USA - The Bonnaroo Music and Arts Festival returned to the 700 acre field known affectionately as The Farm with more than 65,000 in attendance in search of good vibes and great music.
Bandit Lites was proud to be asked by Lambda Productions to provide a lighting package for multiple stages, the iconic Tower at Bonnaroo, along with several floor packages for artists in attendance.
This year’s line-up of more than 100 acts included U2, Red Hot Chili Peppers, The Weeknd, Chance the Rapper, Major Lazer, Flume, Lorde, The XX, Travis Scott, Cage the Elephant, Marshmello and The Head and the Heart.
U2’s show designer, Willie Williams, designed the mainstage festival system for U2’s immense show on Friday night. It was then dropped, re-hung and re-configured for the acts to use on Saturday and Sunday.
“Willie’s design had a similar flavour to their current touring system in stadiums,” said Bandit production manager Dizzy Gosnell. “Lots of tungsten DWE’s and scrollers on the Atomics and very high trims to allow for the 40ft high video screens. For a variety of reasons, we decided to re-configure most of the lights and trusses over the stage after U2.
“It was Willie’s design tuned to U2’s needs and made total sense for their show, but some of the real estate in the air was needed on the following days by the Chili Peppers, Chance the Rapper and the Weeknd, all bringing their own large flown elements for their shows.”
Lighting for the main stage consisted of nearly one hundred Martin MAC Viper Profiles, Robe BMFLs, Mar
UK - Anna Valley helped LAMDA (London Academy of Music & Dramatic Art) celebrate their new £28.2m training centre by providing AV for their official opening event on Wednesday 14 June. Attended by Royal Patron HRH Princess Alexandra and alumni including Brian Cox CBE, David Suchet CBE, Ruth Wilson and Jemma Redgrave, the event showcased the new theatres and training spaces that are transforming LAMDA’s west London home.
Anna Valley provided a turnkey AV solution for the event’s gala performance. Guests in the 200-seat Sainsbury Theatre watched students perform against the backdrop of a developing photographic timeline which was projected using two 21k projectors onto a 14.4m x 7m cyclorama fed by a Macbook Pro running Qlab.
Because space in The Sainsbury Theatre was limited, Anna Valley also filmed the event using two Panasonic AW-UE70 4K remote-head cameras and relayed this live feed to their flagship 4.8m x 2.88m AV2 LED screen in The Carne Studio Theatre, where additional guests were seated.
A world-leading conservatoire, LAMDA offers vocational training to actors, stage managers, technicians and directors, as well as delivering qualifications in communication and performance as an international awarding organisation. LAMDA’s redevelopment was made possible by the Act Now! Campaign, which was launched in November 2013 with alumnus Benedict Cumberbatch CBE as Patron and was supported by almost a thousand donors.
Anna Valley has previously supported LAMDA by providing AV technology and services, free-of-charge, for their stage pr
USA - Country superstar Eric Church’s Holdin’ My Own tour begins to create an immersive experience for fans as soon as they enter the concert venue. Forget standard house lights. The first thing that strikes visitors when they walk into the arena, whether it’s Barclay Centre in Brooklyn or Staples Centre in LA, is the warm white (and very bright) glow from the 63 Chauvet Professional STRIKE 1 fixtures in Church’s touring rig.
Butch Allen of Blame Funnel Creative, who specced the multi formatted STRIKE 1 units from Christie Lights, uses them in lieu of house lights to set an emotional tone for Church’s deeply personal tour. “We wanted the whole arena itself to be part of the show, to create a totally immersive environment, since this tour is all about Eric connecting to his fans,” said Allen. “The STRIKE 1s are our house lights. Then, once the concert starts, they emerge as the backbone of our show. They become 63 death machines.”
For the first 90 minutes of this marathon three hour plus concert, Allen uses all white lights, anchored by his STRIKE 1 fixtures, which are flown on three massive rectangles: one over the main stage, one over the audience and one over FOH. Using white lights exclusively for this opening stretch underscores the concert’s elemental heartfelt theme.
“We light the extended opening of the concert with a variety of white lights with different colour temperatures to convey different moods and keep the show fresh,” said Allen. “The inspiration for having all white for an hour and a half came from the ST
UK - The Cockpit Theatre in Marylebone, London has just completed a three-week run of Robert Anton Wilson’s play, Cosmic Trigger, directed by Daisy Campbell and produced by The Cockpit Theatre.
Dave Wybrow, artistic director at The Cockpit contacted PRG XL Video for help in solving a video projection conundrum they encountered whilst planning to stage Cosmic Trigger.
Dave discussed the challenges they faced, bringing their creative visions to life: “We’d wanted to produce Cosmic Trigger at The Cockpit for a long time, I’m not only a huge fan of Robert Anton Wilson, but also the seventies American counter-culture he represents so well. Cosmic Trigger is a complicated piece to produce, it’s basically a play within a play within a play—and is more a play about ideas than it is about characters.
“Previous productions have been presented in an end-on staging format, with projection on the three walls visible by the audience. However, because of the unique layout of The Cockpit, it became clear very early on that we would have to stage Cosmic Trigger in the round because that’s the best use of the space, and we’d be able to sell more seats - thus increasing the production budget and ensuring we could afford everything we needed.”
Nilkanth Patel, video project manager for PRG XL, described the projection solution we provided: “We supplied a QLab media server system running off of Apple Mac Pro towers, which was stationed backstage and included a back-up system to cover the eventuality of any system fa
UK - Triple E has supplied a ModTruss centrepiece for the Greenpeace Field at Glastonbury Festival.
Commissioned by Factory Settings and designed to highlight the Greenpeace campaign to protect forests, the 20m tree comes alive at night, serving as a hub for exclusive DJ sets and a beacon of the Stand for Forests campaign.
The ModTruss structure is simple to put together. The Factory Settings team was able to build the tree at Worthy Farm from Triple E drawings, ticking the requisite safety boxes in the process.
Lucy Edelstein, project manager at Triple E, comments: “We were delighted the Factory Settings’ team approached us with their designs. We made a 3D drawing for approval, test built the tree and shipped the parts.”
Factory Settings’ director, Lucien Mansell, says: “ModTruss is a unique product ideally suited to a one-off bespoke item like this because it doesn’t require custom components.
“Building a 20m tree in a field is a demanding project but it’s something ModTruss’ versatility and strength is well suited to.”
With help from its supporters, the Greenpeace Stand for Forests campaign is stopping illegal timber from Cameroon reaching European ports, barring the expansion of soya plantations into the Amazon, fighting fires in Russia and getting in the path of bulldozers, again and again. That is the vision of hope and direct action that the Greenpeace Field will represent this year at Glastonbury Festival.
France - The Accor Hotel has played host to its share of high-profile sporting events, such as the World Indoor Athletics Championships. Recently, the 18,000 capacity venue was the site of another sports spectacular as it welcomed the Meeting de Paris Indoor, a one day track and field event that featured some of France’s top Olympic athletes such as Kevin Mayer and Renaud Lavillenie.
French production house Franck Sono provided suitably energetic visuals for the meet with a collection of Chauvet Professional fixtures supplied by Algam.
A total of 15 Maverick Hybrids, 16 Rogue R1 FX-Bs, 15 R1 Beams and 18 Nexus 5x5 fixtures lent added impact to the competition by creating a variety of impactful, and often contrasting looks throughout the venue. This was especially evident at the main podium, which was the centre of spectator and media attention.
To illuminate the central focal point of the entire stadium – a podium complete with red carpet for the winner’s award ceremonies – Algam supplied a matrix of Nexus 5x5 fixtures complemented by two rows of Rogue R1 FX-B fixtures lining the red carpet.
“As the podium was particularly crucial to the overall visual concept of the event, it was decided upon a combination of fixtures to provide interesting contrast and energy,” commented David Deforge, chief of production at Algam. “The resulting synergy between the Rogue R1 FX-B and the Nexus fixtures looked spectacular.”
By positioning the fixtures in two parallel rows, the R1 FX-B’s infinite rotation of both pan and tilt with five
Europe - Popular Australian progressive rock band, Northlane, is currently travelling the European festival circuit with an ultra-compact dLive system from Allen & Heath to manage both FOH and monitor sound.
“I’ve come straight over from two years on a dLive S Class S5000/DM64 system on monitors with Bring me the Horizon, and wanted to keep the same workflow with Northlane,” explains engineer, Jared Daly. “As the band are from Australia, their gear is nearly always in a fly-in configuration; everything is in custom wooden racks that slot into fly-able pelican cases that all weigh 32KG. For this reason, the band decided to purchase the C1500 Surface and DM48 MixRack to manage both FOH & monitors.”
The C1500 is equipped with a Waves network card to allow virtual sound-checks and live recordings of all the band’s performances.
“The dLive surface is small enough to fly anywhere we need, and we had a custom Scott Dixon case built for it so it can be wheeled anywhere with ease,” explains Daly.
A DM48 rack was selected on stage for the ability to add input channels when needed, and to have dual power redundancy. The band pair a Macbook Air with the Rack on stage and use the Director control software to run their own monitor mixes, gain sharing but with separate FOH and monitor channels.
“With the use of Soft keys, the band have found navigating the software during the show very easy, and if something requires my attention, I have a scene set up to load the monitor input faders to the C1500 and I can manage their mixes
UK - Illumination specialists LED Creative supported set designer Rudi Thackray and lighting director Gurdip Mahal, in helping set the scene for James Corden and The Late Late Show’s recent visit to London.
Filmed in front of a live studio audience, The Late Late Show transferred its regular format of star guests, sketches and musical performance from its US home for a run of shows at Central Hall Westminster. Maintaining the general feel of the US show, Rudi Thackray’s vibrant set, shrouded in fluorescent pinks and blues, was a perfect backdrop to the show, contrasting perfectly against the grandiose surroundings of the venue.
One of the key features in the design was the inclusion of over 40 LED Creative Sigma Pulse Wands, cleverly placed throughout the set to provide ultra convenient, colour shape and movement. Quick to install and easy to control, Pulse Wands are Part of the LED Creative Sigma range offering precise, individual pixel accuracy controlled either directly from a lighting console or pixel mapping via a media server. Available as pre-packaged comprehensive rental kits, the system proved the ideal solution to compliment the neon-like effervescence of the Westminster Hall installation.
LED Creative director Adam Howard commented: “We were delighted to be able to be part of such a high profile production. Rudi created an incredible setting for the show which was beautifully lit by Gurdip Mahal and his crew. The team certainly succeeded in transforming the venue and delivering a stunning look to the entire show.”
UK - Garsington Opera Pavilion has undergone a number of major additions to its existing structure ahead of its summer 2017 programme of events that started at the beginning of June, thanks to Unusual Rigging. Visitors to the pavilion will this year experience enhanced protection from the unpredictable British weather as well as additional flexible space beneath the seating tier which will increase the champagne bar area as well as acting as a gallery space.
Angus Boyd-Heron, events manager for Garsington, said: "The award winning pavilion which Unusual constructed in 2010 was built as a demountable structure and has gone from strength to strength. Each year, we bring Unusual Rigging back to make some additions and improvements, which have escalated into some pretty major works as our ideas have become larger. As our ambitions grow and our season now extended enabling more people to attend, so too have our hopes for the venue."
Mark Priestley, head of major projects at Unusual, explained: "We've worked closely with Angus and the Garsington team to come up with ways to improve the building to achieve a new level of audience comfort. Visitors to Garsington come dressed for the opera but unfortunately the elements aren't always considerate of this. Even on the finest of days, the evenings can be chilly and we needed to look at ways to match comfort with audience aspirations."
With just two months to complete the project, Mark and his team reconfigured and added to the outer sliding screens which provide weather protection and added more glazed panels a
UK - Having successfully produced Edinburgh’s first open air dance festival for the Fly Club in the city centre’s Princes Street Gardens last Autumn, alongside sister company Creation Live, Martin Audio partners VME moved to the outskirts of the Scottish capital, and the spectacular 6500-acre Hopetoun House Estate overlooking the River Forth, for the second Fly Open Air Festival.
Unlike the fixed Princes Street bandstand a festival infrastructure needed to be created in the grounds of the 17th century mansion and sound levels closely observed - a challenge that Martin Audio’s award-winning MLA Multi-cellular Loudspeaker Array was more than equal to.
“The scaffolding structure didn't help us - we couldn't get the height we wanted, which created a number of physical challenges,” admitted VME head of sound, Mark Cleator. “This required some late changes to the loudspeaker array.”
But the company is used to working on the fly (no pun intended) and the reduction to two hangs of four MLA’s per side, flown off the scaff and bolstered by an MLD Downfill on the stage lip to provide front fill coverage, was without compromise.
VME’s skill was in in the way they created a broadside cardioid ground array of nine MLX subs, seven forward facing and two reverse, to optimise the levels without threatening thresholds. This enabled VME to crank up the levels for artists such as Artwork, Bicep, Midland, Denis Sulta, Hunee, and Fly resident La La.
“As a result, the rejection was really good,” said Cleator, who system teched the event
Ukraine - Within the vast sound production called upon for this year’s Eurovision 2017 in Kyiv, a pair of TiMax SoundHub audio delay matrix units were supplied by Black Box Music (BBM) to manage multi-zone PA level and delay alignment between Main and B-stage performance areas.
The setup revisits a technique pioneered for Adele’s recent record-breaking world-wide arena tour. The TiMax SoundHub-S16 systems were inserted between Digico SD7’s and Lake master system processing feeding the amps, which in turn fed multiple distributed L’Acoustics line array hangs, subs and fills.
As the performance switched between the two stages, the TiMax dynamic delay-matrix delivered all mix outputs from main and backup console/system processor chains via onboard 96KHz SRC’s, to seamlessly re-align and focus all PA elements onto the current stage.
The power and versatility of TiMax came to the rescue with, what head of sound, Kai Reiss, describes as an interesting ‘side effect’. He explains, “We were asked to provide an emergency announcement for the security office. We recorded it for them [in English and Ukranian] and then gave them a button in their office that allowed them to simply press to pull down the show sound automatically and play the emergency announcement, all from within TiMax!” Simples.”
More often used for spatial audio and vocal localisation in premier theatre, presentation and immersive AV applications, the dynamic delay-matrix capability unique to TiMax also allows real-time smooth delay-morphing algorithms across multi
Israel - Tel Aviv based Light Architects Cochavi & Klein are known for their style and propensity for invention and they are also impressed with Robe’s Spiider LED wash beams.
The designers seized the opportunity of the Picnic Passover with Black Coffee, a pumping electronic music event presented by The Tripping in Tel Aviv’s most famous urban oasis, Hayarkon Park, to utilise 48 x Spiiders and 24 x Robe Pointes on a circular trussing structure, forming a massive ‘sun’, which was winched above the crowds on a crane.
The sold-out event featured sets from award-winning, rising-star South African DJ and music producer Black Coffee, plus DJs Jenia Tersol & Benji. They, together with a hugely enthusiastic audience, enjoyed the unique setting of the park, which is known for its magical aura and ancient rocks brought from all over Israel.
These rocks provided a perfect backdrop to the show. The Tripping is also known for its staging concept of having a large VIP area around the DJ booth that promotes harmony, inclusion, peace … and encourages positive energy and connection between humanity and the environment.
Eran Klein explains that taking all this into consideration, together with Oren Heknin mastermind of The Tripping group, “we all dreamed about creating our own artificial sun that would rise behind the DJ booth and create a focal point for the party”.
Cochavi & Klein were one of the first design practices to use Spiiders when they arrived in Israel via distributors Danor at the end of 2016 after their laun
Europe - Canadian industrial band Skinny Puppy might not be mainstream airplay but the band has been around for decades and is currently touring Europe beneath an intelligent lighting rig that includes Elation Professional ACL 360 Bar effect lights and SixBar 1000 LED colour-changing battens.
Pioneers of the electro-industrial genre, Skinny Puppy, known for their theatrical and sometimes controversial live performances, enjoys a dedicated following and has charted in both North America and Europe. They have just completed the European leg of their Down the Sociopath tour.
Lighting has been designed and is under the direction of Eric Price (Thrice, Underoath, Bayside), who, although working with the group for the first time, has meshed with the band to create a design that complements the band’s complex and layered sound.
“For the Skinny Puppy design, everything needed to be angular since they wanted to incorporate a triangle projection screen right in the centre of the stage,” Price says of the design, describing his overall approach as ‘textured’. “I try to put a lot of emphasis on visual depth and maximize what is available on a day to day basis at venues.”
Price says that initially he was using the ACL 360 Bar RGBW moving bar effects as a “third level” ancillary fixture. “But once the band and myself saw them on stage, everyone got ideas for ways to make them more of a focus over the course of the show,” he said. “I'm able to mimic the shape of the projection screen while also creating windows of negative space, so y
Iberia - For Ricky Martin’s monitor engineer, Steve May, DiGiCo consoles hold two big advantages: their I/O capacity - which means he never worries about running out of inputs or outputs - and the ability to switch seamlessly between consoles in the range. Both have made life easier as he and Front of House engineer Chris ‘Privet’ Hedge travel round Spain and Portugal on the current leg of Ricky Martin’s tour.
The tour has taken in many of the major cities in Spain, including Madrid, Granada, Valencia, Seville, Barcelona, as well as the Portuguese capital of Lisbon, and finishes in Bilbao. Three rental companies are supplying equipment, with PRG Spain and Llusovi each handling six shows and Fluge two. The equipment inventory varies from company to company and although Steve specifies an SD7, depending on availability, he has used both this and an SD5 as his monitor console, whilst Privet has been able to use his preferred SD10 throughout.
“I’ve been using DiGiCo consoles pretty much continually for the past 10 years,” says Steve. “I like the way racks work, the sonic quality of the consoles and the way the inputs and outputs work - you can put channels anywhere you want to on the board.
“I originally specified the SD7 for Ricky because of the number of inputs and outputs it has available. As well as touring, he’s been a judge on the Spanish, Mexican and Australian versions of The Voice, so it’s really useful to have enough capacity to leave scope for guests on the show.
“There isn’t much rehearsal on this tour, so h
Bermuda - The America’s Cup sailing race is the oldest trophy in international sport, dating back to 1851. And for the 35th edition, presented by Louis Vuitton, the location was Bermuda, as the event moved to the iconic Great Sound.
Local Bermuda Broadcasting Company (BBC) was appointed as the official broadcast partner, and they responded by creating an advanced fibre network between the America’s Cup Village at the Royal Naval Dockyard, the transmission, editing and news gathering hub, and their own studio back at base.
They did this via a BroaMan advanced fibre network - this has not only enabled them to provide viewers and listeners with live coverage of all the racing over the five weeks via terrestrial TV and radio broadcasts over IP but also to feed its web and social media platforms. This has included taking video and commentaries out on the water, from helicopters overhead and on shore.
BBC constructed this by deploying a powerful pair of BroaMan Mux22 interfaces which connect the 35km distance between the two locations via a single duplex fibre. These hardware enablers allow them to provide connectivity of six video signals (4 HD-SDI In / 2-Out), 4 Line In / 4 Line Out, 4 GPIO (with IC444 board) plus a 100Mbit LAN switch, RS485 and 1Gb Ethernet.
Patrick Singleton, CEO of Bermuda Broadcasting, admits his company’s appointment by the America’s Cup organisers had forced a substantial upgrade at the station, including new TV and radio transmitters, high-speed fibre-optic systems and a fully digital workflow. “The America’s C
UK - WI has supplied staging, elevators and extensive automation elements to the Take That ‘Wonderland’ tour which kicked off at the Genting Arena, Birmingham.
The lively, colourful carnivalesque aesthetic is the vision of the band’s creative director Kim Gavin and the result of some serious creative and technical talents who have collaborated to bring action packed drama to a strong, highly entertaining performance by the band.
The WI team was led by Hans Willems and Koen Peeters and the company was asked on-board by production manager Chris Vaughan. They worked closely with production designer Ray Winkler for Stufish, scenic designer Misty Buckley, lighting designer Tim Routledge and video designer Alex Leinster to specify and construct the numerous custom elements.
To deal with the complex and rigorous health and safety aspects of the project WI brought in Cristiano Giavedoni of Blumano as the dedicated safety manager.
WI designed and built the 20m diameter circular stage for the in-the-round show from scratch. It is the first time the band has embraced this particular performance concept, which allows them to get close to their fans - and is wowing the crowds.
It is also the first time that WI has developed this specific circular staging system. As with all their constructions, it is designed for touring - to be built and de-rigged quickly and straightforwardly, and travelled expediently in a series of dollies which pack logically into the truck.
The understage space is optimised to provide quick-change facilities as wel
USA - Early June was rocking in Music City. The hometown Predators were selling out the Bridgestone arena for the Stanley Cup finals, and the Country Music Awards celebration was in full swing.
Although the city's hockey team came up a little short in its championship quest, the CMA festivities were all they were cranked up to be, as Nashville's downtown rang out with parties and festivals during the awards weekend.
Among the hottest CMA celebrations was the one at Piranha's, a 10,000sq.ft sports bar and music hall on Second Avenue, where 38 bands performed over three days, supported by a Jeff Hinton-designed lightshow that featured Chauvet DJ Intimidators.
Hinton used six Intimidator Beam LED 350 and six Intimidator Spot 255 IRC fixtures in his design for the Johnny B Enterprises-produced event. He flew his moving lights on two different levels of overhead truss and also positioned them behind the drum riser to engender a greater sense of depth of stage.
Having varied lighting positions also allowed him to meet the critical need for flexibility in his design. "A key challenge in this design was to keep my looks changing and interesting over a three-day 38-band festival," he said. "We did this in part by creating a lot of different light angles."
The gobo capabilities, built-in macros and wide zoom range of his fixtures also allowed Hinton to serve up an array of different looks that supported the varying musical styles of the artists on stage.
Beyond this flexibility, though, was the intense output that Hinton got from his Intim
UK - Symphotech has been entrusted to oversee health and safety and sound monitoring at Let's Rock - The Retro Festival as it heads to eight locations throughout the summer, June 2017.
Famed for its retro throwbacks and vintage fun, The Let’s Rock concert has already visited Cookham, Shrewsbury, Bristol and Leeds, heading onto Norwich, Exeter, Southampton and London. Organisers, UK Live, keen to take their responsibility seriously, brought in Symphotech to ensure the highest level of health and safety services and to make certain noise levels didn’t affect local residents.
UK Live first contracted Symphotech to oversee health and safety last year and following a successful run of the events, UK Live has continued this relationship and also brought in Symphotech’s noise monitoring team to ensure minimum disruption to the local area.
Symphotech’s legal and safety consultant Eddy Grant comments: “As event organisers, UK Live are qualified in event safety, however they have contracted us to ensure quality assurance. We work closely with their team to quality assure the safety documents, liaise onsite with crew and suppliers and ensure the local authorities are kept up to speed. We act like a principle contractor, managing the event on-site to ensure safety regulations are met.
“The UK Live team are great to work with and we have the confidence in them that what’s being done meets with good practice, however we’re there to respond if any incidents do occur or if safety plans need adapting. The event visits eight locations througho
UK - Liz Hobbs Group, one of the leading promoters and producers of concerts and events in the UK, has invested in a complete LED video wall system from the video division of A.C. Entertainment Technologies Ltd. (AC-ET).
Liz Hobbs, who are promoting and producing tours and concerts by Tom Jones, Little Mix, Olly Murs, Craig David and Shane Filan this summer, started using the system at the first gig of the UB40 tour, which opened at Inverness‘ Northern Meeting Park in late May.
The 33sqm, IP65 rated ProLights AlphaPIX6T LED wall consists of 72 panels and was supplied with a full range of rigging, networking, control and ancillary equipment. It will provide the main stage backdrop for many of the shows this summer.
In addition to the LED wall itself, AC-ET supplied video transmission equipment including, Luminex GigaCore data switches, tvONE video switcher / scalers, Blackmagic smart Videohub and SDI / HDMI converters as well as the rack mounts to carry this equipment. Cables included both ArmourLux fibre and conventional video cables.
Rupert Doogan-Hobbs – production and operations director said: “We’ve got a really exciting and busy summer that’s taken a huge amount of planning and co-ordination - being able to rely on AC-ET to supply the whole system has been a bonus. Grant and Stuart from AC-ET have been great in helping us identify everything we needed for the system, not just the specialist video equipment – the wall itself, control and cabling - but also rigging accessories, hoists, flight cases and even the drapes and dra
UAE - Lighthouse Productions (LHP) from Dubai created a unique visual design for the Islamic Art Awards 2017, staged at the Abu Dhabi National Theatre. Organized by the UAE’s Ministry of Culture & Knowledge Department, the Awards - a poetry, calligraphy and ornamentation competition open to local and non-local poets from within and outside the UAE expressing themselves in classical and Nabati verse - is widely recognized as one of the most important Islamic Art events worldwide.
The LHP team was led by Terry Miranda. When it came to lighting, he and Adrian Guzman specified 80 x Robe luminaires to be right at the centre of the aesthetic.
LHP has successfully been awarded the contract to deliver the event for the last 11 years, chosen for their understanding and appreciation of Islamic art, design and history, parameters which have been evident in all the different designs throughout the years.
This year the visual theme was based around schematics. The team extensively researched classical and modern drawings, calligraphy and graphics, and assessed how they could present this physically in a stage design, also making an emotional connection between a place of worship and its architecture. The idea was that by removing the actual walls of a building and leaving an outline – theoretical or metaphorical – they could emphasise the importance of the human element in any given space.
Lighting was absolutely fundamental to the design. Following through the notion of schematic drawings, the set – a skyline of elegant arched buildings and
UK - The Beach Boys and Deacon Blue are two of the latest acts to utilise the Adamson E-Series and S-Series loudspeakers.
Adamson's UK partner The Warehouse Sound Services working with promoter LCC Live designed a substantial Adamson sound reinforcement system for Montrose Music Festival’s 10th Anniversary event last month. The three-day festival featured headline performances from The Beach Boys and Deacon Blue alongside a range of other artists.
LCC Live has worked in conjunction with MoFest since 2013 and has been responsible for bringing top musical acts to the town including Status Quo, Madness, Jools Holland and Bryan Adams.
Montrose Music Festival or MoFest as it has become affectionately known as takes place at the end of May each year in Montrose, Angus. It has become a much anticipated, annual event across Scotland. 10,000 fans packed out the festival for the event.
Deacon Blue returned to perform at MoFest on Friday for the first time since 2009 when they became the only headliner in MoFest history to play shows on two consecutive nights after the first gig sold out in less than two hours.
The Beach Boys thrilled on Sunday with hits such as Good Vibrations, Surfin USA, Sloop John B, and Wouldn’t It Be Nice.
Systems engineers Aidan Thomson and Graeme Brown from The Warehouse created the system design with Mike Kerr Production manager for LCC Live.
The festival featured full complement of Adamson E- and S-Series line array modules and subwoofers. The Warehouse used left right arrays m
USA - Describing Father John Misty’s recent shows as “concerts,” doesn’t quite do them justice. There’s plenty of good music on the artist’s current tour in support of his Billboard chart topping Pure Comedy album, but his engrossing and provocative performance is almost as theatrical as it is musical.
Throughout his two-hour plus show the artist, whose real name is Josh Tillman, moves from captivating the audience with his rich lush sound, to startling them with theatrical flourishes. Dropping to a knee and clutching the mic to his heart one minute and emulating the hand gestures of a preacher the next, he enthrals audiences with his mix of music and drama.
Supporting this multi-faceted performance every step of the way is an equally engaging and varied lightshow that designer Peter Zellan is running with a ChamSys MagicQ MQ80 console.
Zellan, who has an extra wing with his console and has a rented MagicQ MQ100 as his backup, is using three universes for his 50-plus fixture ground package and an extra universe for his Catalyst Media Server. He designed the show with Capture Atlas Symphony Edition and is using Art-Net control protocol.
The flexibility of this package is playing a key role in the success of Zellan’s design for this varied international tour. Using his ChamSys desk, he moves seamlessly from sidelight stage washing in rich blues and reds, to rock style back lighting and aerial effects, to panoramic backdrop accenting, to theatrical spot and key lighting.
“ChamSys is able to move from being a cue by cu
USA - In May, some of Elation Professional’s newest, cutting-edge lighting gear was used by lighting designer Daniel Cortes of Everlast Productions on the Haitian Compas Festival in Miami, one of the largest Caribbean festivals in the United States.
The Haitian Compas Festival is a yearly celebration of the Haitian community that features popular musical acts along with traditional Haitian food and other facets of Haitian culture. After 18 years as a one-day event, this year’s festival was held over two days from 20-21 May at Bayfront Park in downtown Miami.
For Miami’s Haitian community, Compas was an opportunity to put the méringue sounds of konpa (compas) music in focus while partying beneath the bright lights of a truly contemporary rig. This year an all Elation rig provided the visual dynamics with some of the company’s newest lighting products in action: IP-rated Proteus Beam moving heads, Paladin blinder/strobe/wash lights, Platinum 1200 Wash lights and DTW Blinder 700 IP variable white LED blinders, as well as Elation’s award-winning Platinum FLX hybrid moving head and the long-time industry workhorse beam light, the Platinum Beam 5R Extreme.
Everlast Productions of Dania Beach, Florida, has provided lighting services for the festival for several years with Everlast’s Daniel Cortes serving as lighting designer and programmer for this year’s event.
The Elation lighting filled a series of horizontal trusses with some lights working from the floor. The new IP65-rated Proteus Beam worked from a downstage position and was us
UK - Since 2007 HL Audio has covered all the audio and lighting needs for the Glastonbury Avalon Cafe Stage.
Based in Frome, Somerset, the company began a long association with German sound reinforcement specialists HK Audio, first purchasing an Actor DX system and haven’t looked back since. Over the years, they have used two linked Actor DX systems, and at times a Projector system.
These days, directors Tom Pepler and Will Angeloro at, finding the full sound and amazing dispersion perfect for the eclectic mix of acts that frequent the Avalon Cafe Stage at Glastonbury. From rock bands to 10-piece funk bands, folk acts to world music, the LTS Systems deliver a crystal clear and highly efficient sound, making both FOH and monitor mixing a breeze.
For stage monitoring, they use a mix of the Premium PR:O PRO 15XD and Linear 5 L5112XA cabinets, as the quick changeovers and varying stage requirements demand frequent monitor repositioning for optimised sound.
“Recently, we have begun using the Lewitt wireless and wired range, as a new addition to our microphone stock,” says HL Audio’s Tom Pepler. “We are finding that more often than not, we reach for the Lewitt MTP250 over other microphones. The feedback rejection allows the artist to be heard clearly on stage, at higher volume HL Audio rely on two full HK Audio active LTS systemss, while also providing a clearer signal for better FOH mixing.”
He continues, “Overall, we are extremely happy with HK Audio. We have had a history of superb sound, happy bands, and satisfied crowds. Th