Europe - Sarah Brightman relied on Allen & Heath dLive systems for both FOH and monitor duties on her Royal Christmas Gala tour.
The two-month European tour saw Brightman perform her own hits, alongside popular Christmas carols. The show included a full band and orchestra, five solo singers and the eight-member Gregorian choir. Allen & Heath's dLive S7000 surfaces performed both FOH and monitor duties, combined with two DM64 MixRacks, plus DX32 and DX168 I/O expanders.
The monitor engineer was Lewe Redlin, who also mixes for Jan Joseph Liefers, Alvaro Soler and the Gregorian choir project.
"The particular challenge of this production is its size," explains Redlin. "My dLive has 120 inputs connected. On top of the inputs from the stage, we have three different click tracks and various talkback channels that allow communication between all parties and the musical director. There are 20 stereo mixes, including 16 in-ears and additional wedges and side-fills. The freely configurable layout of the dLive really helps me to keep track of everything at all times.
"I find dLive’s sound very pleasing, almost analogue, which makes it very easy for me to mix with," says Redlin. "With features like the Dyn8 and the different types of compressors - I especially appreciate the 16T – it offers really extensive processing capability. Another feature that stands out from other consoles is the ability to submit subgroups to Aux. For example, I can simply group the entire orchestra and send it to the musicians and singers as required.
Europe - Lighting and video rental specialist Colour Sound Experiment has invested in new Robe MegaPointe moving lights, Blackmagic video control technology and new pre-rigged trusses, all of which is out on the current 2CELLOS tour playing arenas in key capital cities around Europe .
West London-based Colour Sound is providing lighting, video, rigging and crew, working closely with lighting designer Crt Birsa and production manager Chris Griffiths.
The UK performance was a roof-raising extravaganza staged at London’s Royal Albert Hall with the band accompanied by The Royal Philharmonic Concert Orchestra. They played out some of 2CELLOS hugely dynamic repertoire which went from the decorum and refinement of assorted film scores to the raucous rock-out mayhem of AC/DC and the Rolling Stones covers.
Crt, a big Robe fan, was delighted when Colour Sound was able to offer its new Robe MegaPointes! The fixture was launched in September and this is one of its first European tours.
It is the first time he’s worked with Colour Sound and comments that it’s been a “totally positive” experience. “The guys are extremely nice, highly knowledgeable and absolutely dedicated to doing a great job in getting the show onstage every day.”
Colour Sound’s crew of Simon Robertson, Frank Williams and David Cattermole are being chiefed by Kester McClure.
The lighting is all toured in the pre-rigged trussing for convenience and to speed up the get-ins / outs. The main touring rig features three 14m long overheads trusses - front mid and back
USA - A sense of expectation runs like an open road through the flowing music of Counting Crows. Mike Zielinski, the band’s long-time lighting designer, captured this wayfarer quality on their recent A Brief History Of Everything tour, co-headlined with Matchbox 20, by creating a suspension bridge-style backdrop that spanned the width of the stage. Anchoring the evocative structure were 25 Chauvet Professional STRIKE 1 fixtures supplied by Upstaging, Inc.
“It’s going on 18 years now that I’ve been designing for Counting Crows, and this was an entirely new concept, but it’s something I’ve wanted to do for some time,” said Zielinski. “The bridge represents the band’s Bay-area roots as well as the spirit of its music. On a more practical level, the bridge design also gave me something to punch through the daylight at outdoor venues.”
Dealing with daylight issues was necessary on the tour, which kicked off in July and concluded in October, because Counting Crows was opening for their fellow superstars. Last year Matchbox 20 frontman Rob Thomas opened for Counting Crows when they toured together, so this year the groups decided to reverse the order of their appearances.
Zielinski’s bridge consisted of five 13’ towers (actually 10’ sections of HUD truss sitting on top of 3’ rolling risers.) Joining these towers were illuminated U-shaped arches that dipped to 6’ above the stage deck at their lowest point. A single STRIKE 1 was positioned on top of each tower, and five of the 230W LED fixtures were evenly spaced along e
Portugal - NEXT-proaudio has developed a new expanded warehouse space to enable an increase in stock holding, as well as adopting a new line for ‘express orders’, using the website.
The registered user, can find on the website distributor´s reserved area an updated list indicating the availability status of products plus the possibility to place ‘express orders’ directly on the online platform.
“We are looking to the future with these improvements to enhance the excellence of the service for immediate needs and provide the best service for our clients,” says Andre Correia, NEXT-proaudio manager.
UK - The Killers have again taken Capital Sound’s MLA PA on their current world tour, with the British Isles leg culminating in two spectacular nights at London’s O2 Arena.
Mixing at FOH was Kenny Kaiser, and alongside him experienced system tech Toby Donovan, arguably one of the most experienced MLA system techs in the world.
Promoting their fifth studio album Wonderful Wonderful, the band were playing through a familiar Martin Audio set-up comprising main hangs of 17 x MLA elements plus two MLD Downfills per side, with side hangs consisting of 12 x MLA plus one MLD Downfill per side. Also deployed were secondary side hangs of 10 x MLA Compact enclosures on each flank. This was to ensure that while the main side-hangs provided coverage up to around 8ft-12ft upstage of the downstage edge, the secondary hangs would infill the complete side stage seats with deluxe audio coverage.
As for the low frequencies, five MLX subwoofers were flown on each side at a 45° angle between the main and side-hangs, while a further 21 x MLX were set across the front, in spaced 7 x 3 array ground stacks, with the bottom enclosure reversed. Flying the subs at 45° ensured good low-end reinforcement round the sides and enabled Toby Donovan to keep the electronic dispersion of the sub array on the ground fairly narrow and the delay time short, thereby keeping the sound punchy.
To complete the coverage, six of Capital Sound’s Martin Audio DD12s were used as front-fills.
Through his work with American West Coast-based Delicate Productions, a long-te
UK - Technical production specialists Light Fantastic Production Services have just made a large investment in the latest Robe moving light technology. The order includes Robe’s new MegaPointe and LEDBeam 150 moving light fixtures plus a selection of Pointes, Robin 600 LED washes and DL4X Spots in a custom white bodied finish.
Based in Elstree just north of London, UK, the company services a wide range of prestigious projects providing lighting, audio, video & scenic services. The company also provides extensive dry hire services to other industry clients.
The total investment value is over a quarter of a million pounds and the kit will be used to service Light Fantastic’s action-packed ongoing project schedule and dry hire requirements.
Working primarily in the premium events sector, from high profile experiential events to spectacularly jaw-dropping private events, the company founded and headed by Rob Myer has built up a reputation for imagination, excellence and attention to detail.
The 25 x MegaPointes will join the Robe Pointes already in Light Fantastic’s inventory which are out and working constantly on a variety of shows and events. The company made its first Robe purchases around 2012 and now almost exclusively stocks Robe intelligent fixtures.
Rob’s choice of MegaPointes was based on the power and multi-functionality of the fixture and the belief that it will become a “totally rider friendly luminaire just like the Pointe”. He thinks it’s a very versatile, well built, robust all-in-one fixture and a perfect
The Netherlands - The TivoliVredenburg in central Utrecht features seven different music performance spaces and is in the process of having its house and public area lighting upgraded with Anolis Ambiane RGBW LED luminaires.
With around 300 fixtures installed so far, approximately 650 Ambianes will be in place when the project is completed.
The spectacular building designed by Herman Hertzberger was part of the CU2030 urban redevelopment scheme and opened in 2014.
The new dedicated arts and performance complex incorporates Vredenburg, an original live music venue standing on the site since 1979, with six brand new venues, all fully sound-proofed and self-contained, ranging in capacities from 175 to 2000. These include Rhonda, which continues the spirit and vibe of Tivoli, another historically significant Utrecht music club at the heart of the city’s music scene which closed in 2014.
These venues are busy year-round hosting a lively range of orchestral, acoustic and electronic, rock, pop and jazz music shows and events.
TivoliVredenburg’s technical & facilities manager Charles Konings approached Anolis’ Benelux distributor Controllux looking for a more dynamic lighting solution for the public areas. “We wanted to be able to have colour and create a nice atmosphere in our public areas,” he explained.
He and various producers regularly working there were all convinced that more flexible general lighting would open many possibilities for additional uses – with some public areas already active as event spaces - and imp
UK - The Hammond Theatre is a contemporary theatre situated in West London. Seating 380 people, the venue features a range of performances and attracts professional companies from across the UK. It is also an accredited venue for National Theatre Live, Royal Opera House and the Kenneth Branagh Theatre Company screenings. The venue recently decided to upgrade a range of its existing fixtures and approached WL to supply them with the latest equipment.
The technical theatre manager at The Hammond Theatre is Daniel Dar-Nell. He comments: “I manage all aspects of the theatre on a day-to-day basis with my assistant, which includes managing the box office and the bars all the way through to the technical side. Our programme is mainly a 50-50 mix of school shows and external hires. We also offer live cinema screenings, conferences and concerts; meaning we need a technical set-up that can facilitate all of these.”
Due to the venue housing an increase in theatre touring shows, it decided that its main space required a new desk. Daniel explains: “We use an ETC Ion Classic in our studio and while this works perfectly well for our smaller space, due to the number of universes and outputs required in our main space, we needed something slightly different. I saw the ETC Ion Xe 20 at PLASA and was won over by the features and decided this would be the ideal product.”
The ETC Ion Xe brings professional programming power to any venue. It can integrate into a system with all other Eos family products, allowing users to transition between desks with ease. The I
UK - Lighting designer Davy Sherwin has created a 'formidably cool' lighting set for Wolf Alice's latest album campaign, Visions of a Life. Conceived in collaboration with the band to keep the focus tightly on-stage, Sherwin's stripped-back yet versatile design supports what The Guardian's Gwilym Mumford describes as an "exuberant jumble of dream-pop and grunge", confidently melds with the emotional peaks and troughs, uncertainty and angst of Wolf Alice's catalogue.
Using a modest selection of lighting fixtures, all supplied by specialist concert touring and event lighting solution provider Lights Control Rigging (LCR), Sherwin's sculptural, atmospherically diverse design is as intoxicating and pounding, and by turns as sparkling and dark as the eclectic collection of songs it's there to enhance.
"The band was keen to develop a fresh new look. They wanted clean lines with no onstage 'contraptions'," explains Sherwin. "They were interested in the detail of the look for each song and the final design was a result of a close collaboration with lead singer and guitarist Ellie (Rowsell) and the rest of the band. The album features a range of musical styles, it is intense with a big energy and there is a real physicality to the band themselves.
"I knew I needed to create something that would offer a scope of looks, yet be easy to tour with the limited crew I have on the road. There is only myself and lighting technician, Ben Hodgkins, taking care of lighting day to day. Ryan and his team were all over it from the off, making suggestions in
China - Legally Blonde - The Musical opened in December to glowing reviews in Shanghai’s Culture Square Theatre at the start of its China National tour. From China it will move to Singapore’s Marina Bay Sands Grand Theatre in May, before returning to the USA in October 2018. Produced by Big League and directed by Jeff Moss, with choreography by Grinch veteran, Bob Richard, Legally Blonde the Musical is a celebration of pop culture.
Responsible for the smooth running of the technology on tour is the team from Intelligent Lighting Services (ILS), led by lighting engineer and company founder, Paul Gould. As part of the tour’s lighting inventory Gould’s team supplied two MDG ATMe haze generators to provide the haze with which to show off Kirk Bookman’s fun and vibrant lighting design.
The two ATMe units were purchased specifically for the tour, but Gould admits, “they have been on our wish list for some time, so when this tour came about we knew it was time to make the investment.”
ILS’s choice was based on sound reasoning: “We have always been impressed with MDG’s haze quality particularly when we have lit shows at Niagara Falls View Casino, as well as at various arena shows,” says Gould. “The evenness of the haze is second to none in my opinion.
“With our tours taking place across many of the largest theatres across China, and with the strong air handling systems that exist in many of these venues, we need a haze generator that can fight the often too-powerful AC systems and be able to give us that fine,
UK - Thousands of festival-goers experienced the interactive AV environment of the Samsung Hypercube as part of the Samsung Galaxy S8 UK launch this summer. The Samsung Hypercube toured its 360 Infinity Selfie' Experience to Boardmasters, Bestival and Reading festivals, with Avolites' Ai media control at the heart of its complex technical infrastructure.
Containing a reflective panelled interior separated by strips of colour changing LED and a 27m x 1m continuous wrap-around LED video screen, the Hypercube immersed audiences into a 360° infinite display of light and colour. Samsung's new Galaxy S8 smartphone acted as a control interface allowing visitors to influence the cube's audio and infinite visual effects created through its multiple reflective surfaces.
"We were tasked with delivering the technology and functionality to make the concept of the project's developers, Iris Worldwide, and its creative director, Ross Cairns, a reality," says Ben Stern of GaiaNova Productions, the company that managed the technical production of the Hypercube.
Working with a number of collaborators, GaiaNova developed the Hypercube's integrated, automated playback system using Avolites Ai media server software. The company's creative partner Immersive developed the consumer-facing applications including the interactivity control app, sign up app as well as the control system apps for hosts. Immersive also developed the back-end system for the upload and distribution of media to the audience who took part.
In addition, there was a 360° camera setup
USA - Rental company and production house Creative Technology used Elation Professional’s Fuze Wash 575 luminaire to highlight cars on the Kia and Volvo booths at this year’s LA Auto Show.
Creative Technology has used Elation Design PAR 575 opti par moving heads on auto show booths for years - as have many other production companies - and plenty of Design Par 575 fixtures were to be found at the 2017 LA Auto Show. The company sought the benefits of an LED solution and turned to Elation’s new cool-white Fuze Wash 575 LED PAR moving head luminaire with motorized beam control.
Held 1-10 December at the LA Convention Centre, the LA Auto Show is one of the most influential auto shows in the world. Elation has a tradition of lighting excellence on auto exhibitions and has designed the Fuze Wash 575 to optimise the way a vehicle looks and assume the role as a new workhorse fixture-of-choice. Featuring a high-output 350W Cool White / Daylight COB LED engine, the fixture gives designers what they need without the cost, weight and power needs of conventional 575W discharge daylight PAR lights.
Ian Dobson, project manager lighting division at Creative Technology, worked with Elation sales director Eric Loader and national sales manager John Dunn to customise the Fuze Wash 575 in order to get the exact fixture they needed. “We collaborated with Elation on the LED chip set to get the light output and color temperature we liked,” Dobson says, noting that the optimal colour temperature decided upon was 6800K. And with a high CRI of 95, the Fuze Wash 575
USA - With go-karts, mini golf, bounce houses, an arcade, rock climbing, zip lines, and plenty of food and drink for patrons of all ages, Sonny's Place is a top family fun destination. It's located in Somers, Connecticut, an easy drive from New York City, Boston, and all of the large and small New England cities between.
Success feeds on success, and Sonny's Place recently completed its third expansion. Because the sound system from its second expansion had proven so reliable and headache-free, Sonny's Place again hired ALSS (Advanced Lighting & Sound Solutions) from Manchester, Connecticut for its latest expansion.
And because the reliable Ashly Audio amplifiers that ALSS had installed in the second expansion were a big part of its success, ALSS owner Glen Aliczi again called on Ashly amplification, this time adding Ashly processing and Ashly's custom iPad interface as well.
"The new expansion adds approximately 18,000 sqft to what is already a pretty big facility," Aliczi said. "It includes five additional birthday party rooms, an antique carousel and state-of-the-art laser tag. The owners wanted something a little more sophisticated that would allow staff members – who aren't necessarily tech savvy – to independently control source selection and volume in each of the zones
“I've used Ashly's Pema combo multi-channel amp and Protea™ matrix processor, and I always appreciate how easy it is to navigate Ashly's GUI. We also recently used Ashly's iPad app for a church installation, and they loved it. So, Ashly processing and user int
UK - Mountview Academy of Theatre Arts, one of the UK’s leading drama schools, utilised effects lighting fixtures from Chroma-Q and ProLights for its recent annual Christmas Concert - supplied by A.C. Entertainment Technologies (AC-ET).
This evening of songs, speeches and a chance to see all of Mountview’s undergraduate and foundation students perform under one roof, took place in St. George’s Catholic Cathedral, Southwark, Central London.
Mountview senior lighting tutor, Alex Cann, created the Christmas Concert's lighting design in partnership with a student of the Academy's 3rd year BA (Hons) Theatre Production Arts course.
The lighting brief was to enhance the overall production, but also to ensure that the whole audience could see the performers. The design therefore needed to be practical whilst also subtly enhancing the overall performance.
When it came to choosing the lighting fixtures, there were a number of important criteria which needed to be met.
Alex comments: "Being a working Cathedral we had limited access time before the concert, so I needed to use fixtures that would be very quick and easy to set up. They also needed to be compact enough to not take up too much space in the performance area, or obstruct the beautiful architecture. With limited power available in the venue, I also wanted them to be LED, to reduce the power consumption. However, despite being compact, they still needed to be powerful enough to light the large archway columns either side of the performers, and the high vaulted ceiling above them."
USA - Sid Gattis, owner of Gattis Pro Audio, heard Danley Sound Lab's new SM-80F point-source loudspeaker with built-in subwoofer support at InfoComm and specified it for the First Baptist Church in Lincolton, NC.
Gattis had always been sober-minded about the limitations of even the best line array systems, and he saw that the Danley SM-80Fs would save the church $12k, provide higher-quality sound, and – at half the size of the line array – limit the visual impact to First Baptist Church's aesthetic.
"First Baptist Church has a large, traditional sanctuary, and they've long had a traditional Baptist service to go with it," explained Gattis. "But they're also making a slow shift to a more contemporary service. However, the audio system they had in place for the past twenty years was not going to support that shift. On top of being just plain old, it was buried in the organ chambers, which led to all kinds of weird resonances and dead spots in the room. Even speech was borderline unintelligible at various places throughout the sanctuary."
Gattis had a line array system designed for First Baptist Church with a schedule to receive and install it near the end of the summer, but then he attended InfoComm in June. "The Danley SM-80F blew me away," he said. "I went back to First Baptist and said, 'I've got something that's going to save you money and that will sound even better than the line array we had planned'.
“They were already into the idea of the line array, but they also trusted me [Gattis Pro Audio secured the job in part because of wor
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