World - Seven hundred and ninety-five (795) Robe Spikies are on the road with Bruno Mars 24K Magic world tour – setting a record for the largest number to date of a single type of Robe fixture on one touring show!
The Spikies are the main lighting feature of an action-packed show and are used constantly for hi-impact looks, an array of fluid effects, mesmeric chases, animated chunks of colour and magically twinkling and sparkling ‘soft’ surfaces which can totally transform the appearance of the performance space in this exciting hi-energy show.
The dynamic, colourful and highly visual production design was originated by Leroy Bennett of Seven Design Works, who collaborated closely with a top creative team including lighting designer Cory FitzGerald and lighting director on-the-road Whitney Hoversten.
24K Magic is also currently one of the most talked about live shows of the year by the multiple Grammy award winning artist, following the release of his successful third studio album of the same name at the end of 2016.
The worldwide lighting contractor is VER who made the massive investment in Spikies which were delivered by Robe North America.
It is a big and beautifully balanced visual collage of lighting and video – with live (IMAG) video director Steve Fatone cutting the camera mix, combined with eye-catching playback content produced by Empirical Studios.
Bruno Mars himself was integrally involved with the evolution of the stage presentation, and he and his incredibly talented band also provide the final ingredient in
UK - Since its inception, Pinewood MBS Lighting has remained committed to investment in LED and low energy lighting. By sourcing products from leading manufacturers and creating innovative illumination solutions via MBSi’s in-house product development team, PMBS has steadily grown to become one of the world’s largest energy efficient entertainment lighting resources.
Supported and governed by the BAFTA albert Consortium, albert is the UK’s leading environmental sustainability initiative for the visual-arts. The project aims to educate and provide industry colleagues with the necessary expertise and opportunities to reduce the environmental impact of the production process and to create chances for audiences to effectively engage with the climate agenda.
Having recently delivered low energy and LED solutions to crews on major productions, including The Nutcracker and The Four Realms with DoP Linus Sandgren FSF and gaffer David Sinfield, The Mummy with Ben Seresin ASC, BSC and gaffers Pat Sweeney/Jeff Murrell and Mary Poppins Returns with DoP Dion Beebe ASC, ACS and gaffer David Smith, PMBS have proven themselves as a world leading supplier of energy efficient lighting equipment and systems that deliver efficiencies without ever compromising the art of the cinematographer. The ability to support production and offer viable, energy efficient options makes PMBS a perfect fit for the albert initiative.
Talking about the albert certification, PMBS managing director, Darren Smith says: “We’re delighted to be the first
Australia - The Western Australian Academy of Performing Arts is on-par with NIDA in the east as the wellspring of the next generation of Australian talent across the entire spectrum of the live arts. With its original technical fit-out dating to the early 1980s, the entire lighting rig was due for an upgrade. Lighting coordinator Jon Davey had presided over a project that has seen the auditorium go 100% LED, with 24 Elation Sixpar 300s making up the majority of the stock.
With a mass of LED pars on the market, what was it about the Elation Sixpar 300s that stood out from the other fixtures Jon auditioned? “We developed a specification based on what was important to us – noiseless, flicker-free operation, and colour rendering giving us a high level of visual acuity. Went through a shoot-out process that covered a range of products, and the Elation units were the right choice. Not only did they meet the spec, they exceeded it.”
The Sixpar 300’s 18 12W 6-in-1 RGBAW+UV LEDs were the feature that really made them perfect for Jon’s goals. “The 6-in-1 gave us another level of performance. The amber is crucial in being able to balance out our whites to get us to a warm white, cool white, and a range of colour temperature options. They are getting us towards a more ‘human-centric’ lighting solution.
“It means we are able to reduce fatigue for those who are performing and reading music six hours a day, and focussing in up-close detail on their fingers. Good lighting conditions support our students in what they’re trying to achieve.”
USA - As a boy in Broadalbin, New York, Keith Truax loved listening to the CD of Jekyll & Hyde the Musical. While being swept up by Frank Wildhorn's bold, unabashedly passionate score, he often found himself dreaming of one day being involved in a production of this theatrical take on Robert Louis Stevenson’s classic tale of good and evil.
Dreams do indeed come true when you grow up to become a talented lighting designer. Truax has been earning widespread praise for his current work lighting Jekyll & Hyde The Musical at Long Island’s popular John W Engeman Theatre. Fittingly, his dramatic contrast of colours is endowing the stage with a transformative dream-like quality that underscores the musical’s good-evil dichotomy. Helping him achieve this powerful effect is a collection of Ovation, Maverick and Rogue fixtures from Chauvet Professional.
“I’ve always been a fan of this show, in part because of the interplay of such powerful and conflicting emotional forces at play in it,” said Truax. “These forces are conveyed throughout the show with colour. Colour is an integral part of my design. I am not afraid to put colour onstage. One of the main themes of my design for this show was the blue changing to blue-green as Jekyll’s world starts to decay and transition into Hyde’s world. Of course, Hyde’s colour is pure red, which allows us to have a clear distinction between him and Jekyll.”
The six Ovation E-910FC RGBA-Lime ellipsoidals in the Jekyll & Hyde rig were critical to helping Truax convey these
Trinidad - Inspired by the record-breaking batsman Brian Lara, many young cricketers in Trinidad and Tobago dream of playing their national sport at international level. This dream has been brought a step closer to reality for many by the Urban Development Corporation of Trinidad and Tobago Limited (UDeCOTT) with the completion of the Brian Lara Cricket Academy, a state-of-the-art competition venue and training facility for the development of world-class cricketers.
Just north of the city of San Fernando, the Brian Lara Cricket Academy is the first state-of-the-art cricket training facility to be constructed by the Government of Trinidad and Tobago. The Academy includes a 15,000 seating capacity stadium, club seating, lounges and executive boxes as well as exhibition space. The Academy also incorporates 12 outdoor practice pitches, official and team locker rooms and a gymnasium.
A request for quotation for the audio systems for the new venue was released in May of 2016 and the directors of Streamline Systems, who had worked on four other stadia in the Caribbean, were quick to respond. With a window of just one month to audit the stadium and design a modern system to meet the Academy’s needs, the team went straight to work.
To get the design done on schedule, Streamline Systems’ directors Michael Pereira and Clifford Beckles met with the client to ascertain the requirements and to make their own recommendations based on their industry experience. Streamline Systems was assisted by Community’s Technical Applications Group (TAG), who supported t
UK - Northamptonshire-based PA Rental company Sound4Hire has recently added Linea Research 44M20 networked DSP amplifiers into hire stock.
Formed in 1995 Sound4Hire has become one of the UK’s most trusted professional audio suppliers. Providing solutions for events of all sizes, from a speech to 20 people to the largest music festivals, celebrity polo matches or prestigious firework extravaganzas at historic castles, Sound4Hire specialise in delivering only the best solutions for their partners and audiences alike.
“Following several months of research into advancing the sound quality and phase correction of our loudspeaker systems, as well as the ability to explore Beam Steering, we set our criteria and started to see what was available to us – with no limits,” explains Sound4Hire’s Brett Masters.
“During extensive listening tests of both separate DSP and DSP controlled amplifiers from the industry's best manufacturers we found the Linea Research 44M20 to be sonically better than everything that made the short list. Interestingly, they equalled or outperformed even our reference class A/B amplifiers.”
“This really was the perfect amp for their application,” comments Linea Research director, Davey Smalley. “With 4 channels at 5000W coupled with our advanced 96kHz DSP Brett was able to fully realise his goals and maximise how their system performs.”
Further to their extensive evaluations Sound4Hire have taken delivery of 16 Linea Research 44M20 amplifiers to be integrated into their modular networked infrastructure.
USA - Billed as Hoboken’s premiere ultra venue, the Hudson Ultra Bar is a state-of-the-art music, dance, and entertainment facility. VIP booths surround the dance floor, offering a high-energy experience for table guests who wish to be at the centre of the action. This venue defines what DJ music and entertainment is all about.
To ensure the best music reproduction capabilities, the Hudson Ultra Bar deployed loudspeaker equipment specifically designed for this type of environment. That’s why they chose Sound Force Series loudspeakers from Valencia, Spain-based D.A.S. Audio.
Global Audio Systems of NY, NY, a full-service provider of audio, visual, DJ, lighting, staging, and related entertainment services, was contracted to handle the design and implementation of the Hudson Ultra Bar’s sound reinforcement system. Company owner Jason Ojeda, who oversees system consultation, design, and installation, discussed the project.
“The Hudson Ultra Bar is an open-format, multi-level dance club with elaborate VIP accommodations and a large, raised catwalk-style DJ Booth. With two levels, there is approximately 6,000 square feet of space. Music is a driving factor of the activity in this club, so having the ability to produce the necessary sound pressure levels while keeping the music’s sound true to form was crucial to this installation.”
To provide coverage throughout the venue, Ojeda and his crew flew two D.A.S. Audio Sound Force SF-20A powered mid-high biamplified enclosures - one each for the left and right sides of the main dance floor and
UK - Triple E beat the odds and the clock to provide Illuminate Design with a custom-built, motorised track for the Centre Stage venue at Butlins, Skegness.
AV specialist Illuminate called in Triple E Ltd when an existing tab system failed just before the start of a new Centre Stage show.
To follow the shape of the stage, Triple E Ltd’s design had to incorporate a double S set of curves. Illuminate sent a sketch across late Thursday evening and MD David Edelstein quoted it immediately. On Friday, Triple E drew the design up, assembled the Erail system and the 25m TDRIVE six-curve track was collected just after lunch.
Robin Shephard-Blandy, Owner/Director at Illuminate Design, comments: “The deadline was particularly tight because there had been difficulties with other ideas for the replacement track. Triple E’s solution enabled us to carry out the installation over the weekend and be ready for doors on Monday.
“We have worked with Triple E a couple of times in the past, on complex projects such as lighting over and within tanks at the London Aquarium, so knew they were used to a challenge, and the response to the Butlins job was fantastic.”
David Edelstein, managing director at Triple E, says: “Illuminate could only work at Centre Stage between 10:00pm and 10:00am. At the client’s request they spent Friday night trying to get the original system operating properly before installing ours, which worked straight out of the box.”
Iceland - Robe moving lights are making a big impact at the Icelandic National Theatre (Þjóðleikhúsið) in Reykjavík since they became an integral element of the available house lighting rig, a process that started in 2014 and has recently been continued with the addition of DL7S Profiles, LEDBeam 1000s and Actor6s.
The Robe fixtures were specified by Head of lighting Halldór Örn Óskarsson (Halli) and his team of colleagues.
Halli is an award winning LD and also a primary production lighting designer for this high profile venue which has five separate performance spaces and a busy and diverse programme of shows and events. This includes new Icelandic and international works, Icelandic and foreign classics, musicals, dance pieces and children’s productions. The theatre creates around 10 new productions each year and also collaborates with independent theatre and dance groups.
Halli chose the new Robe luminaires after having a great experience with their original units, 14 of the first generation DLSs, which were acquired to replace their old FOH lights. The spec was exactly what they wanted – an LED moving head with shutters.
He was extremely impressed with the service from the support team from Robe itself and also from Icelandic distributor Luxor, so when the DL7S was launched there was no hesitation in choosing it as part of the next round of purchasing, which was for new over-head rig lights in the Main Stage venue.
Seventeen DL7Ss, 25 x LEDBeam 1000s and 16 x Actor6s joined the rig, replacing a quantity of older tungste
UK - Petersfield Festival Hall, the versatile multipurpose venue in Hampshire, can now create a truly immersive colour experience as well as white light for its audiences, events, and galas thanks to its new Chroma-Q Inspire lighting system installed by A.C. Special Projects Ltd. (AC-SP).
Because of the wide range of productions held at the Festival Hall, the venue wanted new colour changing LED house lighting that could provide a full range of colours, from deep saturates to smooth pastels, all with smooth, theatrical grade dimming. Similarly, it was important to provide quality white light for day to day use and corporate functions. Ultra-quiet running, low energy consumption and low heat generation were other important considerations.
Having enquired about Chroma-Q’s Inspire fixtures to meet these criteria, John Tucker, the Festival Hall’s technical manager, was introduced to Andy Holmes, senior project manager at AC-SP, to talk through the practical details of the installation. Andy was not only able to demonstrate different lighting options, but also to advise on control systems that would work equally well with the Hall’s new as well as existing technology.
The final system selected incorporated 16 Chroma-Q Inspire RGBW LED house lights, controlled by DMX through an easy to use Pharos TPC wall mounted touch panel controller. The Pharos allows easy transition between direct finger-tip control, scenes and timelines. Control signals were routed through a Luminex Ethernet-DMX8 node, allowing the fixtures to be controlled in a variety of diff
Australia - The Australian TV industry’s biggest night, the 59th annual Logie Awards, were held at Melbourne’s Crown Palladium on Sunday 23 April 2017, broadcast live on the Nine Network.
Always a great opportunity for the broadcaster to show off its tech capabilities, visuals were spread across three huge screens onstage, a wrap-around screen surrounding the audience, and pixel mapped to onstage fixtures and LED chandeliers. Helming the mission-critical media server and console operation was Lynden Gare, director of Melbourne-based lighting and production company Colourblind, who relied on Green Hippo’s Hippotizer media servers to ensure that the show went exactly to plan.
Green Hippo is no stranger to the world’s biggest televised events, with their media servers used on The Eurovision Song Contest and The Academy Awards. At the heart of Lynden’s set-up for The Logies were two Hippotizer Karst servers, Green Hippo’s 2RU, three-out, tour-ready workhorse. The first server fed an image canvas 4884 pixels wide via SDI to stage to be displayed across three screens, and handled pixel mapping to a range of LED fixtures. The second Karst sent a 1920 pixel wide image to screens wrapping around the auditorium, and a 192x160 output to LED chandeliers.
Another server, provided by Australia and New Zealand Green Hippo distributor Lexair, was on hand as further back-up, an essential requirement for any live broadcast.
Terabytes of graphics packages were provided by the Nine Network, design agency Visual Playground, and the touring teams of mu
South Africa - Peter Rieck of Rieck’s Lighting and joint owner of rental company Event Lighting, was selected by Red Pepper Pictures for the second year running, as lighting designer for Lip Sync Battle Africa. This televised lip sync showdown, filmed at Urban Brew Studios, returned for its second season in April 2017, premiering on MTV Base, a DStv channel.
“It’s a dynamic show and funky looks have to compliment the entertainment, interviews and bantering between contestants,” said Peter, who controls the Robe lighting rig with a MA dot2. While each new episode opens with a generic look Peter holds back, only adding colour and pulse moments to the first song of the night. Then, with guns blazing, he lunges with explosive and vibrant lighting effects as the show heats up to complement the massive prop changes.
The set, an adaptation from the international format design, was done by Dewet Meyer from JDMUnlimited, for local studios and is divided into three sections. A live commentator box, shared by the larger than life presenter personalities Pearl Thusi and Nigerian Denrele Edun, the main floor, reserved for the performances and interviews, and lastly a zone where contestants are seated to observe what they’re up against.
Event Lighting were the main technical suppliers of 12 x Robe Pointes, 24 x Robe Robin Spikies, 100 x Longman LED parcans and the MDG Atmosphere. In addition, the rig incorporated Urban Brew’s 10 x Robe ColorSpot 1200E AT and 10 x Robe ColorWash 1200E AT, all rigged from the roof. A further 24 x 2Ks were used for gen
UK - Based on the book by James Hindman and with original music by Patrick Brady, Pete ‘n’ Keely is the story of a famous musical couple, now estranged, who are persuaded into doing a TV reunion.
The current production of Pete ‘n’ Keely at London’s Tristan Bates Theatre, produced by Wallflower Theatrical, and directed by Matthew Gould, includes a colourful glitzy set. Designed by Emily Bestow, it’s reminiscent of classic 60s American TV variety shows, featuring bright colours and a kitsch style.
Tasked with designing the lighting for the show, BRIT School alumni Mitchell Reeve explains how he became involved: “Matthew Gould and I have worked on a few productions together now. I first met him a year ago when I was asked to light I’m Getting My Act Together and Taking It On The Road. As a lighting designer, it is vital to have a good relationship with the director, and to be able to know what they want without even asking. I hope to keep working with him on many more productions.”
In lighting the play, Mitchell also had to reflect the look of television lighting, even including lit signs for ‘ON AIR’ and an ‘APPLAUSE’ sign which illuminates periodically during the show and transforming the theatre audience into the fictional TV audience.
Initially Mitchell approached the design by listening to the music and referring to the script. He comments: “Pete ‘n’ Keely is meant to be a spectacle. The lighting has to be bold and full of colour. Once I got a sense of the feel of the show, I create
Argentina - For the more than 90,000 fans who attended Lollapalooza Argentina 2017, the two-day festival served up a musical smorgasbord that satisfied their every taste. In addition to traditional Argentinian sounds like the highly danceable folk music of El Plan de la Mariposa, this South American version of Chicago’s famous Lollapalooza festival featured a rich mix of international superstars from EDM and alt rock, to metal and iconic pop rock on its four stages.
Metallica, The Chainsmokers, Rancid and The XX performed on day one, followed by The Stokes, The Weeknd, Martin Garrix and Duran the next day. Although the musical mix may have been a swirl of diverse voices, the festival’s grounds welcomed visitors with a unifying message, helped by a collection of 50 Chauvet Professional WELL Fit fixtures installed by Buenos Aires-based Descableados and supplied by NASH Ingeniería.
The battery powered and wirelessly controlled IP65 rated fixtures were used to uplight a massive Love Is All sign/sculpture that greeted visitors to the festival. Similar structures that highlighted the festival’s name were also bathed in richly colored light from the WELL Fit fixtures, as were playful animal sculptures.
Taken together, the illuminated structures added a sense of warmth to the sprawling 32,000 m² (roughly eight acres) Hipódromo de San Isidro, one of the largest race tracks in the Western Hemisphere. They also served as welcomed reference and meeting points for visitors.
“Having the illuminated structures on the grounds definitely contributed
Turkey - Turkey’s national horse racing TV channel has invested in a new audio system as part of a digital upgrade based around Allen & Heath’s dLive S Class and GLD mixing systems.
Established in 1950, Turkey Jockey’s Club (TJK) is based in Instanbul, founded and endorsed by the Ministry of Argriculture as the only official horse breeding and racing organisation in the country.
“We really needed to upgrade our current analogue mixing desk to improve total system latency, network audio options and expandable input/output options,” explains Mr. Nizamettin Korkmaz, sound director at TJK.
The dLive system comprises a S7000 Surface with DM48 MixRack fitted with a Dante network card, plus a DX32 expander rack for AES inputs and another one for AES outputs. The Club also has two GLD-80 mixers with AB168 Racks for smaller studios, which are also Dante-enabled to enable connection to the main audio system.
“All the Station’s sound engineers are very comfortable with the Allen & Heath mixers during live broadcasts or on daily routines, such as talk shows. The complicated audio routing and monitoring requirements of the studios are easily handled by the systems,” concludes Korkmaz.
UK - Created as a space to “celebrate artistry and indulge the senses”, Spiritland’s bespoke sound system makes it one of London’s most exciting new venues. Combining café, bar and radio station with an in-depth musical programme seven days a week (already featuring the likes of guest DJs Jarvis Cocker, Andrew Weatherall and La Roux), Spiritland has quickly established itself as a paradise for lovers of music, from the aficionado to the curious.
A recent collaboration between Spiritland and Audio-Technica UK has seen a variety of the company’s brand product portfolio installed in the venue to help deliver the diverse offering of interviews, Q&A sessions, DJ sets, album playbacks and radio output.
The heart of Spiritland is its sound system, featuring a pair of Living Voice loudspeakers, valve amplification from Italian manufacturer Atelier du Triode and a towering Kuzma turntable. At the very beginning of the audio chain is Audio-Technica’ s hand-crafted ART1000 direct power moving coil cartridge which is employed to provide audio reproduction from the turntable onwards.
The ART1000 was released by Audio-Technica Japan in 2016 and is the culmination of many years of research and development in direct power cartridge technology, where mounting the coils directly on top of the stylus tip allows the cartridge to vividly render the most subtle sonic details with an unsurpassed transient response. Additional cartridges selected from Audio-Technica’s new VM moving magnet range are used for vinyl playback from the separate twin decks at
UAE - Disney and Cameron Mackintosh's Mary Poppins tour continues. With sell out dates across the UK and in Zurich, the perfect nanny has just landed in the United Arab Emirates where the musical will play to a full house until 25 May.
Eighteen sea containers were loaded with set and stage equipment in order to bring the show to Dubai - except for the rigging and a truss frame for new front of house scenery, which has been supplied locally by Unusual Rigging and Engineering LLC.
Chris Boone, production manager on the show, explained: “The Dubai Opera House is a truly massive venue – bigger than anywhere else we’ve ever staged Mary Poppins. Because of this, we decided to have extra proscenium scenery – essentially creating a false proscenium - soI contacted Denis Bramhall at Unusual Rigging and Engineering LLC, who subsequently supplied all the rigging for the entire UAE run of the show.”
Chris had worked with Unusual Rigging in the UK for the previous two legs of the tour and was thrilled to have the opportunity to pull on the resources of the Dubai team for the final run.
“The cost savings for us are phenomenal. If you consider that to transport equipment from the UK to Dubai would mean around ten weeks at sea, being able to hire the exact same kit on home turf meant we were saving ourselves 10 weeks of rental costs. And while we have used a combination of production riggers from the UK and Dubai for load in, headed by Alex Taylor, when it comes to load out, the Dubai team will take complete control.
India - St. John the Baptist, a Portuguese style Christian church situated in the Indian city of Thane, north of Mumbai, can trace its origins back 500 years. Having been declared a heritage site by UNESCO, it recently underwent a massive restoration project spanning 18 months, including a complete sound system upgrade.
The older system had consisted of multiple speakers that were spaced along the wall of the church, and neither provided suitable intelligibility nor venue coverage. With the extension to the church (enabling it to expand the congregation size to around 5,000 for Sunday mass), the parish priest had initially requested a demo from another vendor to provide coverage for the growing number of people.
“We were not very impressed with the sound,” admits Cleo Pereira, from Martin Audio partner Zoodio, who has been specifying the British brand for the past decade. “Instead, we suggested the Martin Audio O-Line as a brand, since we use it in most of our installs.
Zoodio’s Dylan Hilton, who also happens to be one of the parishioners, co-ordinated the project. He set up a demo of this discreet, premium micro line array through integrated Entertainment Solutions (IES), the Martin Audio distributors. “We suggested that this would do the trick, at the same time reducing the number of speakers required and enhancing the overall worship experience.”
O-Line was duly adopted, with Zoodio supplying the components and their team of engineers, technicians and riggers worked on the fit-out, to meet Dylan Hilton’s specification, with f
North America - WE Day gives impassioned and empowered young people across Canada, the US, and the UK the opportunity to hear from global luminaries like Archbishop Desmond Tutu and Malala Yousafzai in between performances by major stars like Demi Lovato and Alicia Keys.
WE is an organisation that aims to empower young people to affect positive change in their local and global communities by adopting an inclusive, communal “we” mentality. WE Day is a physical manifestation of that mission, combining the energy and excitement of a live concert with education and inspiration delivered through shared stories of leadership and change.
It’s paramount that the arena full of amped-up youth can clearly hear every word of those messages, and thanks in large part to a substantial Adamson Systems Engineering loudspeaker system supplied by Cleveland, OH’s Eighth Day Sound, that’s been the case for WE Day’s 2016/17 season.
“We needed a PA that would satisfy the rider requirements of top touring acts but that’s also versatile enough to handle everything else we could throw at it,” says Lina Beaudin of Nordest Studio, the consulting producer and creative director for WE Day.
“It also has to be loud and clear enough to rise above a crowd of very energetic young people, so considering all of that, I was really confident that the Adamson product was the optimal choice. And working with Eighth Day Sound has been great – they know the products inside and out and carry a high degree of professionalism, so we couldn’t have asked for a better
UK - The Princess Alexandra Auditorium is a stunning 750-seat performance venue based on the banks of the River Tees at Yarm School. The final piece of the jigsaw was to upgrade the sound system to one that matches the quality of the Civic Trust Award and RIBA Award winning auditorium.
The space is fully flexible with tiered retractable seating and hosts a varied and versatile programme of material – from school productions and lectures to touring bands and leading comedians.
The existing system was struggling to put across the clarity and detail needed for such work and the decision to audition a variety of loudspeaker brands was taken.
Steering away from the existing distributed speaker concept KV2 were brought in by Richmond based audio suppliers Sound Hire to show what could be achieved by a more simplified Left Right Point Source approach.
Dan Brookes, Princess Alexandra Theatre Auditorium Manager picks up the story. “We looked at a number of different systems for the auditorium and KV2 were head and shoulders above the rest in terms of clarity and overall sound. The system really allows the nuances of the music and vocal work we do at the school to stand out and take centre stage.”
Speaking of the decision to bring in KV2, Sound Hire’s Joe Mitchell comments: “I was approached by Dan to give my thoughts on a new system for Yarm School’s Princess Alexandra Auditorium. Having already achieved amazing results with KV2 in both fixed install projects and events courtesy of my own hire stock of KV2 products I had no hes
South Africa - Ruud de Deugd visited Johannesburg to present the Prolyte Campus Workshop hosted by DWR Distribution from 14 to 17 March 2017. With his roots securely founded in the engineering office of Prolyte and trained as a mechanical engineer, Ruud has combined his expert engineering skills with the daily practice of rigging projects. For the second year running, he presented the hands-on Prolyte Campus Workshop in South Africa with the emphasis on safety which ended with a practical build-up session.
“There is a health and safety standard in South Africa as found in the South African Bureau of Standards titled SANS 10366 which is general and a guideline to Health and Safety at Events,” explained Ruud. “I believe this will evolve but at least it’s a good starting point. That said, the South African rental companies are not behind Europe in their knowledge and mindfulness of safety.”
Selling Prolyte trussing with an emphasis on safety has also been the main priority of Robert Izzett from DWR. “We are very glad that the industry take this up seriously, that they attend training and are committed to building the right way,” said Rob. “Lives are at stake and our aim is to ensure that our clients do things the right way. Thank you very much to both Ruud and to all the delegates who attended.”
The intimate course allowed delegates to interact, ask questions and interact. “My main aim is to create awareness,” commented Ruud. “DWR have a sign in the training room that says, ‘It’s all about training the people.’ That’s a
Located in the city of Borås, 60 km East of Göteborg, the Borås Stadsteater is a municipality-owned theatre. Founded in 1964, it moved to its current building in 1975. A typical 1970s-style provincial venue, the theatre features a 500-capacity main auditorium with raked seating and a balcony. The main focus is conventional theatre for the most part reinforced by lavalier microphones, but the theatre also hosts musical productions and occasional concerts. The programme of events includes both in-house productions and visiting acts.
By 2016, the ageing PA system had become too small and outdated to meet the demands of modern audiences, so the management team worked with the local authority to find a solution. An Alcons LR7 system was installed, along with a new Allen & Heath dLive digital mixing system.
Borås Stadsteater’s head of sound, Tobias Walka, explained the choice of in-ear for monitoring: “Since the need for in-ear mixing was becoming more and more prominent, we started looking at solutions that would fit our resources. For the most part, sound engineering for our productions is a one-man gig. It's very seldom we have the personnel to do a separate monitor mix, which we feel is a must when it comes to IEM, so we turned to personal monitoring.
“We looked at the integrated solutions within the digital mixing system and after a bit of research we came across the KLANG system, distributed in Sweden by Electrosound, and instantly felt that this was the solution we wanted.
“Apart from our friends at Electrosound talking very enthusi
Ireland - Prolyte Group distributor A.C. Entertainment Technologies (AC-ET) has recently shipped Verto truss to Light Source, the first company in Ireland to receive this product.
The Verto truss is based on a new principle of truss connection, where the sections are joined by a rotating coupler system, meaning a simple flick of the wrist will connect and lock the truss sections together. Installation is fast, silent and safe.
Managing director, Billy Mahedy and his team are delighted to be the first users in Ireland of the versatile Verto truss system.
With a long history in the industry, Billy knows how to value a truss system on its merits. Based out of Sandyford, Dublin, Light Source brings a wealth of experience to the custom installation market. They design and install solutions specific to their customer’s needs, always looking to improve and expand on their technology and product offering.
Aaron Cripps, AC-ET’s regional sales representative for Eire said: “As a long-time Prolyte user, Verto was naturally the next step for Light Source. As soon as the product was launched, Billy was talking about how they could use it to make rigging quicker and easier for their crews. They are the first rental company with this system in Ireland but I’m sure that many more users are going to follow now that Billy has led the way.”
Light Source are confident that this easy to use, “no pin” truss system will benefit them in their everyday work, in both the corporate and entertainment sector. They also have a long-term plan to updat
Germany - Since 1975, audiences have flocked to the Freilichtbühne open air stage in Hamburg's Stadtpark each summer to enjoy an eclectic selection of music - including pop, rock, hip-hop, soul, singer/songwriters, children’s entertainers and much more. Production company Cobra Sound Light relies on Yamaha digital mixers to ensure each night’s programme is enjoyed without a hitch.
Cobra Sound Light has been the season’s technical production supplier since 1981. The season runs from May to September and features performances from high-profile international artists (including, in recent years, Lionel Richie, Simply Red, Wu Tang Clan, Imagine Dragons and, this year, Rag 'n' Bone Man, Norah Jones, Paramore and Alan Parsons), through well-known German performers (this season including Lotto King Karl, Philipp Poisel, Roland Kaiser and Deine Freunde) to local acts.
Because of the variety of shows, the production needs of each vary greatly. “All the different artists requirements can mean a lot of changes to the equipment used for each show,” says Cobra Sound Light’s Trevor Wallace. “Luckily for us, Yamaha is at the top of most audio riders, a brand we have been using for many years.”
Trevor himself has been using Yamaha consoles since he started in the business in 2005, both working for rental companies and as a touring engineer. For the Stadtpark summer season, international artists usually bring their own engineers and consoles, or specify a console (usually a Yamaha CL5 or QL5) from Cobra. However for the smaller acts - including most