In addition to enhancing the church’s spoken word applications and contemporary music ministry for weekly services, the system is also ideal for its more elaborate and theatrical Easter and Christmas services, featuri
UAE - La Perle by Dragone is the Middle East’s latest resident show, featuring a cast of 65 artists including acrobats who perform aerial and aquatic stunts diving into an on-stage pool (read more in LSI December 2017).
The immersive production is staged in a purpose-built, 1,300-seat theatre in newly-constructed, multi-use Al Habtoor City in Dubai. The theatre is not only vast, but is a complex space, with real estate for the L-Acoustics audio system shared with automation lines, water pipes and nozzles for water effects, as well as lighting, projection and rigging.
Franco Dragone was the creative mind behind Cirque Du Soleil. In 2000, he set up Dragone, which has been the visionary behind some of the world’s most spectacular shows including Celine Dion’s Las Vegas residency, The Dai Show, The Han Show and The House of Dancing Water in China, Le Rêve in Las Vegas and Lido ‑ Paris Merveilles in France.
La Perle is one of his most ambitious projects to date and was five years in the making. Its audio design is based around an L‑Acoustics Kara system, chosen for its compact size, light weight and waterproof rating, along with L-Acoustics’ new Syva colinear source system, chosen as the ideal solution for a set piece that has space constraints.
Solotech has a long working relationship with the Dragone organisation, having collaborated on Dragone creations
USA - The Thomaston Opera House in Thomaston, Connecticut, recently added an Allen & Heath dLive S Class digital mixing system with an S5000 Surface, DM48 MixRack and DX32 Expander.
The Opera House is home to the Landmark Community Theatre which performed Spamalot, Hairspray, Grease, Mamma Mia!, The Diary Of Anne Frank and It's A Wonderful Life during its 2017 season.
The Opera House’s new audio system was designed and installed by DNR Laboratories of Watertown, CT. DNR’s Ian Jones (‘Dr. Jones’), who also acts as an independent FOH engineer, recommended the dLive and mixes many performances at the Opera House.
“The dLive is the perfect console for a theatre of this type,” says Jones. “For Hairspray, we had around 50 mics and I could put any of them anywhere on the desk. And all of this can be changed for each scene easily and quickly, so I don’t have to bounce back and forth from bank to bank or layer to layer.”
Jones uses the dLive’s internal DEEP EQs and compressors to shape individual vocal microphones. “Then, I bus all of those mics down to a single subgroup,” he said. “And, I EQ the subgroup to get rid of any feedback.” Jones adds, “I love the new dLive firmware revision that gives me 64 multi-band compressors and dynamic EQs that I can use for mics or basically anything.”
Beyond basic shaping and adjusting, Jones uses dLive effects to enhance instruments and voices. “I use the pitch shifter to fatten things up,” he says. “All of a sudden, m
USA - Roughly 7,000 dairy farms closed in Wisconsin between 1993 and 1998 according to the US Department of Agriculture as part of a reorganisation of production facilities in America’s “dairy state”. While most of their barns faded from the landscape, in the northwest part of the state one farm was given new lease of life.
The 180-seat community theatre and concert venue St Croix ArtBarn, expanded its production capabilities with the addition of a new colour rendering lighting system featuring Chauvet Professional COLORdash fixtures supplied by Monkey Wrench Productions.
“The time had come for a lighting system replacement,” said Chad Leonard, technical director of the St Croix ArtBarn. “The fixtures that we had were almost 20 years old and were in bad shape. We replaced all of them. Aside from greatly improving our lighting for shows and concerts and giving use so many more opportunities to colorize our productions, replacing the old fixtures with new LED models reduced our energy consumption by about 20-percent.”
The ArtBarn design team positioned nine COLORdash S-Par 1 fixtures on midstage truss for down colour washing and on side truss for side lighting. “We get some very beautiful soft colours from the COLORdash, which help convey subtle mood changes during theatrical productions and set immersive moods for concerts,” said Leonard. “Our theatre does about five shows a year, plus concerts. Since our rig is not very big, we want to be able to create a wide range of looks from the fixtures that we do have. The colour renderin
Poland - The Voice of Poland was recorded in the ATM studios in Warsaw, with the set featuring about 100 Prolights fixtures.
Those were 16 Panorama IP AB, 24 Sunblast3000FC, 24 Starbar1000, 44 Arenacob4FC. Artur Szyman has been entrusted as lighting designer and director of photography for The Voice of Poland and he took responsibility for artistic, visual and technical direction of the production.
An experienced LD in Polish TV, he says, “I was aware that Prolights fixtures were performing well and collecting lot favourable reviews on several tours and rental productions around Poland. When I was designing the lighting and video concept for TVoP, and knowing that ATM could supply this equipment, it was a good chance to try them in a TV application, where quality and refinement of the details are on top of my checklist. The fixtures have done the job and have also proved to be very reliable.”
The Prolights set of fixtures has been supplied from ATMs Rental/Production division, and its technical director Wojciech Lampkowski comments: “TVoP is one of the most high-level productions we have hosted in ATM studios and both Artur and the technical crew were very happy with the performance, the quality and reliability of the fixtures. I can summarize that it was a successful showcase.
“We use Prolights products in TV, live events and architectural applications and the products we have in our stock are performing extremely well on all these occasions. We also enjoy good communication and support provided by Show Des
UK - The latest tour by Gorillaz proved one of the must-see events of 2017. The band, production and technology all conspired to present something so much more than a bunch of musicians in front of a giant TV screen.
“In the beginning, we didn’t know how the tour would be received. It’s been quite some time since the last one,” muses lighting designer Matt Pitman. “Joel’s [Stanley, production manager] remit to me was to give the show something better than they’d had before,” Pitman continues. “We did our first show at the Printworks in London in March. It was a one-off in a small venue, but Joel gave us a generous production budget. He hasn’t turned down any of my technical requests at any point since, with lighting or video, and it’s the same in all departments. We have grown the production to where we are now.”
They are now at the end of a run through European arenas, culminating in two nights at London’s O2.
“The tour started off with some warm-ups,” confirms Stanley. “Back then we carried a small production which eventually grew as we added flown scenic elements of video, more lights and so on; by the time we’d done three months in the US across the summer the production was fully developed.”
Coming to Europe has prompted some changes, not least a new PA system supplied by Entec’s trans-Atlantic partners Brown Note and a complete change in video, courtesy of Video Design. “Coming to Europe with a different video supplier, somehow all felt very familiar,” said Stanley. “I think we have had one
UK - The OXO Tower on London’s South Bank was the scene of a recent sound system upgrade at its popular Restaurant, Bar & Brasserie.
London-based Evolve Install has upgraded the brasserie's existing JBL system with a bespoke JBL Pendant speaker solution and also equipped the fine dining restaurant with a similar sound system.
The work was project managed by Evolve Install director, Elliot Patterson, who saw the layout of the existing speakers was awry while surveying the site. He notes: “They were not positioned in the right area to get optimal coverage and there were a number of blind spots - the sound would reflect off the large windows and bounce around. Also it had been zoned in a clumsy way.”
He consulted the application team at Sound Technology, the UK and Ireland distributors for the Harman Pro brands, and with the venue mapped using JBL’s modelling system, the Pendants were proposed as the ideal solution.
For the main restaurant and brasserie, Evolve Install deployed seven Control 67P/T enclosures with high-power 6.5” transducer - four in the restaurant and three in the brasserie. For the bar they used three of the smaller Control 65P/T (with 5.25” transducer).
The Pendants were set at high level up in the ceiling - all speakers hanging off the H-beams on steel rope with Gripples, with secondary safety provided.
Patterson observed that since the pre-existing six JBL Control 25T still sounded excellent, it made budgetary sense to redeploy them. “We re-ran the cable and reassigned three for the br
World - Philips Lighting reports that its stage lighting fixture, the Philips VL6000 Beam, is delivering a powerful impact for the Crazy World Tour by German heavy metal band Scorpions.
The power and quality of the output from the 36 Philips VL6000 Beams solves several challenges for Scorpions' lighting designer, Manfred Nikitser. His lighting fixtures need to provide enough punch to cut through the light from the LED screens on the stage, and be strong enough to deal with long throw distances, as the lighting trusses are trimmed at between 10m and 14m above the stage.
"The VL6000s give exactly the strong look this kind of rock show needs," says Nikitser, "and even with full content on the screens, I can still make an awesome light show! If you look for fixtures that will work with this amount of video, the selection is small. And with this height, it's even harder to get the power you need."
However, despite those demands, the VL6000 Beams cut through with the presence required for this spectacular heavy rock show. The designer is delighted with his choice. He adds, "I also like the look of the fixture - thanks to the big front lens. There is just no other fixture on the market that looks that good and produces a hard-edge wash beam with this kind of brightness."
On the tour's recent North American leg, Scorpions were supported by Megadeth. Their lighting designer, Bryan Hartley, delivered a design which utilised much of Scorpions' lighting, including the VL6000 Beams. Like Nikitser, Hartley found them to be an ideal beam tool for th
UK - The Natural History Museum in London made waves on New Year’s Eve with 700 guests celebrating Under the sea festivities inspired by the Hintze Hall’s newly-installed blue whale skeleton.
The evening saw celebrations of oceanic proportions organised by Amy O’Brien, senior event co-ordinator, in partnership with Guilty Pleasures who provided DJs and live entertainment.
During highly competitive games of Musical Bingo, guests battled it out marking off songs played in Museum-themed rounds to win a range of prizes from the shop. Revellers also engaged with the latest ‘Massaoke’ craze sweeping the nation, a mass participation karaoke sing-along with crowds guided by big screen lyrics.
White Light enhanced the spaces with lighting and audio elements to create an immersive experience for the party-goers with atmospheric soundscapes throughout to help bring the nautical theme to life. Dappled water effects washed over the ceiling and architecture and the Museum galleries were beautifully lit in shades of blue and green to complement the Under the sea party environment.
Robert Wetherell, head of venue hire and catering explains: “This year has seen a once-in-a-generation transformation of Hintze Hall and been incredible for showcasing the versatility of our event spaces. This Under the sea celebration draws a hugely successful 2017 to a close, and we look forward to further enhancing our offering to events clients for 2018.”
USA - Fans who pack the Pageant Theatre to capacity for six or seven El Monstero shows every holiday season never quite know what to expect. Certainly, they’re re going to hear spot-on renditions of The Wall, Dark Side of the Moon and other Pink Floyd classics, but beyond its music, this Christmas tradition in America’s heartland is full of delightful visual surprises.
Drawing on a cast of up to 75 characters, the annual tribute show in St. Louis has been coming up with novel and enthralling dramatizations and set designs every year since it was started by members of different local bands in 1999. True to form, the 2017 rendition of El Monstero sparkled with a lively and fresh-looking stage presentation, thanks in no small part to a convention-defying lightshow designed by Chip Self that featured a collection of Chauvet Professional fixtures, including the new Maverick Pyxis.
“This is my third year of designing for El Monstero, and with each show I take pride in doing something new and different that exceeds the aesthetics of what we did previously,” said Self, the owner of Logic Systems Sound and Lighting. “I’m grateful to Kevin Gagnepain and the El Monstero team for having faith in my judgment and giving me enough design control to be able to try new ideas and equipment. To an extent, this show is R&D for us. I'm constantly trying to push the envelope and do something new.”
Among the things that helped Self push the envelope this year was the addition of the Maverick MK Pyxis. Introduced earlier this
USA - Andrew Peterson’s 18th annual Behold The Lamb Of God Tour returned to Nashville for two shows featuring a lighting package provided by Bandit Lites.
The moving show presents the Christmas story with musical numbers that move from the Old Testament to the New. Lighting designer Winn Elliott is nearly a dozen years into designing this production and credits his history with Andrew Peterson into knowing what direction to take the lighting each year.
“Andrew and I have worked together for so long that I have a good understanding of what he will and won’t like,” said Elliott. “We’re in many ways cut from the same cloth from a design standpoint: my goal is to add a very intentional visual interest and beauty to the evening and to complement all that is happening on stage. That typically involves building looks that don’t have a ton of movement or other elements that may be distracting to the audience.”
In addition to the live show at the Ryman, this year’s production featured a live stream at Lipscomb University’s Shamblin Theatre, requiring Elliott to create a lighting package that would suit both the live audience and those watching at home.
“This year, building a package that had to serve dual purposes was an added element, but Bandit was super helpful on that front, and it all came together beautifully,” said Elliott. “Brent Barrett, project manager Jimmy Hatten, and I got the rig from napkin sketch (seriously!) to CAD, to actual equipment hanging in the programming suite in a matter of days (hours, really
USA - Scorpions have wrapped the first North American leg of the Crazy World Tour 2017 with Megadeath. A large complement of Claypaky fixtures hit the road with the German rockers
The North American leg’s September and October dates included a performance at New York City’s Madison Square Garden, the first time the band played the venue since 1984.
Lighting and show director Manfred Nikitser, of Manfred Nikitser Show Lighting, designed a “classic rock show” with “big, strong looks” to please audiences who expected “a good rock show”. He created a “clean overall look with big LED screens, thrust and ego risers plus a massive angled stage set. My intention was to meld lighting and video, so LED screens were a lighting element that actually immersed the stage with saturated colour” for some songs. Live camera integration was a big part too, but clean camera feeds were always manipulated in some way to give a cohesive look to the on-stage VFX.
Nkitser was also challenged to create a show that could be easily adapted to different continents and countries with varying venue sizes and technical standards. “The show design has to use elements we can get in every country,” he says. The band carries the stage set, angled LED screens and drum riser while rigging, motors, truss and lighting are obtained locally.
Nikitser selected Claypaky Scenius Spots, A.leda B-EYE K20s and Sharpy Washes for the tour.
He specified 58 Scenius Spots as his main effects lighting fixtures. “I was very excited coming to the rehearsals
Australia - Sir Paul McCartney brought his long-running One On One tour to Australia this December - his first Australian tour since 1993’s The New World tour.
The show featured nearly three hours’ worth of the greatest moments from the last 50 years of music. FOH engineer Paul ‘Pab’ Boothroyd has been with Sir Paul for a fair portion of this journey.
“I first started working for him in 1989,” said Pab. “As well as being on stage for three hours, he also does a one-hour sound check every day. With line checks and system checks as well, I’m probably behind the console twiddling knobs for five hours so it’s quite an extensive day technically.”
That FOH console was an Avid Venue S6L which Pab has used ever since it was released and he describes it as one of the best consoles on the market. Pab’s S6L carries dialled-in snapshots for more than 100 songs.
“It’s very powerful and has massive capability,” remarked Pab. “My vocal chain for Paul is fairly straightforward; I’m using a Sonnox Oxford EQ and Avid Pro compressor. For effects there are some general reverbs (short, medium and large), a little bit of delay ADT and that’s it. There’s no playback or inputs from anywhere else, it’s all live.”
Plug-ins that are used sparingly include Smack!, ReVibe II, ReVibe I on drums and Mod Delay III.
JPJ Audio supplied the crew and gear for the tour including their Clair Brothers’ Cohesion Series for PA. At the Sydney show indoors at Qudos Bank Arena, Pab had 16 CO12 L+R, 14 CO12 LL+RR, 12 CO1
UAE - At the end of August an exciting event took place at Al Habtoor City in the heart of Dubai. La Perle, the spectacular new acrobatic water show from Franco Dragone, opened its doors for the first time, with four Robert Juliat Cyrano 2500W HMI chosen as La Perle’s followspots (read more about the production in LSi December 2017).
La Perle is a landmark for Dubai with a trio of firsts - Dragone’s first show in the Emirates, Dubai’s first large scale theatre dedicated to just one show and the only live residency ever to be performed in Dubai. Sixty five international artists are showcased against a dreamscape world in which they display their acrobatic, aquatic and aerial acting skills in a series of awe-inspiring stunts. 25m high dives and death defying stunts strive for attention with dancers and aerialists as the action centres in, around and above a 5.5m wide x 8m deep diving pool known as The Pit which overspills or recedes to fill and drain the wider stage at a moment’s notice.
The bespoke theatre is designed to gather its large audience around the irregularly-shaped performance arena and wet stage in just 14 rows of seats, giving perfect sightlines from every seat and guaranteeing each audience member a unique, close-up experience.
A complex, structured set and heavily reliance on projection combine to create the ambience of a grotto or cave. Directing the audience’s gaze
USA - Wall High School in Wall Township in Monmouth County, NJ, was planning to replace its sound system as part of the overall facilities refurbishment.
JD Sound & Video had provided the sound for a number of schools locally and this led Tom Ridoux, the school’s athletics director, to call them in for discussion. The brief was for a system that would provide high intelligibility coverage for the home bleachers, field, visitors and concessions areas. Additionally, the system was required to provide entertainment quality music.
JD Sound & Video designed a system based around Community’s R Series loudspeakers and, following its presentation to the school, was awarded the project. “With considerable experience in R Series’ superb sound quality, coverage patterns and all-weather reliability, it was our first choice of loudspeaker system for Wall High School,” explained Joe DiSabatino, president and lead design engineer of JD Sound & Video. “With a range of models providing ideal coverage for each area, the system was complemented with two powerful subwoofers to provide the low frequency impact for entertainment quality music.”
For coverage of the bleachers, JD Sound & Video mounted two R.35-3896 and two R.5-96MAX loudspeakers on the press box roof. A high output three-way dual 12-inch R2-52Z is also located on the roof to cover the field and visitor stands. Two R.5-96MAX loudspeakers are mounted on poles for the outside ends of the bleachers. An R.5-66MAX loudspeaker is also used for the concessions area.
The two IS6
UK - The newly opened Darlington Hippodrome, formerly known as Darlington Civic Theatre, has been restored to its former glory and transformed with 21st century technical facilities that include new stage lighting, audio and video systems.
Featuring leading brands including Chroma-Q, Allen & Heath, Panasonic and many more, most loose equipment was supplied by A.C. Entertainment Technologies (AC-ET).
The theatre received a £5m grant from the Heritage Lottery Fund (HLF) towards the ambitious £13.7m project to regenerate and upgrade the venue, which also included restoring the exterior of the distinctive Grade II listed building and the beautiful Edwardian auditorium inside. In addition, seating capacity has been increased to enable larger shows to be accommodated as part of an expanded artistic programme.
Darlington Hippodrome is also managing the newly-built Theatre Hullabaloo, a separate £2.9m project to create an adjacent flagship children's theatre venue. This was made possible in part by the venue receiving a £1.5m grant from the Arts Council England (ACE) in partnership with Darlington Borough Council, who committed £800,000.
When Darlington Hippodrome's technical manager, Steve Sanderson needed to equip both venues' facilities, having previously purchased from AC-ET, he approached them to tender for the supply of various entertainment technologies.
Sales executive Ben Steppenbeck of AC-ET's specialist lighting division recommended some options that would best meet the venues' technical requirements. In addition, the compa
USA - Winners in the New Group category at the 2016 Academy of Country Music Awards Old Dominion have been touring its Happy Endings album, and supporting the likes of Kenny Chesney and Thomas Rhett. The band has also been confirmed for Chesney’s Trip Around the Sun stadium tour in 2018.
Earlier this year, FOH engineer Ian Zorbaugh and monitor engineer Dean Studebaker decided to take SSL L300 Plus consoles, supplied by premier event production company Morris Lighting & Sound, on the road with Old Dominion.
Zorbaugh chose the SSL L300 because of the positive feedback he was hearing from other engineers - particularly Chris Rabold, who used L500 on the Kenny Chesney tour, which Old Dominion have been supporting. "The main thing I heard about the SSLs was that they sound absolutely phenomenal - that you need minimal EQ, less processing, and so on. I wanted to experience that, and to get to know the console."
Zorbaugh manages about 60 inputs from stage, with half of those coming from Whit Sellers' sizable drum kit, including two snares, four toms, and a wide range of cymbals. With that number of drums squeezed into the kit, and generating a lot of volume, control is an important part of the on-stage craft. As well as the standard kit microphones, there are also a number of drum triggers set up to feed the gate side chains on the individual kit channels. "All the cymbals are so close - some are actually closer to some of the tom mics than the toms are," explains Zorbaugh. "So having the triggers means that the correct gate opens when
Serbia - Perched along the banks of the Danube river some 60 miles from the hustle and bustle of capital Belgrade, the city of Novi Sad has been traditionally renowned for its relaxed and welcoming character. In recent years, however, the local character of Novi Sad has expanded by a collection of locally hosted, yet internationally renowned music festivals, including the infamous Exit and the Novi Sad jazz festival.
Another event putting Novi Sad on the musical map is the Green Love festival, an electronic Mecca attracting thousands of clubbing enthusiasts from Serbia and neighbouring countries such as Hungary, Croatia and Romania. For the most recent Green Love event, which saw DJs such as Metodi Hristov, Lea Dobričić and NUSHA take to the stage, AVL Projekt supplied Chameleon Rental with 16 Chauvet Professional Maverick MK1 Spot and 16 Maverick MK2 Wash luminaires for a spectacular installation.
To meet the demands of the large warehouse space, within which the 3,500 electronic music devotees were gathered, Chameleon positioned the Maverick fixtures high above the stage to shower the audience and stage alike with a potent mixture of spot and wash lighting effects.
“We were searching for a dedicated spot lighting fixture for Green Love for quite some time, but we didn’t find anything that fit the bill,” commented Chameleon’s Ivan Kršev. “But when we tried the MK1 Spot, we realised the fixture could fulfill all the requirements for a modern electronic festival: impressive light output, LED power, CMY optics
UK - Allen & Heath has partnered with Cato Music to outfit Cato’s South West London rehearsal studios and production facilities with an extensive array of Allen & Heath products, from QU series consoles to the flagship dLive mixing system.
Cato Music, a Production Park company, offers an all-encompassing tour production service, from rehearsal studios (including full production), transport and crewing to equipment rental and tour supplies. Its initial involvement with Allen & Heath’s dLive series came at SXSW 2017, as general manager Ant Forbes explains: “We first became aware of dLive in the run-up to SXSW, where Cato Music runs the production and stage operation at the British Music Embassy, at downtown venue Latitude 30. We used two S7000 surfaces and one C1500 surface in the venue this year – with 75+ artists playing the stage over the course of the week there were a great many different engineers using the console for the first time and all left highly impressed.”
She adds: “Since SXSW, we’ve added Allen & Heath GLD and Qu series consoles, as well as dLive C and S Class surfaces and MixRacks to our rehearsal facilities” he continues, “and become something of a home-from-home for Allen & Heath gear. We have a huge amount of seasoned and up-and-coming engineers through the Cato Music studios each year, so we’re well-placed to offer a meaningful hands-on experience to newcomers to dLive, and to cater to the increasing number of engineers who are requesting the systems.”
Christian Luecke, Allen & Heath
USA - Lighting designer Matt Guminski lit a reworked version of Ghost The Musical recently at the White Plains Performing Arts Centre in White Plains, New York, using a rig that included Elation Professional Satura Profile and Platinum Seven LED moving heads.
Guminski worked with master electrician and assistant LD Lizzie Mahoney on the adapted version of the play at the 410-seat professional theatre outside of New York City.
“We used the Satura Profiles several ways to help create the mood, as template washes, specials and aerial effects,” Guminski stated. “The framing was especially useful as it allowed for ultimate control. It was a box set with multiple projection surfaces so it was important that the projection on the scrim not be washed out.”
The LED-based Satura Profile with CMY colour mixing, four-blade rotating framing shutter system, gobos, prism and other design features is a fixture that Guminski is well familiar with, having used them in shows like Heathers, The Rocky Horror Picture Show and High Society. For Ghost the Musical the LD used six Satura Profiles in total, two on the near box booms at FOH, three on the first electric and one upstage on a very high trimmed fifth electric.
Guminski explains that sometimes the type of lighting used was motivated by the projection looks while at other times, when using a very saturated look for example, the projection would follow the lighting’s lead. “The Saturas punched through to create some really special moments even with layered templates or
USA - Two lighting designers built a shared rig for two bands performing at Portland’s House of Music, with a Chauvet Professional anchored floor package.
Matthew Calabrese is the LD for up-and-coming jam band Strange Machines. Touring in support of their Voice of Colour LP this summer, the band announced that it would be appearing at the popular downtown Portland music hall. Opening for them was Revibe, a funk fusion band. When Kyle Rose, the Revibe LD, saw that his client would be opening for Strange Machines, he immediately reached out to Calabrese.
“I had worked with Matt several times in the past when Strange Machines and another one of his clients, Kung Fu, played at Higher Ground in Burlington (Vermont), where I am the house LD,” said Rose. “I always liked his approach to lighting – the way he supported his clients without distracting from the music. So, I thought it would be cool to work with him at Portland.”
Calabrese agreed, and the two designers created a floor package using Rogue R1 Spot moving fixtures from the house rig at Rose’s Higher Ground club and COLORdash Batten- Quad 12 linear washes from Calabrese’s own stock. “We exchanged a lot of ideas about what we wanted the lighting to do in this particular setting, and we created the rig accordingly,” said Rose. “Since the music of both bands is very free flowing, we wanted fixtures that could create some big movements and changes, not just with colour, but with gobo patterns.”
The emphasis on gobos led Rose to include eight Rogue R1 Spot fixture