UK - Matthew Bourne’s latest show Early Adventures is making a triumphant return as part of the company’s 30th anniversary celebrations. The show sees Matthew Bourne return to his roots with a programme of early pieces that launched his career and saw the birth of his enigmatic style. Following the company’s work on Matthew Bourne’s previous show The Red Shoes, White Light has been called upon once again to provide the lighting equipment.
Early Adventures is a triple bill of classic Bourne work: The Infernal Galop, Town and Country and Watch with Mother. The set has been designed by long-time collaborator Lez Brotherston with a lighting design by Andy Murrell. Andy comments: “My role was to create a design that would be suitable for the overall show whilst also ensuring that each piece had its own individual identity. For instance, The Infernal Galop envisions France through an uptight English imagination, while Town and Country is very much a pastiche of a bygone 1930s whereas Watch with Mother is closest to a more contemporary dance feel.”
Andy worked closely with both Lez and Matthew to ensure his design managed to create the feel that was essential to all three pieces. Andy comments: “Once I decided on my look and feel I immediately approached WL to provide me with the exact equipment I needed”.
Andy drew on a range of fixtures, including 16 x Martin MAC 700 Washlights, Philips Vari*Lite 1000s AS, ETC Source Four Profiles and ETC ColorSource Profiles. There is also a
UK - Working alongside lighting designer/director Sturat Pring, LED Creative provided an array of their Alpha 60 RGB Wand Kits to add highlights to an absorbing performance by Ray BLK for Deezer Next, a new programme supporting music’s next generation.
Using the Alpha 60 to great effect, Stuart positioned the wands to create an intricate layered backdrop that pulsed in time with the rhythm, adding subtle accents to a suite of soulful, stripped back versions of songs by the newcomer.
Available as ‘plug and play’ rental kits, the LC Alpha Soft RGB Wands are available in a choice of length and colour temperature to provide a versatile, highly controllable illumination solution. For the Deezer installation the LD cleverly added a sense of depth to the intimate studio choosing to ‘float’ the wands within a haze filled darkness, creating a simple monochromatic ambience that allowed the soul filled, acoustic performance shine through.
LD Stuart Pring said of the show: “I was looking for a solution that would be relatively quick to set up but would still allow us to create an interesting backdrop. The LED Creative Alpha Soft Wands were a perfect choice - bright, controllable and a really effective accompaniment to the music.”
Commenting on the project, LED Creative director Ges Smith said, “Used creatively, our Alpha 60 Wand Kits are an effective tool that can add interest to what might look like the simplest of installations. Stuart did a super job on his Deezer project - cleverly working within a fairly limited space to add subtle mo
UK - Wayne McGregor’s highly-acclaimed Woolf Works - his first full-length work for the Royal Ballet - returned for a revival performance at Covent Garden’s Royal Opera House. The ballet triptych is based on Virginia Woolf as viewed through her three major novels: Mrs Dalloway, Orlando and The Waves.
The high-tech multimedia production features an original score by Max Richter that called for a complex sound design by Chris Ekers, enabled and energised by a TiMax2 SoundHub spatial audio processor.
As this was a revival, the original challenges of a score incorporating both electronic music and a live orchestra, set in an environment not optimally suited to amplification, had largely been addressed previously. This time around, due to the efficiency and flexibility TiMax brings to multi-channel spatial audio production workflows, it was mostly a case of, “recalling the show file and off we went!” Ekers explains.
This versatility and ease of reset are principal reasons TiMax was essential to the multi-element spatial sound design, Ekers qualifies, “The key thing here is that rehearsal and production time for a revival is scheduled to a bare minimum. The opera house does not have a device to control every loudspeaker from one place and originally TiMax enabled us to create just that very quickly. This time around, what is especially good about TiMax SoundHub is that all system settings were immediately recalled, along with all the localisation and dynamic spatialisation data.”
Loudspeakers in the Royal Oper
The Netherlands - Nearly 100 Claypaky Sharpys were exclusively selected to deliver an immersive eight-hour light show to 2,000 partygoers at an underground club night that was hosted by trailblazing Dutch techno music agency Claydrum at Complex nightclub, Maastricht for their New Year's Eve celebrations.
Dutch production designer Joël Lemmerling, from Maastricht-based production company, Stöd, selected 96 of the multi-award winning Sharpy fixtures to create a fastidious design formulated by gridded white, coloured and UV light beams and clever manipulation of angles. The fixtures were supplied to Stöd by Claypaky's Belgium distributor AED.
"We wanted a fixture that could deliver perfect beams of light that were easy to see, even with colours that are normally less visible, like red and UV," says Lemmerling, who utilised the Sharpy's 14-option colour wheel in conjunction with its interchangeable gobo wheel, strobe effect system and eight-facet rotating prism in the design.
"The Sharpy offers an impressively high output and has always proved reliable," explains Lemmerling. "The fixture provides a very precise, very tight beam with almost no spread; this helped us to achieve the angular effects we wanted for the dance event."
To create lighting looks that fitted with the fast beats of the night's popular DJs, Lemmerling rigged a series of eight flown trusses hosting a grid of 12 Sharpys each to ensure a tight, uniform formation of beams. Using the Sharpy's super quick PAN (540° at max 2.45 sec) and TILT (250° at 1.30 sec) movement Lemmerlin
UK - Not since Adele performed Someone like you at the Brit Awards in 2011 has the O2 audience sat in such reverential hush. Chris Martin’s tribute ‘duet’ with George Michael at Brits 2017 was as spine tingling as it gets, and more authentic than you might imagine, as Michael’s long time sound engineer, Garry Bradshaw explains.
“Chris Martin was singing live while obviously, George’s vocal was a recording of A Different Corner, but not a studio recording; this was a live take from one of his concerts on the Symphonica tour. For me, hearing his voice again like that really raised the hairs on the back of my neck.” Not surprisingly a lot of attention went into this performance, “We rehearsed on site the previous day,” explains Bradshaw.
“Myself and Dan Green for Chris Martin had half the desk each, I had the left side, three faders, one of the music which was recorded specially for this performance, one of George from the tour and a fader for those little bits of dialogue that were cut into the tribute.” The desk, a DiGiCo SD7, was provided by Britannia Row Productions as was the entire live audio infrastructure. “Josh Lloyd from Britrow looked after front of house, he is very, very good; I have hundred percent trust in him, he knows that SD7 better than anyone I know.”
Colin Pink was Britrow’s team leader for the event and found other artists mix engineers were equally at home with the console set-up. “Chris Rabbold, who mixes for Bruno Mars said to me ‘Britrow is the only company we trust enough not to f
UK - DMX Productions’ managing director, SJ Grevett is the first to admit that he is something of an MA control newbie. “We were looking to expand our control inventory and, as MA control is requested on all our major rock ‘n’ roll gigs, it seemed the logical choice to investigate further. I was completely unfamiliar with the MA system having spent years working with other boards but within 30 minutes of the grandMA2 Command Wing arriving at my door I had it outputting art net and talking to our media servers via CITP, something that has caused considerable headaches with other boards. I just love the desk.”
SJ’s contact at MA Lighting’s UK distributor Ambersphere Solutions was sales manager Thor Andrè Saether. “The first Command wing and fader Wing DMX Productions bought was DMX’s first real encounter with grandMA2 control. Talking to SJ over the next couple of days, it was clear that he was getting on well with it. And despite not having had any training yet, he was already doing some pretty advanced stuff with it. Still it was a bit of a surprise when just a couple of weeks after receiving his first system he called and ordered a second system.”
“A couple of us went down for some training with Ambersphere which was really helpful even though we had already done some shows by then. I was well and truly converted,” declares SJ.
The systems are housed in bespoke flight cases specially designed by DMX. “We get the flight cases manufactured in Poland and shipped over. It means we have a custom-built set up that is as near t
UK - Adlib continues its work with top comedians having just supplied full production - sound, lighting and video - for Jack Whitehall’s sold out, three-week At Large UK arena tour.
All the crew were pleased to be working with TPi Award-winning production manager Neil McDonald who made sure everything was well organised and that there was a great flow of communications. Johnny Dodkin was the ever-cheerful tour manager who kept everything in check and Adlib were thrilled to be back working with Chambers Touring Ltd on another exciting comedy project.
Steve “Patto” Pattison mixed FOH, working with a strong team from Adlib including monitor engineer / sound crew chief Marc Peers and systems tech Tony Szabo, KSE, who were responsible for the precision and detail required to ensure that every seat in the house had crisp, clear and audible speech.
Tony worked with Kenny Perrin on the system which was an L-Acoustics mix of K1 and K2 specified by Adlib. The front PA hangs - in their largest configuration - comprised 14 x K1 with four KARA downs, with side-hangs of 12 x K2, increased to 16 for the largest venue, London’s O2 Arena.
The delays were typically six K1 in two hangs with flown amp racks for easier cabling and improved sightlines. A total of 46 x amplifiers were used, mostly the new LA12X (including flown racks). A total of eight SB28 subs were only active for the grand entrance at the top of Act 2 and for the walk-in / intermission music.
All of the front and lip-fills were Kara, picked for their low profiles and to cove
USA - The good times never stop for Brothers Gow. The popular California jam band, which has been touring non-stop, doing close to 100 shows a year since 2007, shows no signs of slowing down. With each passing mile, this tightly woven quintet has expanded its musical horizons, mashing up a mixed brew of influences from Snoop Dogg-like funk to Grateful Dead-inspired psychedelia to create a cornucopia of sounds that is all their own.
Lighting designer Matt Collier is capturing the pure joy and live-for-music spirit of Brothers Gow on their Fall Tour with a compact, but punchy and fast-moving lightshow that is built around 10 Rogue fixtures from Chauvet Professional.
Collier, who the band describes as “the sixth member of Brothers Gow”, has loaded six Rogue R1 Washes and four Rogue R1 Spots into the band’s well-travelled trailer for the tour that started in San Diego’s Music Box and has been working its way around the West Coast with stops at LA’s Teragram Ballroom and Portland’s Analog Theatre.
“I got my first Rogues almost two years ago and since then have tripled the number in our floor package,” said Collier. “The band goes in a lot of different directions, always with enthusiasm and very high energy. There are features in the Rogues that allow me to create a lot of different good looks so the lights match the music. Plus the intensity level of the Rogues matches the band and, of course, something very important to us, the Rogues travel well.”
Collier’s go-to floor package for the Fall Tour includes six Rogue R1 Spot and
UK - When James Priddle, sales and project manager for Pyrojunkies, needed a console to programme a special effects show for the 2016 BPM/Pro trade show in Birmingham, they chose the MA Lighting dot2. The trade event was an opportunity for Pyrojunkies to showcase Magic FX products in a live situation. To do this they created a short but intense show that highlighted what could be achieved with the equipment, so he got on the phone to Ambersphere Solutions to see what they recommended.
Thor-André of Ambersphere’s Technical Sales reports, “I spent a lot of time with James, looking at the various options and how they could best work for him, and we eventually settled upon a dot2 Core.”
Priddle explains further, “We wanted to create a show that had the feel of a concert. We achieved this by using a large, high-definition screen, a crowd barrier and using a combination of special FX including CO2 jets, power jets, smoke jets and confetti pistols.”
Priddle was impressed with the desk and found it invaluable during the show. He says, “We used QLab to generate timecode and trigger the show with the dot2 being used to run the 500+ cues in various stacks. The small form factor of the desk helped us dramatically as we are normally confined to one control case in a very restricted area, so space can sometimes be an issue. The dot2 was just the right size as it could sit perfectly in front of my iMac, which runs the show files and QLab.”
The effects show was a success, with the dot2 handling all the cues effortlessly. Priddle continues:
USA - On 5 February Houston, Texas played host to the NFL’s Super Bowl LI, fought out between the New England Patriots and the Atlanta Falcons at NRG Stadium. Entertaining the crowds in the hotly anticipated Pepsi Zero Sugar Halftime Show was Lady Gaga, whose high-octane performance earned the respect of millions in an intense 13-minute spectacular that was viewed by over 115 million people worldwide. The show was another world-class collaboration from co-production designers, Bruce Rodgers of Tribe Inc. and LeRoy Bennett of Seven Design Works, and lighting designer, Bob Barnhart of 22 Degrees.
Ayrton was, once again, proud to be part of this show with 81 new MagicDot-XT fixtures, 40 new MagicPanel-FX fixtures and a solitary CosmoPix-R chosen to adorn the major scenic elements of Barnhart’s lighting design.
Both Bennett and Rodgers had a message to convey through their design and, with the eyes of the world watching, helped Lady Gaga restore a sense of unity and deliver a performance that was both uplifting and determined.
Symbolism was abundant amongst the scenic elements, with half-buried – but still shining - stars surrounding the main stage, two tall 34ft-high towers as back drops, and a piano stage shaped like a planet of shining light, with a beating heart at its centre and softly undulating beams of light reaching out to the audience. With the juxtaposition of Woody Guthrie’s This Land is Your Land and Irving Berlin’s God Bless America at the top of the show, against a backdrop of illuminated drones etching out the s
Italy - Allen & Heath’s dLive, GLD and ME systems were employed to manage broadcast performances at the recent Sanremo Music Festival in Italy, an annual week-long event based around a popular TV singing competition.
Allen & Heath managed FOH, monitors and broadcast duties at the Fort Santa Tecla venue, which staged artist performances and DJ sets to be broadcast live during the festival on the national TV channel, Rai. The venue also hosted VIP festival guests.
Italian pro audio specialist, Exhibo, supplied two Dante-enabled dLive S Class mixing systems, with a S5000 Surface and DM48 MixRack managing FOH and monitors, and a S3000 and DM48 for broadcast and recording. A ME personal monitoring system was also supplied for rehearsals and the drum-fill mix, and a Dante-enabled Chrome Edition GLD-80 digital mixer was provided for the DJ sets, where the GLD Remote App was used for remote control of settings, such as the PA EQ, mixing the feed coming from broadcast desk, and audio feed from the main competition venue.
“We had very positive feedback from Rai broadcast and production teams, who all praised the great sound quality and unlimited patching facilities of the Allen & Heath systems,” comments Roberto Marchesi, pro audio manager at Exhibo.
Germany - When Jazz legend Al Di Meola played a sell-out gig at Darmstadt’s 1000-capacity Straatstheatre, Tonwerk’s Jan Weimann deployed a Uniline FOH system from APG. For Weimann, using the Uniline with this artist was the only possible choice. “Al Di Meola is quite specific about loud stage environments. The Uniline system has such a great directivity that there's so little sound spill to the stage from the PA system. We also shielded the drums with acrylic glass at his request.”
The system was configured to provide high-clarity coverage for every seat with minimal backward spill. Comprised of left and right hangs of eight UL210 three-way line array modules per side, with bass support from three stacked UL115B subs, the system was driven by APG controllers.
For Weimann, APG’s Uniline is his preferred system because, he says, it implements a “large stereo image, compared to other systems where you have a small stereo spot just in the middle of the room with "switching" either to one or the other side.”
Weimann has reinforced many artists playing the Straatstheatre with the versatile and modular Uniline system, and he pointed out, “it performs extraordinarily well with artists like Al Di Meola.”
He states the reason behind this as, “the isotop driver doesn’t colour the sound but replicates it honestly – and there's no sharpness or any kind of "masking" as the music rises in intensity and volume. "APG has quite a unique tonality. Compared with other systems, the APG sound reproduces a much larger spectrum of sound, which
UK - Colour Sound Experiment delivered equipment for a recent UK tour by pioneering d‘n’b music producer Wilkinson, a much anticipated series of sold-out gigs ahead of the release of his new Hypnotic album in April - working with lighting designer Sam Tozer.
Playing a variety of venues, this was an opportunity for the company’s new pre-rigged trussing - a Litec product specially modified for them - to provide a flexible and practical solution. Features include an expedient four-wide-two-high stacking truck pack combined with super-fast deployment onstage.
The regional dates were primarily at academy venues, culminating in a high profile high pressure performance at London's Roundhouse. The look and design developed for the tour was a total change from any previous Wilkinson live shows, and a big part of the aesthetic goal was to produce something new and exciting.
The floor package was based around six trussing towers - made up of the new pre-rigged truss. All the fixtures and cable looms staying in the trussing for transportation, and once unloaded from the truck the truss towers are moved swiftly into place using removable wheelbases which detach once they are in place on the custom X-base floor stands which provide excellent vertical stability.
The show concept was initiated after discussions with Mark Wilkinson himself and his management team during which Mark expressed a strong desire for no video elements – wanting to keep the focus firmly on the music. However, as an interesting twist, he indicated he did want a video
China - Immersive Chinese theatre work Encore Dunhuang debuted at the first Silk Road Dunhuang International Cultural Expo and was directed by Wang Chaoge, co-director of the stunning opening ceremony for the 2008 Olympic Games in Beijing.
During the 90-minute performance, audience members can travel through time as they walk through four zones and experience key moments and characters in the 2,000-year history of the city, once an important stop on the Silk Road.
For lighting control LD Wang Yugang used four grandMA2 light consoles, two MA onPC command wing, four MA NPU (Network Processing Unit), two MA VPU plus MK2 (Video Processing Unit) and 10 MA 2Port Nodes.
“An Encore theatre is different from the standard theatre. Depending on the needs of the scene, it is built to be a flexible space that meets all the regular theatre construction specifications whilst being configurable to realize each individual scene”, explained Wang Yugang.
Utilizing original walk-in scene theatre technology, the audience is no longer restricted to sitting on seats and watching the play unfold onstage. Instead, they walk into the theatre and move around according to where the action is taking place becoming immersed in the production. The theatre's lighting and effects have been choreographed and designed to optimise this special visitor experience.
The construction design company was Beijing North ACE Digital Technology Co., Ltd. ACE. Advanced Communication Equipment Co Ltd. is MA Lighting’s exclusive distributor in China. Fan Anwei was the project ma
Australia Adele debuts her new stadium show this month on a six-city tour of Australia and New Zealand, to be continued in the UK in June. The opening in Perth broke records with 65,000 in ticket sales for a single night. Anyone fortunate enough to attend one of these sold-out shows cannot miss 285m of Firefly FloppyFlex LED neon lining the star’s surround-walk in the 360˚ in-the-round production.
“This is Adele’s first arena tour and the design is stunning,” says Firefly founding director, Heath Williamson. “Everything is traditionally lit for a warm, classic tungsten look. The FloppyFlex RGB is mixed for warm and cool whites, as well as the occasional red – all done with the greatest taste.
“Double runs of FloppyFlex coupled together render them even more impressive than usual, whether from the upper rows of the stadium or even the news chopper flying overhead! The programming is some of the most tasteful, elegant use of the product we’ve seen to date.”
FloppyFlex for the tour is provided by Tait Towers. Lighting is by Woodroffe Bassett Design.
USA - A metal band that’s recorded hits with names like Cry For The Moon doesn’t normally cover music written by the likes of Antonio Vivaldi, Antonín Dvořák and Giuseppe Verdi, but then again, nothing about Dutch act Epica can be described as ‘ordinary’. In addition to performing the works of these and other classical composers, the six-member band has put its own fresh, original and totally captivating metallic symphonic spin on music from films like Star Wars, Spider-Man and Pirates of the Caribbean.
Having risen high on the charts in their native northern Europe, where they perform at large capacity venues, Epica has nevertheless retained a fearless desire to pursue new forms of expression. This was very evident in their latest North American tour, which concluded in early December, not just in their music, but also in their lightshow.
Erwin Van Lokeren, who has been the band’s LD and set designer for 10 years, created a seemingly endless variety of different looks for every song the band performed during their 22-city tour, using a compact – yet creatively fertile floor package - that included four LED strobes and 12 Chauvet Professional Rogue R1 FX-B fixtures supplied by JDI Productions.
“My ambition is to give each song a new look, so I can reflect the band’s musical spirit in light,” said Van Lokeren, who closely collaborates with two of the band’s members, Coen Janssen and Isaac Delahaye, on creative ideas. “I use only two colours when lighting a song. When you have too many colours in
China - With the opening of the Yu Bar in Shunde, near Guangzhou, the entertainment scene in China sees a return of the mega club after many years. It features the debut installation in China of a Nexo STM Series modular line array system, chosen to position the Yu Bar at the top of the market.
The sheer size of the new venue is breathtaking, with a 15m ceiling height that allows its technical specifications to be fully achieved. “Too often in China, sound proofing is overlooked but not here,” says Michael Chow, marketing manager for Top Plot Int’l Ltd, Nexo’s distributor for China. “At Yu Bar, the ample height of the structure means that the PA system can be installed at the optimal height and position, without the usual compromises.”
In an installation designed and contracted by Nexo’s Guangzhou dealer Hertz Audio with Hong Zing Audio Equipment, aided by Top Plot International, an STM Series line array system featuring M28 main cabinets has been specified for the house PA, teamed with STM B112 bass modules and STM S118 subs. This high-output sound reinforcement system is matched by huge top-end LED screens, high-powered lasers and a top-spec lighting rig to attract the best local and international DJs and support the specially-invited guest performers who will push the Yu Bar to the forefront of the entertainment scene in China.
The DJ booth is at the centre of the rectangular venue, with clusters of STM M28 – each cluster using two M28 with 90° dispersion, plus one M28 with 120° dispersion for wider horizontal coverage. Below th
Nigeria - Two of Avolites' most popular lighting control consoles, Sapphire Touch and Tiger Touch II, were selected to deliver the multi-layered, diverse lighting for 15 of the best gospel music ministers from around the world during Nigeria's mammoth praise event The Experience 11: Revealing Jesus.
Reported to be 'Africa's largest concert', with revellers upwards of 500,000, The Experience has been running since 2006 and is produced by vibrant, multi-ethnic church, House on the Rock.
Stephen Davies of UK-based Subfrantic Production Services, longstanding technical supplier of the church's London branch, has been involved with the gospel extravaganza for the past four years. Each year he selects Avolites to handle the increasingly large lighting concept.
"Choosing Avolites to deliver The Experience's lighting is always an easy decision to make," says Davies. "We have a long history with the brand and for every LD we work with it's their primary choice of desk."
One such lighting designer is Graham Roberts, who programmed the extensive looks for the event.
"Having a Sapphire Touch at FOH is always my first choice," he says. "The dual touch screen allows quicker access to more pallets and media server controls. The addition of the motorised faders allowed more playbacks to be utilised over pages, which meant I could make quick and unscripted changes even more easily."
Roberts' design featured more than 200 lighting fixtures, over half of which were powerful Claypaky moving heads. Using the advanced software features of the Avo
Canada - The recently opened Banff Gondola Terminal represents quite literally a high point in lighting installations for ETC, writes Marshall Bissett. Perched on a mountain peak with an elevation of 2,281m, the four-storey structure gives visitors access to restaurants, bars, retail stores and stunning views of the Rocky Mountains.
Brewster Travel Canada, working with a team of subcontractors, completed the 3,251sq.m $26m reconstruction in 12 months. Video screens, reading panels and three-dimensional displays depict information of the park’s iconic flora and fauna, designed specifically to thrill and entertain the roughly 600,000 visitors who take the gondola annually, says Dave McKenna, president of Brewster Travel Canada.
Following a very “green” mandate from the end users, the entire facility uses ETC LED fixtures to create theatrical interior looks to match the spectacular exterior vistas. The project was not without its logistical challenges, as Michael Pyatt, of GES and project manager for the design team, explains: “We had to complete the install in three phases while the attraction was open to the public, and during the better weather months.”
With no access road, all the equipment had to make the eight-minute gondola ride to the oxygen-scarce heights, and – as opening day approached – the gondolas were running 24/7 to meet deadlines. Many of the bulkier pieces of gear had to be delivered by helicopter or in a specially enlarged gondola that could only be used outside of public opening times.
UK - Hundreds of aspiring young engineers and roboticists took part in an exciting science and technology challenge at the University of the West of England in Bristol. The finals of the FIRST Lego League Challenge: Animal Allies were held in the university’s Exhibition and Conference Centre on Sunday 26 February.
Evans Audio Visual Staging teamed up with Utopium to supply sound and lighting to the event, which was part of a global Lego-based robotics contest, and featured tens of thousands of young people. For the sound installation, working with the in-house PA system Evans supported that by installing two Yamaha QL1’s with two channels of Shure ULXD radios on a Dante network. The Evans team connected the main competition space with the studio to allow the Institute of Engineering and Technology to stream the event live on YouTube.
Helping add to the interactive nature of the challenge, Evans also supplied three of its 10,000 lumen Panasonic projectors along with cable runs, which displayed different images at different times during the challenge, to match the activities taking place in each area. Evans also teamed up with Utopium, who supplied lighting and rigging to the event.
The Utopium team worked on the practice area, stage and studio space, supplying three truss ground supports. Each of the structures were constructed from Thomas 305mm truss and supported the lighting and cameras above the competition tables, each table was illuminated using an SGM Q-7 RGBW LED Flood fixture. The stage was lit for presentation and commentary, using the
USA - In what has been called Tennessee’s finest food and wine event, the Knoxville Museum of Art held its primary annual fundraising event, L’Amour du Vin 4 March, with a lighting package donated by Bandit Lites.
The sophisticated wine auction and dinner (prepared by three-time James Beard Award-winner and Relais & Châteaux Grand Chef Barbara Lynch), serves as the primary contribution event for the museum, which reaches over 60,000 annually and boasts an accreditation by the American Alliance of Museums, a merit less than ten percent of American museums share.
Bandit has been involved with L’Amour du Vin for 14 years and is trusted to both bring the fundamental lighting of the space, both functional and ambient, and to create an inviting, dazzling feel for the soiree, while not overpowering the museums architecture and installations.
Using a combination of Chauvet Color Dash Blocks, along with VL 2500s and Chauvet MinE 10WW Lekos, Bandit created depth and dimension with gobo patterns in the tent, complementing the look inspired by the featured artwork The Mirror that Tells by Jered Sprecher.
Bandit’s team for the evening consisted of Bandit’s director of philanthropy Allison Burchett, lighting director Alex Becker and Knoxville general manager Giff Swart who worked closely with Carla Paré, KMA’s manager of major events and special projects. “We love supporting the arts community,” shared Allison Burchett. “We also have a close partnership with Blackberry Farm, who is a major sponsor of this event. I love that Ba
USA - Located in the Gardenwalk shopping and entertainment district adjacent to the Disneyland Resort, the Rumba Room Live is one of the area’s newest nightclubs. Featuring two full bars, a coat check, a dance floor, several VIP sections, a stage for live bands, a DJ booth, and a smoking patio to name just a few of the amenities, the Rumba Room Live can host a variety of events with a capacity of 900 patrons.
To ensure the best possible audio for this vibrant and upscale venue, a sizeable assortment of loudspeakers drawn from the Event, Artec, and Action Series catalogues of Valencia, Spain-based D.A.S. Audio were deployed.
Props AV, LLC of Beaumont, CA, an AV design / build firm that also has a live events production division, was contracted to design and install the Rumba Room Live’s new sound reinforcement system. Using a sizeable assortment of line arrays, sub bass enclosures, point source loudspeakers, plus power amplification and DSP (Digital Signal Processing) - all from D.A.S. Audio - the new set-up was installed during the fourth quarter of 2016 and was ready for action when the club opened its doors in early December. Michael Betancourt, the firm’s general manager and system designer, discussed the project.
“The Rumba Room Live is a very upscale venue with just over 10,000 square feet of space,” Betancourt reports. “Presently, they have a combination of both live bands and DJs and the music types range from pop / rock to Latin-themed. In addition to the stage area, the club is divided into eight additional zones - all outfitted
Singapore - Singapore's 51st National Day Parade took place in August 2016 at the 55,000 seater Singapore Sports Hub, a venue notorious for its challenging acoustics as much as it is famous for its huge domed roof - the world's largest.
Well publicised sound issues have plagued concerts held at the venue and whilst the National Day Parade was not simply a gig, its magnificent spectacle leaned heavily on audio, lighting and video technology. On such an auspicious occasion, there was no room for sub-standard delivery. Highly experienced independent audio consultant Shah Tahir had overseen the design of the sound system for each of the previous eight Parades but this was the first at the relatively new Sports Hub. Overseen by the military, under whose auspices the event takes place, Tahir settled on CODA Audio's AiRAY system to deliver the necessary precision.
Arena-specialist integrators, The Show Company, installed 24 arrays, comprising 128 AiRAY boxes, to provide a distributed system for greater directional control and to minimise reflection in the vast dome. Tahir had considered a number of options but the combination of AiRAY's power and compact nature came out on top.
Stringent weight restrictions were in force owing to the large amount of technological hardware already placed in the roof and the light weight of the speakers was a crucial factor in obtaining the required safety certificate. Fixed seating below the dedicated hanging points threw up a further hurdle. Seats below the hoists could not be removed and TSC crew had to lift more than 100
Poland - As the city of Wrocław in Poland prepared for The World Games in July 2017, the Wroclaw Investment Company settled the tender for the reconstruction and development of the swimming pools located at Wejherowska Street in the Northwest of the city.
Selected as one of the main aquatic venues for The World Games, the Wejherowska Street Pool will benefit the residents of Wroclaw after the Games, with its refurbishment of the existing outdoor swimming pool and the building of a brand new indoor venue. It has been described by the City of Wrocław as “probably the investment connected to The World Games 2017 that Wroclaw citizens are most looking forward to.”
Tommex Żebrowscy Sp. J. was commissioned to design and install the sound system for both the indoor and outdoor pools, together with the main hall, fitness club and gymnasium which are combined in the complex. To meet the diverse needs of the venue, Tommex chose a combination of Community’s D Series and R Series loudspeakers.
The audio system operates via a Dante network, which connects three main points; the commentary stand with an Ashly digiMIX24 with Dante card, the main electronics rack and a sub rack for the fitness club and gymnasium. All loudspeakers are powered by Ashly amplifiers.
Marcin Zimny, commercial director of Tommex, explained the choice of loudspeakers, “For the main hall, fitness club and gymnasium, we used Community’s D Series DS8 and DS5 loudspeakers. With modern, unobtrusive styling, they deliver outstanding quality, intelligibility and output for the