Russia - Claypaky's SharBar, the LED-based multi-beam effects light fixture, has been used to great effect on a live concert by popular Russian band, My Michelle, at the Volta Club, Moscow with lighting design by Russian designers David Misakyan and Dmitry Buryak.
Led by singer-songwriter Tanya Tkachuk, the band has enjoyed great success across Russia with its modern, soulful pop sound. For the Volta Club concert, My Michelle's producer, Pavlo Shevchuk, worked with Misakyan and Buryak to create a 'cool, club show' feel for audiences. The design played to the venue's compact 8m x 6m stage area, with a height of just 4.85m overhead to the stationary truss structures.
Misakyan explains: "When we thought about the production design we wanted something more than just truss warmers and colour washes - we needed a fixture suitable for dance pop-music, which would look good in a small club setting. Coincidentally, at that time I was contacted by Aleksey Zhuravlev from Russian rental outfit Global Show Trade (GST) who provided the fixtures for the My Michelle show. Aleksey asked if I was interested in using any new Claypaky SharBars on any projects.
"Thanks to Aleksey, we were able to borrow a SharBar for use during programming, so that we could check the virtual attributes with the real ones. Having the real device was very useful, we knew exactly how fast the pan, tilt and zoom worked. It really helped."
Misakyan says, "Without its motorised functionality, SharBar is already a quality LED batten. However, being able to set the zoom and have the optio
UK - Farnham Maltings has operated an arts and community centre for Farnham, Surrey, since the early 1970s. It offers a core of successful activities - a thriving music and theatre programme, a flourishing selection of workshops, monthly markets and regular film events. There is also a host of community users of the building - The University of the 3rd Age, Sugarcraft, Beerex and a range of voluntary groups.
In September 2015 the venue began an association with the University of Creative Arts (UCA), which now bases its acting and drama degree course on site. With investment from the University, Farnham Maltings has begun an upgrade of its technical facilities over a three-year period, with Doughty Engineering being brought on board to supply its Easydeck flooring during year one of the project.
Easydeck is a modular performance system, perfectly suited for smaller venues like Farnham Maltings, thanks to consultations with drama teachers, amateur groups and rental companies during its development, enabling Doughty to create an efficient, cost effective solution to temporary staging.
Julie Birkin, general manager at Farnham Maltings, explained: "Initially we contacted Doughty with the intent that they would just supply the kit; Laurence Dyer of Doughty offered to carry out a site visit in order for us to trial the Easydeck in situ. Whilst on site, we tested it for noise, deflection, different surface finishes; and ease of build, handling and storage."
She continued: "Laurence was able to add insightful tips on configurations, and weight loadings
UK - PRG XL Video recently supported production manager Iain Whitehead and Production North with lighting, video and rigging services for The X Factor Live tour 2017. Stopping off at 19 venues around the UK, the tour featured the stars of the 2016 series of the popular prime-time weekend television show.
Lighting designer Peter Barnes returned for his sixth X Factor Live tour to design the set, lighting and video screen layout. Peter explained the creative process behind the show: “I worked closely with creative director, Beth Honan, on her staging requirements and overall artistic look of the show. The general design complimented what the audience would be used to from the TV show.
“Although there was no particular brief given to me, with this particular show, there’s always been a video screen which opens upstage centre, and the rest just falls into place from that, filling in the background with screens and lights. Whilst designing the set and lighting layout to fit in with Beth’s vision, it was also of paramount importance for me to regularly liaise with Iain Whitehead and his production team, as well as my lighting crew chief, Steve Major to ensure the rig was practical from a technical and build perspective”
Lighting technology used on The X Factor Live tour included the PRG Best Boy spot HP, Vari*Lite VL3500, Clay Paky Mythos, Sharpy moving lights, A.Leda B-EYE K10 LED effects lights, and Solaris Flare LED strobes. Followspotting power was provided by Robert Juliat Lancelots.
Discussing his choice of lighting fixtures, Peter B
Germany - Berlin-based Complete Audio recently took its Martin Audio MLA system out with long-term client, KIZ on the band’s latest tour, Hurra die Welt geht unter (which translates as "Hooray the world is going down”).
André Rauhut’s company has been working with the local politically-based hip-hop band, comprising three MCs and a DJ, since they first set out playing small clubs many years ago. This was their third major tour together - and it was FOH engineer, Rainer Noll, who also happens to be one of Complete Audio’s long-time sound specialists, that specifically requested MLA.
The tour took the band through the established German arena and music hall circuit. Over the years the PA company has built a large database of MLA Venue Files - ranging from hockey arenas to city halls -and this data is available to their techs either online (or via Dropbox). This enabled quick optimisation of the system at each venue on the itinerary by system techs Thomas Birnbaum and Martin Eckert.
Complete Audio were able to run their full MLA system without delays, fielding up to 10 x MLA enclosures (and an MLD Downfill) each side, depending on venue size, while out-fills consisted of up to eight MLA Compact elements per side. Meanwhile, 16 MLX subs were distributed alongside the stage in a broadside array to ensure even coverage throughout.
“Everyone knows what they are going to get with MLA,” declared André Rauhut. “And that’s why it was specified in the first place.”
The Netherlands - Shelter nightclub in Amsterdam is home to a new, four-point Funktion-One Evo sound system from Think! AV. The venue has quickly established itself on the international clubbing map, thanks to an uncompromising approach to quality.
Located beneath A’DAM Toren – a large tower behind Amsterdam's Central Station on the northern banks of the river IJ – Shelter is a 700-capacity, underground clubbing space. A’DAM is short for ‘Amsterdam Dance and Music’, which reflects the direction of the owners and businesses that now occupy the building. The tower was built by Shell in 1971 and was a base for the multinational oil and gas company up until 2009. When it moved out, music moved in.
Shelter’s general manager, Merijn van den Heuvel, explains the idea behind venue: “To be a clubber’s club, with sound, quality and vibe as top priorities in every decision we made from day one. A great clubbing experience starts, without any exception, with a great sound system and the acoustics to make it sound even better.
“Bróna Lynch, our lead engineer, has been especially invaluable. She’s been with us from the start and helped plan the acoustics, set up the system and tune it to what it is right now - a first-class musical experience over our four-point Funktion-One system.”
Think! AV’s Remco van der Werff consulted with Shelter for almost two years before it was decided that the company’s Funktion-One solution was the best option. He recalls: “They were thorough in their research and wanted to test various loudspeak
South Africa - This year will celebrate the sixth St Mary’s Battle of the Bands competition and for the third year DWR Distribution is a sponsor once again, prizes including a dot2 Node, DMX Dongle and training. The competition has moved on in regards to the technical rig and now includes a National Schools Lighting Competition. Barry Stydom gives feedback on the growth and interest from the children in this exciting project.
Barry Strydom is the manager at St Mary’s The Edge Theatre in Johannesburg and has been part of Battle of the Bands since the very start. “Six years ago, we started with a totally generic rig with piles of gobos and gels,” he smiles. “It has grown to a point where any professional band would be happy to perform on the set. Then in 2015 we introduced a lighting competition and while for the last two years only Johannesburg schools have been involved, this year we were hoping to draw entries from at least five provinces.”
The lighting competition preliminaries will run using MA dot2 on PC and dot2 3D visualizer V126.96.36.199, and entrants will receive a song and showfile digitally and then be expected to programme a lighting show to compliment the music. Barry will provide training to assist entrants and their showfiles will be submitted to him by 15 June. Those selected will move forward to the final competition. The winner of the competition also gets to light the actual Battle of the Bands competition.
What Barry enjoys most about the lighting competition is the fact that it is one of very few opportunities for young p
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, fantastic 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, kindly 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 t
USA - With 16 studio albums and nearly 60m records sold worldwide, the multi-platinum recording artist Alan Jackson has solidified himself as one of country music’s leading talents. In a career that spans over three decades, Jackson is still hard at work touring the nation for his dedicated fans. Needing a new production design to support the current Honk Tonk Highway Tour, the management team once again enlisted the creativity of Craig Rutherford, Blueshift Design, who in turn called upon Nashville-based tour provider Elite Multimedia.
“Since we have had such a long relationship with Alan, he is sort of ‘hands off’ when it comes to the designing of the production for his tours,” began Rutherford. “I typically start the process by reviewing the designs from previous tours, and then finding new ways to change it up to keep the tour fresh. Afterwards, I then speak with Elite Multimedia to select the gear needed within the specified budget, and I submit the plan to the production manager for final approval. This team has been together for a while now and Alan really trusts everyone to provide him with the best designs possible for his tours and that is really what we all try to do
“I am always looking for ways to make the show look bigger and more visually interesting,” continued Rutherford. “For the last couple of years, we used our wash fixtures on the downstage truss and we had a lot of top light in the air above the band. This year, we moved all those fixtures upstage and added verticality to create a wall of light that worked in conjun
USA - Long before the cry “Drivers Start Your Engines” marked the start of the 101st Indianapolis 500 at 12:14 pm on Sunday 28 May, over 30,000 EDM fans at the speedway were already racing through some slick bangers at The Snake Pit Presented By Coors Light. Held on the track’s infield at Turn 3, this one-day festival within an auto race kicked off at 7 am and kept going until the chequered flag was waved track side.
Accenting the performances from the likes of Zedd, Marshmello, and Adventure Club at this year’s event was a Collyns Stenzel designed light and video show that relied on Chauvet Professional COLORado fixtures to help it stand out against the Indiana sun.
“This is my third year designing this show,” said Stenzel of White Light AV. “It’s fun to see all these fans have the time of their lives in a unique setting. However, there’s also a challenge because the entire festival takes place in the sunlight. This is probably the only event I have ever been involved in that opens before sunrise and ends before sundown. Every year we and the team at CSP (Chris Schroeder Productions) push it a little harder, make it a little bigger and add just a little more ‘lit’ to it.”
Helping Stenzel achieve “more lit” at this year’s Snake Pit was a collection of 54 COLORado Batten 144 Tour RGBWA linear washes. He used these LED fixtures to break up and accent his massive 50ft tall by 160ft wide 8K resolution video wall. Divided into eight sections of varying shapes and sizes, the slightly bowed video wall dominated the festival st
UK - Richard Martin Lighting (RML) supported LD Richard Bowles in lighting one of the biggest nights in the current election campaign as Theresa May and Jeremy Corbyn faced a live audience and Jeremy Paxman in May v Corbyn Live: The Battle for Number 10.
Aired live from Sky Studios on Sky News and Channel 4, Jeremy Corbyn and Theresa May separately faced audience questions before being grilled by Jeremy Paxman on key issues such as Brexit, social care and the economy. With the General Election just a week away and the polls narrowing between the two main political parties, the night proved illuminating on both sides.
Lighting for May v Corbyn Live was designed by Richard Bowles, supported by RML and a vast rig was employed. As well as the interior lighting for the debate, Richard also designed the lighting that surrounded the exterior of the studio and an emphasis was placed on LED products for both sections.
Inside the studio, the staging was open, letting the party leaders face the audience head on and the lighting succeeded in keeping the leaders open and uncovered as they faced questions from the live audience, and during the interview with Paxman. For the interior lighting, Richard used a variety of lighting with MAC Auras surrounding the stage, joined by GLP X4 units. Accompanying them were VL1000TS, GLP Impression and SL LEDSPOT 300 units.
The British weather can never be relied on, especially on a bank holiday so the lighting outside the studio consisted of waterproof fixtures. A crowd of SGM P5s were strategically placed and used to f
Argentina - Award winning Argentinian lighting designer Ariel del Mastro was asked to add his own touches of lighting inspiration to latest thrilling stage show created by choreographer / producer Flavio Mendoza, Mahatma, which played the summer season at the Luxor Theatre in Villa Carlos Paz, Cordoba and has now transferred to the Teatro Broadway in Buenos Aires.
The show is Indian influenced, featuring a blend of exuberant and reflective music and dance capturing the humour, colour, diversity and wisdom of the culture in a vibrant and animated performance for which Ariel chose Robe moving lights as his principal fixtures.
Fourteen Spikies, 18 Spiiders and 16 Squares were on the rig at the Luxor – the first time all of these new fixtures made their theatrical debut in Argentina.
The big challenge in lighting the show, said Ariel, was to capture the many emotions and expressions, for which he needed some truly versatile lighting options.
A large amount of LED screen upstage also dictated that bright luminaires should be used that would cut through the high ambient light levels onstage. Added to this, several moving scenery pieces come in and out throughout, so lighting on the performers additionally needs to be fine-tuned to avoid shadows or other surprises or obstructions!
Flavio Mendoza himself was also keen to use the latest technologies on his show.
When Ariel first saw the Spiiders a month after their launch at LDI 2016, they were a must-have for the lighting plot, together with Spikies and Squares which he also saw
UK - At the end of 2016, Autograph Sales & Installations completed an extensive installation at the New Adelphi Building at The University of Salford, providing an audio system that accommodates the needs of a multipurpose, flexible venue. A DiGiCo SD9 digital mixing console adds extra versatility to the 350-seat main theatre.
The theatre has been designed to be re-configurable to allow it to host a wide variety of performances. This includes seating and stage placements that can operate in five main modes: end firing; long traverse; short traverse; thrust; and in the round; as well as a dedicated cinema set up.
The SD9 and a DiGiCo Orange Box are key to the system - which includes an extensive EM Acoustics loudspeaker system, QSC digital signal processing and Sennheiser microphones - with system inputs being fed through it as required. It is programmed as an LCR and Sub system via the matrix outputs, with the provision for more inputs if needed.
“The SD9 was specifically chosen for its versatility and the potential to upgrade to the Theatre specific software at a later date,” explains Autograph’s Euan Mackenzie. “Since it was originally specified, DiGiCo released its Stealth Core 2 software (which was supplied pre-installed) making the console even more flexible.”
Although the University’s technical staff had a basic understanding of the console, Autograph’s Peppe Mallozzi covered training with them from the ground up.
“Peppe spent a day with the tech team, covering all that the console can do, and worked wit
Europe - Kiev delivered on its promise to present an awesome show and Green Hippo technology was key to the 62nd Eurovision Song Contest looking better than ever.
Bringing together a crack team of skilled practitioners, this year’s Green Hippo Eurovision team’s video production heavily featured in the visual design of the show. Highlights included a large LED wall behind the stage, LED floor, Pixel-mapped lights and a projection-mapped arch over the stage. To help ensure the polished performance the MA2 and time code-driven set-up used a total 16 Green Hippo Boreal touring Media Servers, all running Hippotizer V4.2.1 software. At any one time, up to nine of the Boreals were active, driving a complex set-up.
In addition to Green Hippo itself, various companies supplied the legion of Green Hippo Boreals: DigiGobos / Beacon Gobo Group: exclusive Green Hippo distributor in Sweden & lead supplier of ESC 2017; Brightgroup (Sweden / Finland); Pixelfields; Fix8Group and Trust Rental (Germany).
The technical team drew from a number of Green Hippo staff and partners, with special thanks going to: Jerry Appelt, lighting designer & DoP; Gravity Germany, content design; Hans Cromheecke, technical manager video; Nick Charalampidis, media server supervisor; Sebastian Huwig, media server operator, and Nicholas Hansen, media operator.
James Roth, head of sales & marketing at Green Hippo, said: “Between SHAPE, Pixel mapping, video mapping and deep integration with the MA2 control system including CITP into MA’s Visualiser, this year’s Eur
UK - Award winning lighting designer Francis Clegg applied his imagination and magic to the latest Snarky Puppy UK tour, where his penchant for creating interesting and different visual environments is perfectly suited to the band’s improvisational instrumental jazz-pop sounds.
Colour Sound Experiment was delighted to be the lighting and video supplier for the tour. The west London based company has worked on other projects with Francis, part of creative practice design MIRRAD, including most recently, Giggs and Kano. “You know that a design will look fresh and alternative when Francis’ name is on it,” commented Colour Sound’s H (Haydn Cruickshank).
Francis worked on Snarky Puppy’s 2015 UK tour, their first with full production. He finds the fluidity and organic nature of the music and performance very inspirational. Every show is unique, and that provided a clear starting point for the visual design … which also had to be infinitely flexible.
This tour also took the production levels up a notch with the addition of a remote operated robo-cam (utilising Panasonic AW-UE70 4Ks) system which was also operated by Francis along with lighting and the live mix, who took the challenge of multi-tasking in his stride.
Onstage in the full set up - were 10 x 2m wide super-light screens custom made by Hangman, arranged in two rows of five on two separate trusses.
These were all rigged on Robe MediaSpinner 50 ATs, which proved a neat solution, with a Portman P1 retro lamp on the reverse side of the screen, chosen for complete contrast an
UK - “Our current count is nine Audient desks,” says Richard Liggins, technical production manager at the University of West London (UWL). “Seven ASP8024s and two ASP4816s, plus a number of ASP510 5.1 monitor controllers and an ASP800,” which puts it in the running for the facility with the most Audient desks in the world.
Most recently, London College of Music (LCM) - part of the UWL - opened Paragon Annex Studio complex, an investment of more than £1m in the development of seven new recording studios, which includes two each of these Audient consoles.
Liggins explains: “Audient desks reflect a very clear design ethic in terms of the signal flow through the desk. We teach audio studio recording from first principles, and that means an understanding of signal flow through a traditional multi-track studio as a base for all other techniques in audio recording. The in-line architecture of the Audient range supports that teaching very well.”
With this latest enhancement of its existing provision, LCM’s studio complex just down the road from the UWL Ealing campus, is now one of the biggest of its kind in the world. “Audio wise the desks hold their own in a professional studio environment,” confirms Liggins. “The mic pre’s are clean and accurate, the EQ is flexible and supports the teaching of parametric EQ well, and the usual complement of Aux’s etc. are well ordered and clearly marked.
“We decided to standardise our main rooms onto a single platform some time ago, to allow better transfer of technique from the teaching s
UK - The Vamps recently completed a sold-out arena tour of the UK as part of the first leg of their world tour, before joining up with Little Mix as they head in to Europe. Lighting, video and rigging technology and services were supplied by PRG XL Video - with lighting design by Peter Barnes and video content direction by Stuart Merser, using the latest live image manipulation tool: VideoDust.
Created by Stuart Smith and his business partner Phil Woodhead, of Brighton based technologists Thundering Jacks, VideoDust is a user-friendly, intuitive tool for creating original video content in real-time from a live source. Stuart Merser has been the only video director outside of Thundering Jacks to use VideoDust/Cat combination on touring productions, he explained why he is such a fan: “I’ve been touring for over twenty years and VideoDust is one of the most impressive tools I’ve worked with.”
Stuart Smith explained how VideoDust came into existence: “My background is in gallery based, interactive visual art. In around 2011 I was invited to create some unique content for a Peter Gabriel tour, where he wanted to do some funky effects, with the image on-screen breaking into shards of glass whenever he moved his hand in a certain way. Word got around and people in the touring industry thought it would be amazing to have the capability to do stuff like this on more live shows.
“Shortly after that I met my business partner Phil Woodhead, who was working on Kings of Leon; I ended up joining the tour with a very early version of VideoDust—from wh
USA - Flogging Molly concerts tend to be raucous affairs with plenty of moshing, sing-alongs and foot stomping energy, as this seven-piece band steamrolls its way through its unique blend of Celtic and punk music. Lighting designer Peter Therrien of JDI Productions is capturing these good time feelings on the band’s current US and European tour with a colourful, fast-moving lightshow created with Chauvet Professional Rogue and Legend fixtures.
“Lighting this band is a great experience, because they have such a strong connection to their fans and their energy is contagious,” said Therrien. “I wanted to give this show some big looks with lots of colour, aerial effects and movement to match the party atmosphere at a Flogging Molly concert. At the same time, I also wanted to be able to slow things down for when the band takes a pause to do ballads and slow jams.”
Therrien is getting the energy and versatility he wants with a rig that includes 10 Rogue R2 Washes, six Legend 230SR Beams and four blinder panels. His standard plot for the tour calls for a collection of four Rogues and an equal number of washes to be positioned on upstage cases. An additional two Rogues and two Legends are placed on the upstage deck, while two more Rogues are arranged on either side of the mid-stage deck, and the four blinders are flown on downstage truss.
“The Rogue washes are giving me great colour saturation on the stage,” he said. “They’re also washing the band’s iconic backdrop and backlighting the individual artists. I can change the colours I’m c
UK - Sunday 14 May saw the final match at White Hart Lane, home of Tottenham Hotspur, before the ground is demolished to make way for a new stadium in 2018. A victory for Spurs on the day and the atmosphere could not have been more emotional.
“The closing ceremony proved a triumph,” said Andrew Zweck of Sensible Events who helped produce the ceremony with Spurs. “Broadcast live to over 13m fans around the world, Sky Sports commentator Martin Tyler said after the ceremony, ‘this is a club that is doing everything right’ and I’m sure I heard 13m voices say, ‘Aye’.”
Zweck is a season ticket holder and as a fan was happy to help. “What we did was bring in rock and roll companies because this had to be fast and be really classy. Phil Mercer at Unipix provided an additional big screen up on Stageco towers, and all audio came from Britannia Row.”
Tom Brown, Brit Row’s project manager for the event explained how months of meetings preceded the event. “The fact is it needs a lot of care and attention to detail. This is 2017 and audio has to be perfect, not just within the stadium, it has to be perfect to broadcast as well. We were not allowed to place anything around the pitch before the game had ended, apart from a small amp’ station placed well behind each goal and fully padded just in case. We had barely 20 minutes after the match ended to have everything on the field and ready to go live to broadcast.”
The complete system comprised 11 stacks of L-Acoustics Kara including SB28 Subs around the pitch perimeter, two Yamah
Dominican Republic - Over the past 30 years, FOH Engineer Jose Amable Frómeta has worked with some of Latin America’s most popular recording artists. With a résumé that includes Juan Luis Guerra, Marc Anthony, Juanes and Ricky Martin, Frómeta recently added DPA Microphones’ d:vote 4099 Instrument Microphones to his arsenal of equipment.
Frómeta has been using DPA microphones for about a year now. “In a private engagement in Chile with artist Juan Luis Guerra, the local audio company provided us with DPA d:vote 4099s as replacements for the ones specified on our input list,” says Frómeta. “I wasn’t sure what to expect, having never used them before. I used them on saxophones and was so amazed with the sound that I purchased three the following week. The mics are simply great.”
One of Frómeta’s previous audio challenges has been solved with the use of DPA’s d:vote 4099 mounting system. “I don’t like using clip-on mics on congas because I end up rolling off more low end then I would like to in order to get rid of that thumping sound you get every time the musician hits the conga drums,” adds Frómeta. “The d:vote 4099’s clip-on mounting suspension system works great and is like having the microphones on a stand.”
Another feature of the d:vote 4099 that stands out for Frómeta is its flexibility. “With its three-part system, I have the ability to replace the connector, the cable and the capsule. This is a very well thought-out feature,” says Frómeta. “In addition, with the d:vote 4099s, I am able to use much l
Chile - Urdile Audio & Iluminación, PR Lighting’s Chilean distributors, are just one global partner that has been achieving extraordinary success with the Chinese manufacturer’s XR440 BWS, and its smaller sibling the XR330 BWS (denoting that these hybrid, high output moving heads combine beam, wash and spot effect).
The XR440 BWS houses a powerful Osram Sirius HRI 440W lamp, and features include an advanced colour index with CYM linear colour mixing system, with macro; colour wheel with 12 colours and CTO plus open; bi-directional rainbow effect at variable speeds; step/linear colour changer; fixed gobo wheel with 13 fixed gobos plus open, and much more.
Urdile have been working with PR Lighting for the past four years, both as a distributor, but at the same time demonstrating product durability through its rental division.
This year alone the 15,000-seat Movistar Arena in Santiago has played host to Juan Luis Guerra y Los 4.40, Slayer, Maroon 5 and Farruko, all of whom have used large quantities of the XR440 BWS in the different set designs.
According to the company’s MD, Andres Urdile, “This enables our rental clients to see just how effectively PR fixtures function in our shows, and gives them the confidence that if Urdile says that PR Lighting is good, then they will trust it and buy it. We offer them as perfect alternatives to brands they are used to, and they readily accept.”
Andres is clear as to how the XR440 BWS has earned its popularity - largely through high quality at an attractive price. “It is a durable lum
Canada - Located within an old church building in Little Italy, Revival Bar has become a live performance hangout for the Toronto music community and fans since opening in 2000. While its designation as a Toronto historic building requires preservation of the building’s frontage, there is nothing to prevent modernization inside. That is why general manager Mathew Saturnino recently decided to upgrade the 400-capacity venue’s sound system with the Electro-Voice X1 system from the X-Line Advance line-array loudspeaker family.
"There’s a lot of competition in live entertainment, and quality of the sound system is one thing that sets one venue apart from another," notes Revival Bar general manager Mathew Saturnino. "We wanted a system that would sound great, with really good, tight sound output within the room. We did a lot of research, and the X1 from Electro-Voice seemed like the perfect fit – newer technology that would give us a very good competitive edge."
The installation was performed by Mississauga-based integration firm Pure AV, with the system being designed by Clint Alves of SoundSoft Productions, Toronto.
Using Electro-Voice LAPS software, the design is based around two five-box arrays of Electro-Voice X1-212/90 loudspeakers, augmented by four X12-128 dual 18-inch subwoofers. The entire system is powered by six Electro-Voice TG7 amplifiers, all outfitted with RCM-28 network and DSP modules to enable easy monitoring and control via IRIS-Net software. The team at PureAV ran the wiring in advance so that, once the shipment of loudspeak
Italy - Protected Paradise is a striking, 12m high, mixed media installation created by Belgian artist Koen Vanmechelen, located in the garden of the Palazzio Francetti for the 2017 Biennale di Venezia (Venice Biennale) contemporary visual art exhibition.
Luc Peumans of Painting with Light was contracted to light the work, a thought-provoking piece encouraging viewers to engage and question the impact of humanity on a rapidly transforming planet.
It consists of two bronze trees, a 4m bronze chicken claw (symbolic of the human being), two eggs made out of marble and fibre respectively (the eggs of hope) and an impressive cage constructed from recycled material, made by ECO-OH!
The bottom egg is constructed from Carrara marble and weighs 12 tonnes.
The overall construction of the piece was managed by Koen Verhaert of ECO-OH!, based at Laakdal in Belgium and they asked Luc on-board for the intricate task of lighting the piece, working to a brief from Koen Vanmechelen himself.
Luc is used to challenging lighting and visual projects, but this was on an altogether other level, he explained, “It needed an exceptionally precise and delicate approach. The responsibility of lighting someone’s creative and emotional expression is intense. It’s nerve-wracking BUT also extremely rewarding!”
Luc had just two weeks to craft a lighting scheme for Protected Paradise and, in line with the context of the work, it needed to be as carbon-neutral as possible.
He contacted Antwerp-based architectural LED lighting manufacturer and spe
Germany - Four years after their last live appearance, German tour promoter Karsten Jahnke has brought lmusician, producer and engineer Alan Parsons and his band back to Germany, playing 13 dates throughout the country in May. A Yamaha Rivage PM10 console has taken care of the intricate Front of House mixes for these much-anticipated performances.
Playing a mixture of indoor and outdoor shows, the nine-piece Alan Parsons Live Project is being mixed by Emmy-nominated FoH engineer and production manager Ross Pallone.
The Rivage PM10 console has been supplied by Lüneburg-based audio production/installation company PM das Systemhaus für Medien- & Veranstaltungstechnik (Profi Musik), with these shows being the first time that regular Yamaha user Ross has got up close and personal with the new flagship console.
“For us, the most important thing is that the sound has to be very high quality - that is what Alan’s fans expect and I want them to have it. I want them to be really impressed,” he says,
Ross has around 48 inputs for drums, bass, two electric guitars, three acoustic guitars, four keyboards, vocoder and nine vocal microphones.
“First and foremost, the PM10 sounds amazing!” he says. “But I also love the way Yamaha consoles are laid out, especially this one and the CL5. I like the fact that the Rivage PM10 has banks of 12, instead of the standard eight on most consoles. It also has 12 Custom Fader possibilities on each bank, plus 12 DCAs. I constantly need to get to a lot of inputs very quickly on this show, so it make
Mexico - Latin American artist Ozuna recently started his world tour in support of the Odisea album. Lighting designer Alex Soto’s first choice for lighting control was two dot2 XL-F to control a set consisting of more than 100 fixtures.
Soto commented: “The dot2 is an amazing console to do any kind of show. It is fast to programme and easy to use. It is really an amazing console for a fast live show. We had a quick access to the different kind of options of the fixtures and could create different types of effects in a short time.
“We had the performance divided by scenes that took the audience to a unique experience”, continued Soto. “By this they could feel and live the music. All of this to show how much the artist has grown in a year and a half of his musical career.” The lighting equipment was delivered by PRG Mexico.