USA - Quickly becoming on the of the hottest stars in country music today, Cole Swindell has recently set out on the What the Hell World Tour with fellow country music superstar Dierks Bentley. Fresh off his very successful Down Home Tour, Swindell and his production team were looking for a fresh tour design to take on the road in 2017.
Once again working with tour provider Elite Multimedia, production manager James “Mo” Butts began the process of finding the ideal tour design and in the end, it was the creativity of Sooner Routhier at SRae Productions that was chosen to highlight the Academy of Country Music award winner.
“When we started outlining the new tour design we chose four designers that we really felt were doing great work and asked them to submit design proposals for a completely new production design,” began Butts. “As an artist, Cole loves video and it’s a primary request in his designs. He also likes a wooden, industrial look to his tours, and Sooner really did a great job of applying her own interpretation to the design requirements for a creative, new tour design.”
“With the set design, we were inspired by wooden and metal architectural elements. We wanted to find creative ways to incorporate those into the staging,” said Routhier. “Rule number one in scenic lighting is ‘light the scenic’. We did so with small LED up lights along the set carts and larger wash lights downstage.
Working together, Elite Multimedia and SRae Productions decided upon a tour lighting package that included Clay Paky Mythos, El
USA - Crossroads Christian Church has been growing in Corona, California, since it was founded in 1892. Now occupying a large, multifaceted campus including a modern 2500-capacity Main Worship Centre, the church welcomes around 7000 attendees every weekend to enjoy its message, and the sophisticated live show that frames it.
Tyler DeYoung is the technical director and FOH engineer at Crossroads, and has recently specified an SSL Live L500 digital audio console for FOH duties, which was supplied by systems integrator CCI Solutions.
"As well as the three services in the main auditorium, that space is also regularly rented out for music events and used for other special church events, explains DeYoung. "We run about 48 inputs every weekend - full drum kit, tracks, keyboards, two guitars, bass, five vocals, and a couple of acoustic guitars. On top of that we might add strings, horns, or more singers, depending on need."
The facility is currently fitted with 96 channels of SSL stagebox I/O to ensure plenty of capacity, whatever the challenge.
DeYoung's approach to sound at Crossroads is about providing impact, while being mindful of the message. "You'd probably say our services are on the louder side," he notes. "We don't want to hurt anybody, but we want it to feel full . . . Big. We want it to be exciting so no one will be afraid to sing out."
The SSL L500 provides both the PA and the broadcast / record mix from a service. For the main mix, DeYoung uses a basic set-up of input channels and VCA groups, while the broadcast mix is created from
USA - The Nashville Municipal Auditorium hosted the Youth Evangelism Conference in March. Bandit Lites provided the lighting package for the event for Orchestrate Experience with lighting designer Trey Meares and Orchestrate Production director Alex Fleming. Featured guests included Dave Edwards, The Skit Guys, Luke MacDonald and the YEC Worship Band.
Due to the audience size and the nature of the conference, Meares created an 'in the round' setup to an end stage in the arena, giving attendees the maximum amount of impact, while still being mindful of the calling of the conference. “Lighting always has the ability to drive the ‘mood’ of the room, and I make an effort to not let the technology overpower the message that is being delivered by the organisation,” Meares shared.
“On the other hand, lighting can make the room exciting for the attendees and can also be used to draw attendees into a more serious moment. It is essential to let the message speak for itself, but the lighting can complement what is being said.”
To drive that impact, Meares used a carefully crafted design that could emphasise both the collective worship moments for the audience and the noted speakers. VL 3000 Spots provided front light, delivering both widespread coverage and flipping over for beam looks in the crowd. Philips Nitro 510 C fixtures washed the crowd in light, and due to the power of the fixtures, also facilitated epic effect lighting for the entire arena.
“On stage, we had VL3000 Spots and GLP X4S Impressions; the combination of these fixtures
UK - Working for exhibition designers and producers event.live, Blackout were approached for the third year to provide rigging for Microgaming’s stand and bar at the ICE Totally Gaming exhibition at ExCeL, February 2017.
The Microgaming stand and bar designed and produced by event.live had a daily change in set design to encourage repeat footfall and stand out from the visually competitive surrounding stands. The final day of the show engaged delegates with a castle-themed bar, utilising Blackout’s rigging expertise to suspend a number of chandeliers from one half of the truss grid above the bar to surround guests with in-keeping decor, whilst being entertained by professional sandcastle sculptors organised by Microgaming.
Tim Searle, Blackout’s project manager and his six-strong crew, over the course of three days, supplied and installed 300m of black Prolyte H40v truss forming a rectangular grid from which over 430 kinetic lights were hung above the immersive exhibition stand. The 24m x 20m grid featured a double-layered truss perimeter, onto which 135sq.m of black sharkstooth gauze was attached creating an aerial perimeter of the exhibition stand below. An additional 480sq.m of black gauze was installed across the top of the truss grid, forming a dark ceiling layer. Blackout’s crew supplied 28 1 tonne hoists in order to winch the extensive installation into place above the stand.
Tim Searle comments: “In addition to the rigging work for event.live on the Microgaming stand inside ExCeL, our additional team of four installed a Microgamin
The Netherlands - Allen & Heath’s dLive S Class and ME digital mixing systems have been purchased to manage the On Stage live radio show for no.1 Dutch radio station, NPO 3FM.
The new radio show includes performances from live bands, and incorporates visual clips. dLive manages the live radio, floor sound and several feeds for live internet streaming. Comprising a S5000 and DM64 with DX32 expander rack, the system is fitted with MADI and Waves network cards, with an IP8 remote controller and a ME personal monitoring system, including 6 ME-1 mini mixers, for monitoring the bands. dLive is configured to provide three different mixes going to the DJ desk, and dlive communicates with the DHD radio mixer via Dante.
“As a fanatical iLive user, I was pleased to get the opportunity to purchase the dLive and ME systems. The learning curve was only about one hour,” explains Elwin Dorlas, who manages the On Stage radio show. “As I need to do a lot of mixing in a short period of time, dLive’s low latency and intuitive layout are key. I love the new FX, compressors and pre-amp modelling, and the I/O patching is spot on. The integration of the ME monitor system completes it for me, and the musicians love the level of control it offers them.”
Austria - World renowned lighting designer Björn Hermann employed 60 x Claypaky Mythos2 and 20 x Claypaky Supersharpy2 to deliver two titanic light sculptures as part of global crystal producer Swarovski's Festival of Light, hosted at their seven-hectare fantasy park Swarovski Kristallwelten (Crystal Worlds) in Wattens, Austria.
Lead creative agency for Festival of Light was Berlin-based international creative production company StudioNOW, who originated the project's concept. StudioNOW worked alongside Hermann and German art collective phase7 to create an adventure park of sound and light that included the two colossal light sculptures crafted by the beams of Claypaky's award-winning long-throw arc lamps. The Mythos2 and Supersharpy2 fixtures were supplied to the event by German event production and rental specialist satis&fy.
"The inspiration for the project came from the reflections in Swarovski's world-famous crystals, which gave us the idea of transforming the whole area of Swarovski Crystal Worlds into an enormous light crystal," explains Sven Sören Beyer, the founder and artistic director of phase7. "A huge light sculpture encompasses the whole park, uniting the individual elements into a single artwork that makes Swarovski Crystal Worlds shine in a new light."
Creating this overarching light element were 60 of the highly advanced, multi-award-winning Mythos2. The Mythos2 features a new and reliable Osram Sirius HRI 440W lamp, which ensures the extraordinary performances that have made the success of Mythos worldwide. The fixture also f
China - Nexo STM M28 has made its debut appearance in the great city of Shanghai, in a new entertainment venue that has become one of the main hotspots for both local and foreign visitors.
VShow, a five-year-old KTV brand, has recently made the leap into live music, commissioning the V Livehouse in the heart of Shanghai’s ‘club central’ on Huaihai Dong Lu, another sign that the Chinese nightclub and bar entertainment market is getting back on its feet. At V Livehouse, the band is the central attraction. The performance stage is embraced by high-end interior décor, superior food and beverage service, and top-class management.
For this environment, a high-specification front-of-house PA was essential. The STM M28 ‘omni’ cabinet was a perfect fit for the venue, offering high SPL from small unobtrusive cabinets. Three M28s per side were installed, fitted with 120° flanges because of the relatively short throw required. Below the STM clusters, four Nexo LS18 cabinets provided the sub-bass. A couple of Nexo PS10-R2s provide front-fill coverage, and outer edges of the room are covered by a total of four PS15-R2s.
On stage, twoPS10-R2s are used as stage in-fill monitors, installed in the ceiling in front of the stage and facing down towards it at an angle. Drummers have their own Nexo PS10-R2/LS600 monitor system.
All systems are driven by Nexo NXAMP4x4s and NXAMP4x1 powered TDControllers. A Yamaha QL5 digital mixing console is at front-of-house.
Nexo Shanghai dealer, Shanghai Haoyun Audio-Visual Equipments Co., Ltd. supplied the sys
UK - Winner of the 1991 Olivier Award for Comedy of the Year, Ray Cooney’s Out of Order is making a triumphant return to the stage. Starring television favourites such as Shaun Williamson and Sue Holderness, this classic farce will now embark on a nationwide tour. White Light is providing the lighting equipment on this production.
Out of Order tells the story of Richard Willey, a Government Junior Minister, whose plans to spend the evening with one of the opposition’s typists go disastrously wrong. This revival is being produced by Tom O’Connell and the lighting designer is Jack Weir. He comments, “Out of Order is a purposefully over-the-top, hilarious farce and typical of Ray Cooney’s work. The show takes place in real time, in the one location of a hotel room overlooking the London skyline. My role was to light the action and highlight the farcical elements which pervade throughout.”
He adds: “The set features several doors (with characters frequently coming on and off stage) and this really drives the action of the piece. Therefore, on a practical level, I had to ensure the play had enough coverage and that we believed the environment which designer, Rebecca Brower, had created.”
To achieve this, Jack drew on WL’s extensive equipment range to achieve his design. He comments: “I speciﬁcally chose the Martin MAC TW1. These offer a great deal of ﬂexibility; something which is vital when touring a show like this. When we visit venues, we have essentially less than a day for the ﬁt up so time is deﬁn
UK - Colour Sound Experiment supplied a lighting and video floor package for the latest run of live shows by talented music producer Bonobo (Simon Green), with a new lighting look for the stage designed by Will Thomas.
The tour is in support of Bonobo’s recent UK Top 5 album, Migration, released in January on independent label Ninja Tune Records. Will Thomas has previously worked on Bonobo’s extensive Black Sands and The North Borders tours, which culminated at the end of 2014 with a sell-out show at London’s Alexandra Palace.
Will has produced an energising and refreshing show to match the vibe of the music of Migration and its transitory themes. A major starting point for this was the visual material commissioned by Bonobo and produced by Strangeloop from LA, who also created the screen design which brought an architectural presence to the stage.
It was largely left to the ingenuity of Will and technician / rigger James Hind – with support from others at Colour Sound.
Enjoying a great working relationship with Colour Sound, Will and James started building structures in the warehouse and experimenting with different ideas for five individually supported LED screens.
The route they chose utilised six Guil Engineering UKL 800 XL tower lifts which were rigged with assorted trussing pieces to which the screens were then attached. These lifts are like a modern version of the classic rock ‘n’ roll Genie superlift . . . and were supplied, brand spanking new, by Neg Earth.
The screen was Colour Sound’s proprie
USA - Most of the fans who turned up at The Holding Company to hear a St. Patrick’s Day concert by the popular Irish band The Fooks were appropriately dressed in green. They weren’t alone. The well-known Ocean Beach music venue was also adorned in brilliant emerald, thanks to some imaginative lighting by Matt Collier and a collection of fixtures from Chauvet Professional and Chauvet DJ.
The touring LD for Brothers Gow, Collier took time off from the road to light the San Diego nightspot. He transformed its stage and exterior into a sea of green using Rogue R1 Spots and SlimPAR 64 par-style fixtures. “The Rogues and SlimPARs both render excellent greens, so it was pretty easy to create something that looked good,” he said. “It added to the spirit of the evening. Everyone wears green on St. Patty’s Day, but we got the whole building green, so it stood out.”
Collier positioned four of the Rogue fixtures on risers and used them for aerial lighting. “The output from the Rogues was great enough that I could give the stage a green glow with two of them,” he said. “At times, I would use the other two Rogues to create orange, so I had the green and orange of the Irish flag.”
The 16 SlimPAR 64 RGB fixtures in Collier’s rig were used to wash the exterior of The Holding Company building in green. “I put six SlimPARs on crank stands to the left of the building and six on crank stands to the right, and pointed them across the front,” he said. “This gave me optimal throw distance and even coverage. For extra coverage, I put four of th
UK - Situated at the heart of The University of Manchester’s campus, the Martin Harris Centre for Music and Drama recently underwent a significant refit, including the installation of a state-of-the-art, energy-efficient production lighting package, featuring a control desk, LED luminaires and power controls from ETC, and auditorium lighting from GDS, all supplied and installed by Stage Electrics.
An important arts venue for north-west England, the Martin Harris Centre offers students a fantastic space in which to study and perform, as well as hosting many professional musicians, performers and prize-winning authors. It provides an excellent space for contemporary and classic theatre, music and comedy events, and holds a reading series that has in the past featured such literary luminaries as Martin Amis, Will Self, John Banville and Clive James.
The project, which was made possible due to significant funding from the Faculty of Humanities, is part of a campus-wide initiative that supports the University’s commitment to environmental sustainability and saw a complete overhaul of the lighting in the venue’s Cosmo Rodewald Concert Hall and John Thaw Studio Theatre.
Longstanding supplier to the university, Stage Electrics was appointed to design, specify and install a complete lighting system for the two multipurpose facilities. Karl Spencer, the venue’s technical services manager, worked closely with Stage Electrics’ Rob Beamer and Karl Formstone to ensure the right solution was selected and installed.
“Energy efficiency was a drivin
Australia - Lighting specialist Resolution X, a company based in Melbourne and Sydney with an impressive track-record of high-profile production services, has recently supplied White Night Melbourne with lighting and rigging services. White Night is an outdoor art festival that attracts over 500,000 attendees each year.
The team deployed over 25 W-DMX transceivers and receivers over the White Night weekend through several spaces, from the Royal Exhibition Building (REB) and surrounding gardens.
“Our control position was at the heart of the Carlton Gardens, where we had our new compact GrandMA onPC command wing Systems, running two separate W-DMX networks, each with a BlackBox F-1 G4S transceiver, and an 19dBi directional antenna,” commented Mark Hopkins, of Resolution X.
The first receiving point was 80m away, on a roof, feeding DMX to IP64 ShowPro Quad PARs, Claypaky Mythos and Sharpys. “The second system was the more impressive one” added Mark. “We placed 40 ShowPro Hercules, our battery-powered LED wash fixtures, lighting the trees along the path through Carlton Gardens and up the REB. The system worked flawlessly over the 200+ m even with the antennae at only 1.8m high, and thousands of attendees all on their phones, creating a lot of noise in the 2.4GHz spectrum.”
In total, the team used a combination of BlackBox F-1 G4S transceivers, BlackBox F-2, and Micro R-512 G4S series, in a combination of transmitting and receiving to multiple locations, all interference and latency-free.
“We wanted to test how far we could go w
China - A new three-day music festival, Dragonland, made its debut on the Hong Kong event scene recently.
Billed as the region’s first outdoor festival to combine pop with EDM, it joins Clockenflap as the only large-scale event of its kind in Hong Kong.
The venue was the Central Harbourfront - part of the latest land reclamation in the Victoria Harbour. where Clockenflap also took place last year. It is thus perfectly located on the waterfront - in the heart of Hong Kong Island - with the amazing skyline as a backdrop.
Promoted by Playerone, a crowd of 15,000 people per day had been estimated, and in terms of production AHM Engineering supplied 20 of GLP’s award-winning X4 Bar 10 battens and 90 impression X4, as one of the mainstays of the stage set.
On the opening day, Leon Lai, one of the four heavenly kings of Canto Pop, presented the latest in his Penguins Live concert series. The artist has regularly been seen on stage accompanied by GLP’s LED fixtures since providing a Hong Kong debut for the company’s Spot One around five years ago.
On the opening day, the stage featured a super-long catwalk and AHM used additional truss posts to which 20 of the GLP X4 wash lights were fixed. This was part of a design conceived for Penguin Live by Stephen Hui, who also programmed the show on two grandMA2 Full Size consoles. “As for the battens, they were really impressive in giving an extra shake and life to the lighting design,” he said.
Day two and three were then handed over respectively to EDM and Pop - and visiting lighting
USA - Multi award-winning and Tony-nominated lighting designer Justin Townsend finds that he is using Elation Professional lights more and more since his first experience with them in 2013/2014 on the Broadway musical A Night with Janis Joplin. Currently, he is using Elation Satura Profile and Platinum Seven LED-based moving heads on the world premiere of Joan of Arc: Into the Fire, an exciting new Off-Broadway musical penned by David Byrne.
“Elation has stepped up in the last few years and you see Elation gear used more and more in theatre,” Townsend stated. “They have some fantastic products with great features and they make them very quiet as well. In an industry where more is more, the fact that you can afford twice as many lights with the Elation product is exciting. With more fixtures we get more colour and more effects on our productions. It’s a win-win.”
Joan of Arc: Into the Fire plays at the Newman Theatre in New York City, part of the Public Theatre company. The Newman is a well-known space where several of Broadway’s top plays got their start including Hamilton in 2015. An intimate yet long 300-capacity space that stretches deep to the back, Townsend was looking for lighting that could both embrace the intimacy and reach to the furthest recesses of the space.
The Satura Profiles wash the stage and set from a downstage lane, and also do FoH specials and aid with followspot duties. “It has a crisp, clean light and includes framing shutters which I use quite a bit,” he says. “It gives a very s
Algeria - French lighting designer David Seligmann-Forest of Paris-based Lite4Life chose 10 Robe DL4S LED profiles to be right at the heart of his lighting rig for MasterChef Algeria, which was recorded in a new purpose-built studio and former envelope factory in El Hamis, a suburb of the bustling, vibrant capital of Algiers.
David was working as both LD and director of photography for broadcaster the Allégorie Group who produced eight episodes of the series plus the finale, which was a huge hit with the public. He is one of France’s leading TV lighting specialists and has also worked on the French version of the series, which a few years back gave him the initial opportunity to use the first generation of Robe’s then DLS units.
He has been a fan of Robe for some time and is a bit of a pioneer when it comes to introducing LED lighting into French TV. A couple of years back, he was the first to utilize Robe’s LEDWash 600 fixtures on a variety of shows. “Robe was the first manufacturer to pay attention to the need in television for a good range of colour temperatures and produce an LED range that addressed this” he says, a philosophy that was then applied to all of Robe’s future LED ranges.
The DL4Ss – purchased by the Allégorie Group - were installed in the roof of the studio for the duration of the MasterChef Algeria recording period and also chosen for their shuttering capabilities “Essentially I replaced over 30 conventional fixtures with the 10 x DL4Ss, so this ultimately saved some production budget as well,” declared
UK - The Pleasance Theatre Trust has bought its first venue. Designed by Triple E, the pop-up 80-capacity ‘Project 33’ will launch at the ABTT Theatre Show in June before going on to host eight shows a day at the Edinburgh Festival Fringe.
A first major UK application for Triple E ModTruss, the award-winning Meccano-style construction system, Project 33 will provide a sought-after alternative for the courtyard-based Pleasance Beside.
In stark contrast to the prefab cabins which preceded it, limited to 8ft to fit through the archway access, Project 33 will arrive flat packed and provide a 13ft internal height to the benefit of lighting, production and performance.
With a unique clover and bolt-hole pattern repeated every 3” on all six sides, ModTruss has unlimited connection points, allowing the product weight to be reduced without sacrificing any of its strength. And with a huge line of accessories, wheels, hinges, plates, mounts, ModStairs and ModPanels among them, ModTruss can safely provide for almost any stage design.
Project 33 is designed for a fast build and breakdown. The flooring is created using joist hangers and timber joists. The main structure consists of 6” and 12” ModTruss, with sleeve blocks running up the masts to raise the theatre grid and roof in one piece via electric chain hoists. The cladding is a curtain walling system, designed by Triple E, insulated and sealed to keep out the elements.
At ABTT, The Pleasance will present performances in Project 33 and use the space to share a taste of its Fringe progr
Norway - ViFlyr is a new permanent exhibition at the Norwegian Aviation Museum which details the history of civil aviation within Norway. Truly a part of modern Norwegian culture and history, aviation has linked the country together, overcoming the mountainous terrain.
When Michael Loftus, curator at the museum and the man responsible for the care of the exhibits, was briefed with the task of preparing and suspending the aircraft, he brought Unusual Rigging on board to come up with an effective solution that would show off the objects to maximum effect while ensuring that each item was conserved and protected.
Michael explained, "It was quite clear early on that the suspension plan for these aircraft was complex enough to require specialist skills. I had previously worked for Engineering Conservation at National Museums Scotland and knew that Unusual had been contracted there. I also spoke with colleagues at RAF Museum Cosford to find out how they had suspended aircraft and they also recommended Unusual Rigging. The company's prior experience of aircraft within a gallery setting really made Unusual Rigging an attractive proposition."
Unusual's project manager Robin Elias and Chris Johnson, head of design and his team visited Michael in Norway for preparatory meetings and aircraft inspections and the aircraft were suspended in phases over several visits. Unusual Rigging manufactured and supplied attachments which were fitted to the aircraft, in many cases replacing the wing bolts.
Mike continued, "The fittings supplied by Unusual Rigging are we
UK - The Little Angel Theatre (LAT) in the heart of Islington, London, is a home for puppetry. Not only does the theatre serve to inspire and ignite the imaginations of young minds with its repertoire of productions but it also works to equip tomorrow's puppeteers with the tools they need to succeed. The LAT has a lively and imaginative education programme which works with local schools and community groups as well as providing training opportunities for puppeteers and puppet makers, helping to maintain this rare art form in the UK.
In 2014, the LAT took on a second building - a disused community centre behind Islington Town Hall. After a couple of years of using it for education and rehearsal space, David Duffy head of production, decided that it could be used to stage performances. With the support of the local council, the LAT made plans to install a lighting rig, sound system, track curtains, removable dance floor and flexible seating and chose to work with Doughty Engineering following a change meeting with Laurence Dyer at ABTT in 2016.
David said, "Initially, we were interested in the Modular Rigging System. Little Angel Theatre is a venue dedicated to puppetry and much of the lighting design for puppetry involves lots of side lighting. Our main theatre was developed to give as many rigging positions on the side walls as possible. Moving into a more open studio space which would be used as an education venue most of the time meant that we would be relying more on a fixed overhead lighting rig.
“The Modular Rigging System allows us to drop r
UK - Aliens have invaded earth and in order to save humanity you need to create a capsule with the best the human race has to offer – what would you choose?
That’s the very loose premise behind the new ITV show Harry Hill’s Alien Fun Capsule. Lit by lighting designer Martin Kempton, supported by Richard Martin Lighting, the show sees the responsibility fall to the wacky comic who gathers a panel of celebrities each week to deliver judgment on comedy moments, some of which are dug up from television gone by, some created in the studio to help fill the capsule. All to sway our new alien overlords to spare the human race.
The celebrity panel each week are put through their paces like all of Harry Hill’s victims in previous success TV Burp, with clips from television appearances dug up and commentated on with the dry and witty asides Harry is famed for.
For what is being deemed a spiritual successor to TV Burp, Martin has opted for lighting that accentuates the whacky and bright nature of the show. The rig comprises MAC Auras, VL1000TS, Pixel Par 90s, Alpha Spot 575 HPEs, Robin LED Beam 100s, Stagebar 54s, Chroma Banks and Chroma Floods.
Martin said, “Harry’s humour is cartoon-like so the lighting has to reflect this with bold, bright colours. I also had to be able to change the look of the set in an instant when a piece of music was played or a sting happened. Action could and did take place all over the set so this was no ordinary panel show. The rig I used gave me this flexibility.” Harry Hill’s Alien Fun Capsul
USA - Shaping Sound, the mash-up of contemporary dancers, musical genres and dancing styles has returned to the road with a new production with Shaping Sound: After the Curtain.
Bandit Lites is providing the lighting package for the spectacle which is cultivated under the artistic direction of Emmy Award winner Travis Wall and co-created with Nick Lazzarini, Teddy Forance and Kyle Robinson. The dazzling show follows the story of a man as he struggles to come to terms with the loss of his one true love, his struggle to find his creative voice and grasp the reality around him.
Co-lighting designers Nathan W. Scheuer and Teresa Fensler created a plot based on a typical dance set up, with four booms for side light and spreading out overhead electrics for high sides and a good down wash.
“In dance, the most important aspect of the design is obviously showcasing the form and movement of the dancers and secondary is creating that atmosphere that supports the choreography,” Scheuer said. “Shaping Sound is a unique company to work with, because not only does the show demonstrate the dancers technical ability, which I want the lighting to enhance, it also has a framing story that needed the lighting to help guide the audience through the performance.”
Drawing on Walls’s vision of an early 20th century, vaudeville feel, the lighting design features the warm, incandescent feeling and architecture of historic theatres to draw in the audience.
For the majority of the show, Scheuer utilized a range of warm and CTO based colours in addi
Estonia - The new Eesti Rahva Muuseum (Estonian National Museum) in Tartu has recently opened in a new single story state-of-the-art 350m long architectural masterpiece resembling a portion of a runway lifting upwards. It is built on the former Raadi Air Base just outside the cultural hub and second city of Tartu, and near to the site of the original Muuseum at Raadi Manor.
Around 100 x Robe LED fixtures – a mix of DL4S Profiles, DL4X Spots, LEDBeam 1000s and CycFX 8s have been specified and supplied for the Muuseum’s three main performance, event and conference spaces.
A government tender was issued for all the various technical elements. Andres Sarv, head of lighting at Tartu’s Vanemuine Theatre was brought in as a consultant for lighting and visuals, and he recommended the choosing of Robe after having an excellent experience with various Robe moving light and LED products at Vanuemuine’s three busy venues.
“Our Robe fixtures have been installed for three years now and are working every day. They have proved super-reliable as well as excellent creative tools,” he commented.
He and the Muuseum’s deputy director Viljar Pohhomov looked closely at their different venues and the activities planned for them, and based on this information, Andres also suggested the type and style of the fixtures together with Olev Luhaäär from Robe’s Estonian distributor, Tallinn-based E&T.
The Muuseum is a beautifully streamlined modern space carefully designed to maximise natural light by French based DGT (Dorrel.Ghotmeh.Tane) Archite
Spain - For more than 25 years, Sonopluss Canarias has been held in high regard by its customers, with quality and expertise its two fundamental principles of business. In the summer of 2016, Sonopluss Canarias took delivery of an L-Acoustics K2 system, the first in the Canary Islands, taking the company’s audio inventory to a new level.
The investment was one that the company had been keen to make for some time. “We had been talking for a number of years and they knew they wanted to make the change to L-Acoustics from their existing system,” explains Marc Neuhaus, owner of Take Off, L-Acoustics’ Spain-based distributor. “It was simply a question of timing.”
Sonopluss’s new system comprises 28 K2, 28 SB28 subs – purchased to service the expanding Electronic Dance Music scene in the Islands – along with 12 Kara and eight ARCS II.
“The first and main attraction of the L-Acoustics system for me is how it sounds,” says Simone Higuera, director of Sonopluss. “Marc did an A/B demo against our existing system and there was just no comparison. The L-Acoustics system was so much better that the decision was made there and then.”
The decision went beyond audio quality. The Canaries’ enviable position as an island paradise come with a downside. “We’re in the middle of the Atlantic, three hours away from anywhere by plane,” explains Simone. “It can take 10 days for shipments to arrive, and we also have a different customs and tax system from the mainland, which means we need to be self-sufficient. It’s not practical f
World - In a bid for the title “The hardest working band in show biz”, the Red Hot Chili Peppers have 52 dates booked for The Getaway tour across the US, Canada, Europe, and Latin America. Such a rigorous schedule requires rugged and reliable lighting fixtures, which is one of the reasons why the tour’s lighting rig features the Solaris Flare.
“We have 22 Flares arrayed on moving torms across the backline, 11 of them with two Flares each,” says the tour’s programmer Leif Dixon. “The Flares are great because they’re bright, bright, and bright! We also use four more on the deck as shin-busters. They don’t get as hot as conventional lights, which can be disappointing if you’re looking to heat up tacos like we used to do with the old-fashioned lights.”
Dixon adds, “The Flares are also extremely reliable. We love that they can just be on for long durations and don’t time out like a traditional strobe. And another thing we like about them – they’re bright! It’s great that they are so multifunctional and we can control strobe and wash features independently.
“This is the first time we’ve used Flares in a design and they’ve proven themselves beyond our expectations. We will absolutely continue to spec them!”
Lighting for the tour is provided by Premier Global Production of Nashville. Lighting design is by Scott Holthaus. Programmers are Leif Dixon and Zach Peletz; Narci Martinez is the production manager; lighting crew chief is Jason Henry; Lighting techs are Cort Lawrence, Greg Nunz, Ryan Sclavi, and Mark “Pa
Europe - André Rieu is a Dutch violinist and conductor who has consistently made it into the world's top ten grossing tours lists with his exposition of the popular classical canon. His Johann Strauss Orchestra entertains and involves audiences worldwide by mixing exceptional musicianship with immersive, light-hearted, and energetic performances.
Front of House engineer Wim Van Der Molen, who has been touring with Rieu for about 24 years is considered as much as part of the orchestra as the musicians. Rieu himself told Van Der Molen early in their partnership that the mixing console was to be his instrument – an instrument that has recently been upgraded to an SSL Live L500. The console, supplied supported on tour by Solotech, now mixes up to 128 inputs from stage for both the PA and monitors, from the FOH position. Also touring with the show is Solotech project manager and systems tech Alexandre Dugas.
The tour's previous digital console had been in service for 12 years when Van Der Molen decided to look for new blood. The old console was large, heavy, required a lot of flight case real estate, and the evolving show deserved a new generation of technology - a step up in flexibility, power, and quality. Solotech suggested he look at the SSL L500.
"I met with Roland Mattijsen of AEM in The Netherlands," he says. "Who introduced us to the SSL team. Of course, we know SSL by name and by reputation, and we had long chat and a demo there . . . Later we visited the SSL HQ in Oxford, UK, with audio tracks from the show, and after that we moved on to run