USA - Australian Pink Floyd has appeared before over four million fans in 35 countries. The band captivates fans by recreating Pink Floyd’s stage shows. This immersive multi-sensory experience is very much on display in Australian Pink Floyd’s current USA tour, thanks in no small part to a nine-universe lightshow that Tom Mumby designed and controls with the ChamSys MagicQ MQ500 Stadium console.
Mumby, owner of Vivid Lighting Design, is using over 150 fixtures in the show. A 5m ircle that holds 26 moving washes and frames a video wall serves as the centrepiece of his design. His main rig is also made up of six vertical ladders, hung at staggered heights from a 50’ truss. Complementing the lights on the ladder trussing is a collection of 26 washes, strobes and blinders that runs along the downstage edge. An additional eight washes are used as sidelights.
Rounding out the design is a 40’ front truss with spot fixtures that are used for key lighting and washes that are used to light signature Pink Floyd inflatables.
“The show aims to be a true likeness to Pink Floyd, not just in terms of the music, but also in production value,” said Mumby. “A lot of time and thought is put into how best to portray the show in a unique way, while trying to stay true to what it was in days gone by.”
Mumby credits his ChamSys MagicQ MQ500 Stadium with helping him realise this creative goal. Aside from saving him time when setting up his show and making changes to it, the new console has opened more creative options for him, thanks to its flexibilit
USA - When Tim Farquhar took his first look at the site of the Beanstalk Music and Arts Festival, he described it as “a lighting designer’s dream”. Not only was the setting breathtakingly beautiful with its panoramic view of the Rocky Mountains and the Upper Colorado River, but at 6,600’ above sea level and miles from the nearest city there was virtually no ambient light, save the stars in the summer sky, to distract from a lightshow.
Farquhar, owner of Farquhar Productions in Boulder, CO, recently made the most of this dream opportunity for himself and visiting band LDs by creating a powerful and flexible lighting rig for the four-day Beanstalk event. His flexible rig was anchored by a collection of Chauvet Professional Rogue R1 Spots and Chauvet DJ Intimidator fixtures supplied by Field View Productions.
“Every LD wants work in a beautiful setting, and you can’t get much more beautiful than this,” said Farquhar. “There was very little ‘light pollution’ at night, so our lights really stood out. Thanks to the output of the Rogue Spots, it was easy to light not only the stage, but the area around it as well.”
The lighting designer for Magic Beans, the popular jam band that started Beanstalk five years ago, Farquhar was a natural choice to work the festival, which featured a diverse range of artists this year headlined by its founders plus Disco Biscuits and Fruition.
Farquhar’s free flowing holistic approach to lighting design fits his client’s music as well as the spirit of their namesake festival. “I really try to
USA - The theme at the bar and cocktail lounge Campbell Apartment, located in Grand Central Terminal in New York City, centralized on the history of its landmark status. The space was once the office of American financier John W. Campbell, a member of the New York Central Railroad's board of directors.
Later used for office space, as a studio by CBS Radio and as a jail by Metro-North Railroad, the space was restored to its original opulence following renovations totalling nearly $2m in 1999 and 2007. The walls and ceiling were brought back to their former glory, a new bar was constructed using the same quatrefoil mahogany as the balcony and the original steel safe, once hidden behind a wall, now sits in the massive fireplace as a reminder of Campbell's wealth.
Temporarily closing its door for a year for leasing issues, Campbell Apartment reopened in June 2017 under the new ownership of hospitality vanguard, Gerber Group. One of the first orders from the company’s principal and CEO, Scott Gerber. To update the bar’s acoustics for a better distributed audio and one that it matches the prestige of the structure.
Global Audio Systems was tasked with this responsibility given that its owner, Jason Ojeda had previously worked with the Gerber Group at several of their properties and entrusted him with such an important project. Ojeda had first-hand experience using K-array in several projects prior and according to him, “it was simply the right fit for this job at Grand Central and would sound amazing.”
With help from distributors K-array Ame
UK - The Royal Academy of Dramatic Art (RADA) staged the London premiere of Scuttlers in its city centre GBS Theatre, an intense drama about the struggles and power politics of 19th century Manchester street gangs set against a steaming, grinding industrial revolution backdrop bringing massive social change and great uncertainty. The work was written by Rona Munro in response to the UK’s unsettling spate of urban riots in 2011.
Directed by Hannah Eidinow, the production was lit by Declan Randall, a South African theatre lighting specialist living in the UK, who made use of a number of different Robe fixtures available at RADA.
Declan was asked to light this production by Matthew Leventhall, RADA’s head of production lighting, working alongside a team of RADA students.
The stark, raw industrial set – designed by Postgraduate Theatre Design (Set & Costume) student Christianna Mason – “was a real gem” for any lighting designer, he says. It provided a great starting point, offering many interesting angles and rigging points for lights and using different levels and numerous colours and textures, he re-created the edgy, dangerous and precarious world of the Scuttlers.
For general ambience, the call was to replicate the smog and grime of factories and mills shot through with impressions of gaslight and flames, the two most common lightsources of the time. They also needed enough latitude to use theatrical devices for some of the show’s more choreographed and stylised moments as well as presenting a few visual surprises! “In shor
Germany - Video designer Ben Miles has praised the Avolites Ai R6 media servers in their performance for festival opener Coldplay at the star-studded Global Citizen Festival in Hamburg, Germany, ahead of the annual G20 Summit.
The Festival calls on governments and the private sector to increase support and funding of issues associated with extreme poverty. This year was the first time the event had been held in Europe - and featured performances by world-renowned superstars including Pharrell Williams, Shakira, Ellie Goulding, German superstars Herbert Gronemeyer and Andreas Bourani - all opened by multi-million selling British band Coldplay.
Miles, who has been responsible for Coldplay's stunning visuals throughout the band's A Head Full of Dreams tour, comments, "Coldplay has so many 'big hits' it's difficult for us to know which of them they will play at festivals and shows like this. We knew they would play five or six songs in their set, but we didn't know which ones, so we had to prepare for pretty much any of them. This meant we had to use our existing touring system, but integrated into the Global Citizen show design. To do this, we were able to work with the Global Citizen production team to use their LED mapping with our outputs."
Adapting the current Coldplay touring system's Ai outputs to the entirely different screen configuration in use at Global Citizen could have been a significant challenge for Miles and his team, as he explains. "Instead of outputting to our usual LED processors, we had to reallocate all our outputs from the tou
UK - Secret Garden Party (SGP) has been staged at Abbot’s Ripton near Huntingdon, UK since 2004 by Fred Felloes. It was hand-crafted as a boutique alternative to the established mainstream music festivals. 2017 marked the last SGP event, finishing on a high note of success and major impact in the world of alt.culture.
West London based lighting and visual rental specialist Colour Sound Experiment has been involved with the event for the last decade and this year supplied stage lighting to six main live performance areas and video to one. Additionally, they delivered lighting and special effects to over 40 other venues, bars, lounges and clubs dotted around the beautiful site, all helping revellers enjoy their final chance to catch that special SGP ambience.
Colour Sound’s crew of 22, led by Alex McCoy, arrived on site on Monday morning and had to be ready for a Friday event kick-off.
The six live stages included the Dance Off stage, where Sam Akinwale created a bespoke ‘TLG’ lighting feature on a scaffolding structure above the FOH platform as a moving tribute to the late Toby Lovegrove.
A mirror ball was suspended at the top of a large TLG sign, decorated with festoon lights and rigged on a scaffolding arch above the FOH area.
It was a large open air stage with a striking set piece at one end complete with integrated DJ booth which was lit with assorted LEDs.
Around the arena they positioned scaffolding towers rigged with Colour Sound’s new LightSky AquaBeam waterproof moving lights. In the middle of the space the tr
UK - Audio specialist tube uk delivered sound systems to a diverse mix of over 30 shows, site specific installations and one-off performances in a variety of venues across the city throughout the 18-day Manchester International Festival 2017 (MIF17).
tube's Melvyn Coote oversaw all the projects, collaborating closely with the festival’s technical director Jack Thompson.
The tube project management team of Adam Taylor, John Redfern, Dan Steele and Melvyn ran the numerous jobs from a pre-production and planning aspect – then a top team of seven warehouse and logistics staff, headed up and orchestrated by Jamie Sharman, implemented the equipment preps and the hectic delivery schedules.
A further 15 - 20 regular freelance engineers and technicians implemented the installation, rigging and operating of the various shows and gigs.
The pace was relentless with tube’s crew working 16-18 hour days for most of the period, so it was essential to have a team who could function well on minimal sleep and under serious pressure to deliver amazing service … keeping good humoured throughout.
“The whole team was fantastic,” enthused Melvyn after a successful and highly acclaimed festival that entertained and enthralled with a raft of invigorating new works. “The passion, dedication and commitment by everyone has been incredible,” commented Melvyn.
All the kit that tube owned was deployed, leaving a bare warehouse. It worked hard throughout the event for which the company supplied 80% of the audio requirements – from full theatre
USA - A pair of grunge rock heavies teamed up for a once in a life one-off at a music hall 150 miles outside Chicago this July, and were support by some punchy looks from an equally powerful duo: The Intimidator Beam 350 LED and Intimidator Spot 255 IRC from Chauvet DJ. Fresh off their appearance on the Make America Rock Again tour, Puddle of Mudd and Saving Abel visited the Boiler Room, in Kewanee, IL for a sold-out show. Jeff Hinton, working for Jonny B. Enterprises, supported their intense non-stop 90-minute performance with a hard-hitting lightshow that featured 16 of the moving fixtures.
“These were big name artists for this town and this venue,” said Hinton. “We wanted to create a lightshow that had a full production look, but we had a small stage and limited power. The Intimidators allowed us to create some impressive visuals despite this limitation, not just because of their output, but also due to features like their gobo capabilities, three-facet prisms and sheer speed. Plus, since they’re both LED, we didn’t suck up a lot of power.”
To create concert-like aerial effects, Hinton positioned two of the 10 Intimidator beams in his rig on large speaker cabinets located on each side of the small roofed stage. The remaining six beams were located on upstage goalpost truss. When not used for backlighting and audience abuse these fixtures also contributed aerial effects.
“We wanted a lot of action in the air, because it kind of underscored the big event nature of the show,” said Hinton. “One of the nice things about the In
Moldova - Elation dealer Eventika Grup SRL of Moldova recently finished an interesting project that the company worked long and hard to complete. After the USSR collapsed, the circus in the town of Chisinau, Moldova, disintegrated along with it, leaving behind a large circus building that had the potential to be an excellent performance space.
After years of laying idol, Eventika was able to partially restore the building on their own, without foreign investment, and held a 20th anniversary tribute concert at the venue for the Moldavian rock band Gindul Mitei (Cat’s Thoughts).
The circus building, Chisinau City Circus, opened in 1981 and was once the largest auditorium in Moldova with over 50 performances there each year. With post-communist era struggles however, the venue was abandoned in 2004. For the 2017 20th anniversary tribute concert, bands and solo artists presented Gindul Mitei classics while the building’s big top past came to life with gymnasts, jugglers and even an acrobat on a white horse performing for the audience.
Besides their task as renovators of the venue, Eventika fulfilled every possible role for the concert event – show production, full technical contractor, design, décor and scenography, direction, and more. Lighting design was by Serghei Buchin with the support of Eventika lighting designer and operator Maxim Cojocari.
“There were restrictions to the circus arena so we made a classical concert mix of lines of rigging,” Serghei Buchin of Eventika Grup explains. “We placed Fuze Wash Z350 fixtures upstage
UK - The Curious Incident of the Dog in the Night-Time is going international, with technical equipment hire company Hawthorn supplying lighting equipment for the award-winning production.
The international leg of the Curious tour will visit Amsterdam, Toronto and other international cities to be announced.
Hawthorn is continuing its relationship with production after supplying lighting for this year’s UK tour and has worked with renowned lighting designer Paule Constable to supply the lighting equipment for her Olivier award winning design. This included supplying industry workhorses such as the Martin MAC TW1 and the ETC Source 4 Revolution combined with newer technology such as the ETC LUSTR 2 LED Profile and the VL3500Q Spot.
The remaining rig is made up of a number of conventional ETC Source 4 profiles and PARS, Selecon Arena 2.5K PCs, Rainbow 12” Scrollers, a Martin Atomic Strobe, Pulsar Chroma LED UV Floods, Studio Due Archibars, Viper smoke machines all controlled from an ETC networked system utilising both the GIO and ION consoles.
Mark Burnett, business development manager at Hawthorn, said: “We’re delighted to be working with the Curious Incident team once again for the production’s international tour. If you’ve seen the show, you’ll know how incredibly powerful and visually arresting the lighting and video design is and the important role it plays in telling Christopher’s story. The production deserves the worldwide acclaim enjoyed the book and its fantastic to play a small role in taking it internationa
Sweden - The Polar Music Prize is recognised as one of music’s most prestigious international honours and this year’s ceremony saw Hippotizer Media Servers playing a key part in Sundin Designers Sweden’s lighting and image display for the show.
Founded in 1989 by the late Stig ‘Stikkan’ Anderson – Anderson was the publisher, lyricist and manager of ABBA and the name stems from his legendary record label – the Polar Music Prize customarily goes to one contemporary musician and one classical musician. This year saw Sting and Wayne Shorter, the American jazz saxophonist and composer, become laureates and the venue was again the beautiful Stockholm Concert Hall.
Designed by Ivar Tengbom the 1920s-neo-classical creation is one of the Swedish architect’s most famous works, and Sundin Designers Sweden was charged with video and lighting design for this beautiful interior for the Polar Music Prize ceremony. The Stockholm-based design company knows the venue well – it also designs video and lighting for the annual Nobel Banquet, the banquet which follows the Nobel Prize ceremony – and founder Per Sundin again led his team on one of Stockholm’s biggest nights of the year.
Per’s design vision for the evening was to deliver a video and lighting show to highlight the concert hall’s architectural beauty, while at the same time mixing the expression between classical music and pop art. Supported by DigiGobos / Beacon Gobo Group – Green Hippo’s exclusive distributor in Sweden – Per and his team presented a refined display, blending p
USA - Leading New York City-based national concert promoter The Bowery Presents (TBP) recently opened its latest live music venue, Brooklyn Steel, a new 20,000sq.ft space in East Williamsburg, New York that is outfitted with L-Acoustics K2 line arrays, plus delays and stage monitors.
A gantry crane retained from the former steel fabrication business enables the flown arrays to be repositioned, along with the movable 50,000lb steel and concrete stage, to scale the audience area according to the expected attendance at each show.
TBP’s in-house team designed and installed Brooklyn Steel’s L-Acoustics loudspeaker system, which is patterned after a similar rig at Terminal 5, a 3,000-capacity venue in Manhattan that the promoter also exclusively operates.
Mark Friedman of Long Island City-based See Factor supplied the speaker setup as well as the rest of the new club’s audio complement, including a 56-channel DiGiCo SD10 console at front-of-house with a 56-channel SD9 available for monitors. A three-way copper split accommodates tours traveling with their own monitor rigs as well as recording and broadcast feeds.
“Having worked with The Bowery Presents on numerous venues over the years, See Factor’s first choice of L-Acoustics and DiGiCo is a solid combination that has firmly built our fruitful relationship of trust with the promoter,” Friedman notes. “The Bowery Presents has always recognized the value of providing the highest quality production infrastructure available to best enhance both audiences’ and bands’ overall live exper
UK - CPL (Central Presentations) working for creative event producers Bright, took its experience and knowledge of festival productions and delivered full technical production - sound, lighting, rigging and some AV - for the 2017 OVO festival.
The event, now in its third year and a big hit with OVO’s staff, families and friends, was again staged at Mojo Active, Almondsbury near Bristol. CPL and Bright are regular collaborators and there is a great synergy between the two companies in their respective roles and end-goal of ensuring that event environments are smooth, entertaining, memorable and fun for all guests.
CPL’s project manager Mike Radford commented: “We were delighted to be involved again, and enjoyed working closely with Bright’s team led by their PM Mike Matthews. The brief was to bring all the production values of a premium festival to this event and ensure the best possible guest experience”.
The one-day event featured a main band stage and a large bar / catering and second stage area located in nine large conjoined Tepees, plus an open area featuring a heterogeneity of attractions like vintage fairground rides, archery, falconry, rounders and other field games and there was also a Children’s Tent. All were geared towards providing a fun-fuelled day for all ages and tastes.
The full site build started a week ahead of the event and CPL did their lighting and sound get-in the day before.
The main stage / roof was supplied by Bristol based BES Systems and a flown d&b Y8 audio system was specified, complete wi
Singapore - Nexo’s new mid-size line array, the Geo M10, has made a spectacular and high-profile debut in Singapore, as the main stage PA at the IGNITE! Music Festival.
The two-day outdoor IGNITE! Music Festival is organised by the Republic Cultural Centre (Republic Polytechnic). Featuring an all-local line-up of artists and bands from Singapore, this is the republic’s primary student music event yet it is recognised for its technical staging standards and has a reputation for providing a state-of-the-art audio-visual experience.
Under the banner of distributor Yamaha Music (Asia) Pte, the AV partner for the festival, the latest Nexo and Yamaha products were deployed for the event, which doubles as a showcase for potential customers.
The main stage is powered by Nexo’s newest line array system, the mid-size Geo M10, which partners a 1.4″ titanium diaphragm HF driver with a single, Neodymium-magnet 10” driver and delivers an unprecedented ratio of LF response to cabinet size, outperforming many larger, dual-driver designs.
The system is configured with left and right arrays, each using eight Geo M10 modules flown beneath two Geo MSub15s. Another eight LS18 subs are on the ground in front of the stage. Nexo PS15s are used for out-fill, and PS10s for front-fill. The whole system is driven by four Nexo NXAMP4x4 controller/amplifiers, fitted with NX.DT104 network cards to operate on the Dante network.
The IGNITE! Music Festival is the first outdoor concert event in Singapore to feature Yamaha’s flagship Rivage PM10 digital console
USA - The US capital is one of the world’s most popular tourist destinations. Yet ironically, the US Travel Association’s annual IPW convention never took place in Washington until this summer, when the group held its first ever convention in the city. Making a positive impression on a select group of the convention’s 6,000 guests from 70 different countries was a lavish VIP dinner held at the majestic Washington National Cathedral.
Accenting the beauty of the towering Neo-Gothic limestone structure during this event was an enchanting and endlessly fascinating lighting design by Elizabeth A Coco that featured 160 Chauvet Professional and Chauvet DJ fixtures supplied by Atmosphere, Inc. of Silver Spring, MD.
Coco, a USA 829 union designer, relied on multi-coloured uplighting to draw attention to some of the historic building’s captivating architectural features, such as the over 50’ high arched columns that line either side of its nave, which was converted to a dinner and reception area for the event.
Coco positioned 82 WELL Fit RGBA battery powered wireless uplight fixtures at the base of these columns from the nave’s inside aisle, and 36 Freedom Par Quad-4s from the outside. By doing this, she created multi-level rows of colour that engendered a sense of intimacy in the massive cathedral (the sixth largest in the world), while still dramatising its impressive size. Lighting the outside face of the columns also allowed her to fill in the dark space in the area outside the main aisle, making the room more inviting.
“The columns a
Taiwan - Two Allen & Heath dLive S Class digital mixing systems were employed to manage the Poetry & Cultural Festival, held in Taipei.
Comprising a DM64 MixRack with S5000 Surface at FOH and a DM32 and S5000 on monitors, the systems were provided by local PA company, Just Music Co.Ltd. dLive managed a variety of acts over the two-day festival including spoken word performance, an 80-piece orchestra, pop bands, and an Aboriginal band.
“dLive has proved to be fast and easy to set up, and the system is very versatile, handling a huge variety of different musical genres. With over 90 channels and quick changeovers to manage, it was a testing event but dLive made the task so much easier,” comments sound engineer, Gao Min-Fu.
Korea - As Korea’s largest island, Jeju has been the country’s favourite domestic holiday destination for years thanks to its beautiful beaches, luxurious countryside - and its theatre for Nanta, a popular South Korean non-verbal comedy show incorporating traditional percussion. Now, visitors to Jeju Theatre can enjoy the show even more, thanks to world-class acoustics delivered by a range of APG loudspeakers.
Nanta premiered in Seoul in 1997 and has since been staged in 18 countries including in Broadway. Run by PMC Production, the show is also performed daily in four Seoul theatres, making it the longest-running show in Korean history. Built for Nanta performances exclusively, the 659-seat Jeju Theatre has welcomed over one million visitors since its opening in 2008 and was due for an audio upgrade to provide the best sonic experience to its audience.
The musical has a simple back story of three cooks attempting to finish preparing a wedding banquet within a strict time limit while the manager installs his incompetent nephew among the kitchen staff. The show involves acrobatics, magic tricks, comedy, pantomime and audience participation.
Korean integrator Soundplace was appointed to refurbish the theatre with pristine audio. For this project, the theatre and auditorium specialist selected a full APG setup. “For the Nanta shows, the traditional samul nori music is performed with improvised instruments such as cutting boards, water canisters and kitchen knives, so sound is at the very heart of this hugely popular mu
USA - t’s been said that “experience is what you get when you were expecting something else.” John Garberson, owner of Creative BackStage, picked up some valuable experience recently when he worked a Hello Arizona-produced show by Nile Rodgers.
Garberson had created a design for the Rock and Roll Hall of Famer that was built around a lot of high-energy aerial effects. At the last minute, though, he learned that he would not be allowed to use haze. With his original lighting concept severely crimped, he and his LD and programmer James Simpson reworked their plans and created a lushly coloured stage design using the 32 Chauvet Professional Rogue washes in his rig. For added good measure, they turned up the eye candy volume with the four STRIKE 4 multi-formatted fixtures on their front truss.
“Lately, we’ve become more aware of building versatility into our rigs,” said Garberson. “In this case, it certainly paid off big time for us. The night before the show we were all programmed with haze for lots of sky effects. But the day of the show management said ‘no haze’. We didn’t have a backup plan.
“Yes, this was a challenge. There were limitations to how we could use our spots. Practically speaking, there really were no walls or ceiling that could be hit with our spots effectively, and our backdrop was custom made with LED tapes, so that wasn’t an option either.”
Garberson compensated for this by changing plans for the Rogues in his rig. He had 24 R2 Wash units positioned throughout his design: 10 on the front truss, eight
UK - When lighting designer Cate Carter first conjured with Elbow appearing at the Barclaycard Summer Time (BST) annual concert series in Hyde Park this year she was immediately presented with two dilemmas.
“One was the sheer scale of the stage, that enormous wall of LED screen cannot be ignored,” she said. Supplied by Video Design, the wall has, since last year, been extended from centre stage across and right down the outside edges of the PA wings. Wrapping the entire performance platform, it measures 200ft across and 35 high, a total 650sq/m of 9mm.
“The other thing was about timing,” Carter continued. “We started supporting the new album Little Fictions, earlier this year in February/March. As it was a theatre tour we decided on no IMAG, relying instead on pure content projected onto a rear cyc. Our slot at Hyde Park made both those factors anachronistic; it would be daylight so the content would be too pale and nowhere near the scale required and you simply cannot avoid IMAG for an audience of sixty-thousand.”
As with the problems, Carter found resolution in two forms, “I engaged Phil Woodhead as video director. We had great success with him on previous Elbow arena tours and, as it turned out, he had some magic tucked up his sleeve. The other was Richard Shipman.” Shipman is retained by Jim King at AEG as overall director of all things video for BST.
The Woodhead magic was VideoDust, a real-time video effects software developed by his own company Thundering Jacks. “I’ve used VideoDust myself for Biffy Clyro las
UK - Space Spectacular, the annual space-inspired music co-production between the Royal Albert Hall (RAH) and promoter Raymond Gubbay, needed a spectacular lighting and effects show to live up to its name.
With limited time to set up and programme the extensive rig, RAH’s lighting design manager, Richard Rhys Thomas, was able to put together a stunning show in only a few hours using a Jands Vista L5 Console.
He commented: “For me it comes down to limited time availability and being able to maximise time to create the actual design looks, effects and sequences with ease. The fact that over 180 moving lights, 100 LEDs and 200 dimmers, together with all attribute controls and palettes were accessible from a single layout on a large screen meant there was complete control at any one time. This greatly speeds up the programming process and is a fantastic credit to the design of the L5 console.”
Presented by the Royal Philharmonic Orchestra and conducted by Anthony Inglis, Space Spectacular, a voyage through a galaxy of favourite music from deep space and beyond, ran for three shows over two days and featured the classic John Williams themes from Star Wars, Superman, E.T., and Close Encounters – where a space ship even descends over the hall – as well as many more iconic classical, film and TV pieces by composers including Holst, James Horner and David Arnold.
Richard’s space-inspired creative lighting design used the Royal Albert Hall’s core rig complemented by a range of additional fixtures, and
UK - London’s Royal Academy of Dramatic Art (RADA), took full advantage of the capabilities of one of MDG’s ATMe haze generators during their recent production of Rona Munro’s Scuttlers.
“The brief from the director, Hannah Eidinow, was to create the atmosphere of Manchester in the 1890s: hot, industrial, sweaty, dirty, polluted and foggy, so clearly we needed to use a hazer that was up to the job,” says guest lighting designer, Declan Randall. “And MDG’s ATMe haze generator was more than up to the task.”
Scuttlers was first performed at Manchester’s Royal Exchange Theatre in 2015. It follows the exploits of the city’s first street gangs, set against the background of Manchester’s cotton mills and industrial expansion of the nineteenth century.
The recent production at RADA moved the setting from the 200+ seat theatre-in-the-round of Manchester’s Royal Exchange to the very intimate, brick-lined environment of RADA’s 70-seater GBS Theatre. “With such a small space we needed to have total control of the haze produced by the machine,” continues Randall.
“The production called for a continual level of atmospheric haze but also included moments when a little more or a little less was required to for dramatic effect. In such a tight space, where the audience is so close to the stage and the action, it can be only too easy to get it wrong. Using the ATMe’s DMX control, we were able to drive the haze levels precisely throughout the show using a fader to pump it up and, conversely, drop it back down as a
USA/Europe - Canadian singer / songwriter The Weeknd is currently rocking plenty of style and enjoying success, critical acclaim, multiple awards and several hits from his chart-topping third studio album Starboy, propelling him a long way from his underground roots and early anonymous mixtapes uploaded to You Tube in 2010.
Lighting for 2017’s Starboy Legend of the Fall tour has been designed by Sooner Routhier who picked Robe Spikie moving lights together with BMFL Spots and WashBeams to be at the heart of the rig.
Sooner has worked with The Weeknd (Abel Tesfaye) since 2012. She and design business partner Robert Long of SRae Productions were contacted by his creative directors Lamar C Taylor and Drop last year and asked to assist with this tour, which involved lighting an impressively beautiful flown sculpture created by production designer, Es Devlin.
Much of the vibe of the show is dark, saturated and moody, and with projection also being central to bringing the powerful scenic centrepiece alive, the task of show lighting started with several brain-teasing challenges.
Nashville based Sooner – known for her fresh and inventive approach – enjoys challenges and thinking out-of-the-box.
She worked closely with lighting director on the road / associate LD Darien Koop on programming and evolving this one, while SRae Productions’ technical director Matt Geasey coordinated practical and physical aspects like integrating lighting with the set building process for a tourable solution.
The 80ft wide by 120ft long triangul
Poland - Stadion Miejski, located in Łódź is the home stadium of football team Widzew Łódź, one of Poland’s best known football brands. Designed by architect Jacek Ferdzyn, Stadion Miejski is an entirely new construction with an all-seater capacity of 18,018. The design meets the requirements of UEFA Category 3 classification, with the option of adapting to higher categories if required.
The contract for design and installation of the stadium’s sound systems was awarded to Tommex Żebrowscy Sp. J. The first stage of the system's design was a detailed EASE acoustic simulation for loudspeaker selection and placement.
For Stadion Miejski, Tommex again chose Community’s R Series loudspeakers for their high power, intelligibility, controlled coverage and all-weather reliability. Flown from the roof canopy in a distributed configuration, Tommex achieved full coverage of the stadium’s four stands with 38 R.5-96MAX 12-inch high performance coaxial two-way loudspeakers. An additional two R.5HP compact voice-range optimized three-way loudspeakers were deployed to cover the playing pitch.
The system is operated from the commentator room, where a Behringer X32 digital console with Dante card controls all sound signals. Adjacent to the console is a PC with IRIS-Net software, customized for Stadion Miejski. This allows for continuous monitoring of all equipment, and adjustment of parameters for particular zones of the system. The commentator room equipment also includes CD/MP3 players, wireless microphone receivers, a digital feedback eliminator an
Russia - The Nashvill rock festival organized by NASHE Radio took place recently at the Trud Stadium in the Russian city of Nizhniy-Novgorod. The festival line-up included popular Russian rock bands and was attended by more than 5000 people.
The grey skies, relatively cold temperatures and rainy weather could not dampen the rock ’n’ roll spirit, and the main stage saw live-shows from legendary Russian bands, Mumiy Troll, Splean, Animal Jazz, Knyazz and Noize MC, performing their greatest hits through Martin Audio’s premium MLA PA system. The second, smaller stage was given to bands such as Magnitola, ХХХХХХХХХХ, Kimakima and Moona.
The Festival sound and lighting systems were supplied by locally based rental provider, Citysound. The choice of MLA for the main stage was clear – the top-rated bands required detailed and powerful sound throughout the festival grounds.
The PA design was based around main stage hangs featuring 11 MLA plus an MLD Downfill on each side, while 12 MLX subwoofers were placed in front of the stage and four W8LC were used as front-fills. The stage monitoring system consisted of 16 LE1500 monitors and four W8LM Mini Line Array elements plus a pair of WS218X subs per side as sidefills.
The ultimate sound balance and SPL’s achieved were clearly noted by the performing bands’ production teams. “Martin Audio MLA sounded really powerful and cool,” stated Yuri Smirnov, FOH engineer for Animal Jazz.
“What I really like about this festival is that it is a challenging one; we had several quite dem