UK - A substantial EM Acoustics HALO-C system has recently been supplied and commissioned into the main performance space at Dorking Halls in Surrey by Autograph Sales & Installations. Opened in 1931, the handsome inter-war facade of the Halls conceals a vibrant, contemporary entertainment and conference complex in which three separate spaces variously host live music, cinema, corporate events, comedy and theatrical productions throughout the year.
The new system resides in the main hall which has a capacity of 791 seated, rising to over 1000 when part-standing. Comprising 22 HALO-C compact line-array elements plus a single MSE-218 subwoofer per side and four EMS-61 modules, the entire system is powered and processed by just two EM Acoustics DQ20s and one DQ6 advanced system amplifiers.
According to Autograph’s sales engineer, Peppe Mallozzi, one of the first considerations was to improve sight lines, and to achieve this the new PA had to be flown. “However, the fixed flying points are only rated at 500Kg each which effectively eliminated a self-powered system but it also pointed us straight at HALO-C, which is very light at only 17Kg per module,” explained Mallozzi. “Our final design uses 11 HALO-C compact line array elements per side and even including the rigging and cables the total load is only 270Kg per hang, while easily meeting all the performance specifications.
“When tuning the system I was amazed how little needed doing in terms of EQ to make it sound completely natural,” he continued. “It’s almost totally flat, yet t
Italy - Staged since 2006, Nextech is one of Italy’s longest lasting electronic and visual arts festivals, drawing top international EDM artists to Florence and enabling fans to discover suggestive locations in the Tuscan ‘capital’, creating a sprcial atmosphere with its mainstream and trendsetting sounds.
For the last four years, Nextech has been held in the Cavaniglia hall, in the conference hub hosted by Florence’s spectacular Renaissance Fortezza da Basso, and headliner at the December 2016 edition, Nextech Legend, was Germany’s Chris Liebing.
Liebing has dedicated the past 25 years of his life to the performance, production, distribution and broadcasting of Techno at global level. He has run a club and held residencies in many of the most prestigious venues worldwide, playing for established nights like Cocoon, Carl Cox and Music On in Ibiza, he now has a residency for HYTE at the island´s iconic Amnesia club.
To ensure the huge number of fans who flocked to Florence heard exactly why Liebing’s name has become a byword on the international EDM and techno scenario, the organizers called in rental firm Emporio On Stage. As well as being the first Italian rental firm to purchase Outline’s GTO system, the audio contractor (based in Scandicci) also recently expanded its Outline stock with the purchase of 12 Mantas 28 line array systems.
Owner Angelo Catoni explains the set-up used at the event, “The main system comprised two stacked arrays of six Outline GTO per side and two more arrays, each with three GTO per side on in-fil
Europe - The Holiday on Ice Time show is back on the road with a new creative team and a new look, with lighting and visuals designed by Jeffrey Goes from Amsterdam based creative design practice Live Legends - and a lighting rig featuring over 170 Robe moving lights.
Holiday on Ice producer Kiki Venhuizen and new executive producer Jay Smith contacted Live Legends when looking for a new integrated design that would encompass lighting and video visuals for the re-launch of Time (the original show name was Speed), which has been a big hit with audiences throughout Europe.
Live Legends’ work embraces all sectors and genres – concerts and live music events, TV and theatre productions, corporate and industrials, but this was their first ice show.
“Holiday on Ice was looking for a fresh approach,” said Jeffrey who has been using Robe products in his work for about four years, and it’s now one of the go-to lighting brands for him and others in the Live Legends’ design team.
Time’s set elements include a large inflatable which wraps around parts of the trussing mother grid, and also a moving bridge that runs up and down the ice, which were already in place when they came on-board, so lighting had to be positioned around and work with these.
The show includes a lively and diverse mix of music, from orchestral classics to vintage Frank Sinatra, musical blockbusters to rock ‘n’ roll and the latest pumping EDM tracks, all of it fluidly choreographed into a pacey collage of drama and style and movement.
UK - Donny Osmond’s recent Soundtrack of My Life arena tour has given the entertainment icon not only a chance to promote the album of the same name (his 60th), but also take a trip down memory lane to cover five decades of material.
The fact that Donny-mania is still alive and well can be measured by the constant screaming of fans, drowning out the mainly arena auditoria, which in normal circumstances would threaten to envelop the sound from the stage.
In the case of Martin Audio’s award-winning MLA, Osmond’s tour manager (and FOH engineer) Chris Acton found so much headroom under the bonnet that this never became an issue.
Capital Sound, who supplied the rig, first worked with Acton on Donny & Marie’s tour of the United Kingdom two years ago. Introduced by UK event production company, LarMac LIVE, the relationship has blossomed - and Acton was highly-appreciative both of the pedigree of the sound crew, and the sonic ordnance they had supplied.
Although more familiar with other PA systems, he became an instant convert to Martin Audio’s multi-cellular array technology, which was used in all bar the Eventim Apollo (the only theatre on the itinerary) where the house rig was deployed.
Elsewhere, production typically fielded 12 MLA elements plus two MLD Downfill per side and four MLX subwoofers per side all forward facing, with hangs of 12 x MLA Compact per side for out-fills and eight DD12 for front-fill coverage.
“I can honestly say that the Martin Audio system has a brighter, smoother high end, more powerful low end
USA - History runs deep throughout the Lone Star State. Perhaps nowhere in Texas is this more evident than in the little town of Granbury. A look at the well preserved 19th century homes and original frontier storefronts that line the downtown district make it easy to see why Granbury bills itself as “The Place Where Texas History Lives.”
Although the people of Granbury celebrate their rich history, they also have their eyes firmly fixed on the future.This balance between the time-honoured and contemporary was evident recently when the local Acton United Methodist Church installed a massive new LED video wall in its traditional sanctuary.
Made with Chauvet Professional C6 Panels, the 26’ wide by 10’ high wall engages worshippers with crisp and colouful contemporary images, as well as text and IMAG video. Yet, when it’s not in use, this high-tech wall “virtually” disappears, leaving the original architectural lines of the sanctuary undisturbed.
Technical director Heath Ramsey used the technology built into the C6 panels, (which were supplied by Sound Productions of Dallas) to make it appear that the church’s video wall disappears when not in use.
“The panels are attached to the wall behind our stage using Superstrut channel,” he said. “However, before we installed them we took an image of the existing wall. Then we cropped the image to match the part of the wall that the C6 panels cover. When we aren’t using video, we simply display that image of our normal brick wall on the panels and have them ‘disappear’ by blendi
China - PR Lighting has launched upgraded versions of two of its products, and has now released the XR 330 Beam II and XR 250 Beam II.
While the XR 330 Beam II is equipped with the Osram Sirius HRI 330W lamp the XR 250 Beam II houses a Philips MSD Platinum 11R 250W lamp to produce a laser-like parallel beam.
These products are designed to meet the requirements of small and medium installation applications. Rich in features, they are compact and easy to maintain and install.
Features include: colour wheel with 13 colours; fixed gobo wheel with 16 gobos and rotating gobo wheel with 12 gobos (three prisms and frost wheel. The fixture also contains: electronic strobe (0.3-20 fps); Dimmer (0-100%, linearly adjustable); Motorized linear Focus and Zoom.
The Head movement offers 540° (pan) and 270° (tilt), with auto position correction, and light angle of 3°.
Functions of the control include adjustable pan and tilt speed; fixture and lamp usage time display with DMX wireless options.
Both products are of modular construction, housed in high temperature resistant engineering plastics (IP20).
Scandinavia - Swedish PA company, Parashoot, flew out its new Allen & Heath compact dLive system for the world’s northernmost festival, held in Longyearbyen, Svalbard, located on a Norwegian archipelago in the Arctic Ocean.
Running since 1998, the Polar Jazz festival is a unique event, which year on year attracts well-known artists from across Scandinavia to perform. Parashoot managed audio requirements for Swedish singer, Ane Brun, for her headline performance, using their new dLive C Class C1500 rack-mountable Surface with CDM32 MixRack.
“This must be the furthest north a dLive has ever travelled!” comments Parashoot owner and engineer, Oscar Söderlund. “Our new compact set up was so easy to transport and load in/out, which was very important given the temperature was -13°C.
“We have several dLive S Class touring systems but for unusual or fly in gigs like this, I love the fact that I can now have all the features of dLive in a carry case. The dLive range, with its new C Class addition, is just making it more clear that dLive is becoming a well-deserved classic mixer, and workhorse."
USA - Located in Minneapolis, MN, Substance Church is a dynamic multi-site church that believes in doing things a bit differently by pushing the limits of the congregation’s expectations to build a stronger community.
In holding true to their foundation, they recently underwent a LED video installation at their Northtown Campus with one of the largest LED video walls in any house of worship known today. Led by Adam Frey, technical director for Substance, the church wanted to complete their full production design with a high-resolution and virtually flicker-free LED video solution, so they chose FLEXTour LED video from PixelFLEX, installed by REACH Communications, Inc. of Champlin, MN.
“The project on a whole was a new lighting, projection and LED video installation for our auditorium that was built about a year ago, and this was the final piece of the design for the new space,” began Frey. “Ideally, we wanted an LED wall that could be easily reconfigured for future designs, and we also needed the most flicker-free performance with a high Hertz rate for our live streaming video.
“We looked at a number of different LED video manufacturers, but when spoke with PixelFLEX they were able to both work within our budget and provide us with the exact type of LED video wall we needed to complete our new worship environment.”
Getting the project underway, Frey began looking at the different LED video manufacturers and their product lines available. Working with integration partner REACH Communications, Frey soon began researching the award-wi
USA - Purpose Church, located in Pomona, California, 30 miles east of Los Angeles, recently installed a new Eastern Acoustic Works (EAW) Adaptive sound reinforcement system to provide their church community with a more complete worship experience.
After the church decided to upgrade the 25-year-old system, Peter Wilson, audio tech director for Purpose Church, and Jeremy Rynders, audio/acoustic system designer, began to research their options.
The fan-shaped church sanctuary, with seating for 1,800-2,000, features a wrap-around balcony that necessitates 180-degree coverage. And, because the space is made up primarily of hard, flat surfaces – with little or no acoustic treatment – the room would benefit from sound reinforcement with custom-tailored coverage, easily defined by the user. Lastly, the church was interested in a system with the ability to vary the coverage, ideally with pre-sets that simplify the process.
“The room is wider than it is deep and features a stage with a band/orchestra space in front of it,” explains Wilson. “We hoped to put in a system that could easily adapt from full room coverage, to just main seating without the balcony or even dial it in smaller for more intimate events. Anna does all of that and more.”
Rynders ultimately specified a left-centre-right system with the left and right arrays made up of two columns – one with six Anna modules and the other with three. The centre cluster consists of two Anna columns, each three high. A total of 24 Anna modules are in use. Anna’s 100-degree horizontal d
Canada - What better way to adorn a new Canadian seaside shopping mall than with a 45ft stainless steel and glass leaping salmon sculpture? Located near Vancouver, BC, the Tsawwassen Mills Mall opened last October and every night since, shoppers have enjoyed just such a noble work of art, brightly illuminated by a Solaris Flare IP RGBW outdoor LED wash fixture.
“The challenge was to bring out the colours of the dichroic glass ‘scales’ covering the fish’s metal skeleton,” says Chris Moreno of ShowTech AVL in Burnaby, BC. “Each two-foot square glass panel has natural hues which are quite evident in daylight. We wanted to achieve the ‘sunlight’ effect at night but LED fixtures we tried fell short, creating hot spots and making the glass look merely transparent.
“We found the perfect solution with the Flare IP HD RGBW outdoor wash. The Flare has the ideal combination of extremely bright and even output with a wide and precisely controlled colour palette, giving us exactly what we needed to make the glass panels really ‘pop.’”
Moreno adds, “Getting the colours right was pure art. Prior to the opening, we sat with the clients and a four-channel DMX controller, adjusting the RGBW until everyone was 100% satisfied. Custom firmware was supplied by TMB, allowing us to store and retain the colour settings onboard! ‘Set it and forget it’ was our goal, and every night since then the Flare IP has automatically activated along with the mall lighting.
“The sculpture rests on a pedestal surrounded by a flowing fountain so we ne
USA - Located right outside Fort Hood, Texas - the largest military installation in the free world - the Christian House of Prayer was founded in 1980, and from its main location in Killeen and a satellite location in Copperas Cove serves a ministry that reaches across the country and into Europe.
As the need to improve the sound at the main sanctuary increased, Chris McKinney, the church’s head audio engineer and production manager, began researching the best way to go about modernizing the system there. His inquiries led him to the Focusrite RedNet suite of Dante-networked audio converters and interfaces, which he recognized as the perfect bridge from the church’s existing analogue sound system to the Danley PA system they intend to install later in 2017.
Supplied by Sound Productions of Irving, TX, a system comprising the following RedNet components provided the perfect basis for the larger transition to a more advanced sound system: Eleven RedNet MP8R eight-channel remote-controlled microphone preamplifiers and A/D, and a pair of RedNet HD32R 32-channel Pro Tools Bridges, linking with the Pro Tools HD recording system located in the church’s broadcast control room.
“We knew we needed to transition to a more contemporary and more digital sound system in the future, so I looked into the available technologies and products,” McKinney recalls. “Looking at the features that RedNet offered, including the Dante connectivity and the amazing mic preamps, it was clear pretty quickly that RedNet was the key to our sound system’s future.”
USA - ImageCue has made available a new suite of free content preparation utilities for its users. The utilities are now available for downloading from the ImageCue website.
One of the new utilities is designed specifically for users new to the content preparation process. “We’ve encountered many potential customers that want to integrate projection and digital content into their productions but feel overwhelmed by the complexity of the process,” says Bill Hewlett, ImageCue CEO. “This new utility allows the user to plug a USB flash drive into their PC and the utility steps them through the process.”
The new utility prepares the USB drive for use with ImageCue and analyzes the user’s content, determining how best to convert or modify it for best performance with the ImageCue compact server. The tedious task of adding numeric prefixes to file names is handled by the utility.
Another new utility in the suite will take a PowerPoint presentation in PDF format and convert it to individually numbered jpeg images ready for use with ImageCue. Like all of the other utilities in the suite, it prepares the content for use in one of the selected ImageCue output resolution settings.
Rounding out the suite are utilities that convert commonly used graphic formats like bmp, gif, and tif to jpeg as well as a video conversion and extraction tool. Both of these utilities are available in a batch configuration that can process an entire folder of images or videos. An “auto-number” feature may be selected for batch processing.
USA - Back in 1996, an original rock musical by a little-known composer opened on Broadway and forever changed the landscape of American theatre. A re-imagining of Puccini’s La Bohème, RENT follows an unforgettable year in the lives of seven artists struggling to follow their dreams without selling out.
Twenty years later, the Pulitzer Prize and Tony Award-winning masterpiece is still selling out theatres around the country and around the world. The 20th anniversary edition of the show began its run last September and carries with it an L-Acoustics sound system that conveys all of the power of its music and message of hope while keeping touring logistics and costs at a minimum
According to associate sound designer Mike Tracey, the touring sound system for RENT comprises two main left/right towers of 11 Kara enclosures per side, as well as two SB18 subwoofers per side, arrayed in a cardioid configuration. Discreet coaxial 5XT speakers provide front-fill, while two X12 coaxials provide down-fill.
This is all powered by six L-Acoustics LA8 amplified controllers in an LA-RAK and controlled via an LA Network Manager. Two spare LA8s are also in the rack but, underscoring their reliability, have yet to be used. Masque Sound, which also provided a Yamaha CL5 console for front of house, is the sound-reinforcement provider for the show.
“RENT is a rock musical, and it really needs a rock touring sound system, and that’s what the L-Acoustics Kara gives us,” says Tracey, who has also worked on other successful touring and Bro
Sweden - The twelfth Swedish Idol season started airing on TV4 in August 2016 with a finale show held 8 December at the Ericsson Globe Arena in Stockholm.
Scandinavian Rigging Service (SRS) has worked on each Swedish Idol Final for the last 10 years, and this year was responsible for the complete rigging from drawings and weight calculations to top rigging supply and rigging personnel. New this year however was the use of Eilon Engineering’s Ron StageMaster load cells to monitor the rig’s weight and distribution.
“There are no requirements to use load cells with large rigs in Sweden,” says Sören Durango, who has owned Scandinavian Rigging Service since 2014. “Not yet, anyway.” Sören does say though that there has been more awareness to use load cells on larger shows in venues like the Globe, an arena that seats 16,000 people. “I have a good relationship with the client as I’ve worked with them many times over the years,” he said. “So I approached them about using Eilon Ron StageMaster load cells on this show, stressing the safety factor involved. They said yes and thought it was a good idea.”
With rigs becoming heavier as shows get bigger each year, venue load limits have become a greater concern. “Rigs are getting closer and closer to the limit of what venues can bare,” Sören says. “On the Idol Final, we had a large PA system with built-in amps plus big video walls and a huge lighting system in the house rig. All together it means a heavier system above people’s heads.”
There were multi
UK - Ever the travelling troubadours, Two Door Cinema Club are currently touring the UK with sound engineer Ian Laughton at the controls of a Britrow K2 system. “I first met the band two years ago,” he said. “They have loads of talent, excellent musicians; I’d always liked them and wanted to work with them. Listen to their latest third album Gameshow, and I defy you to find a song you don’t like.
“The first shows at the Manchester Apollo was my initiation to Britrow’s L-Acoustics K2 system with the new’ish KS28 subs. I don’t really need the low end weight – I’m not looking to flap trousers, but I do want that low frequency information to be present. The PA gives me the room to put the full character of what is a very musical band into the mix, neglecting nothing.”
Craig Ross (aided by Steve Donovan on stage) looks after the system for Laughton. “Ian is very undemanding,” said Ross. “So long as the system is nice and flat he has the platform he wants to work with. His comment about the KS28s is right; that first day in Manchester I had to rein them in to where he needed them, but that’s my job and we got there in short order.”
Ron Sharpless is the band’s monitor man; he does similar work for Alt-J and is no stranger to UK shores. “I use a Midas Pro2 like Ian. What I like about it is the tactile feedback; when you twist the pots you feel you’re doing something. When you’re working in the dark at the side of stage such physical feedback is very meaningful – I don’t have to look down at the desk to g
South Africa - The Joburg Theatre has invested in seven more Robin LEDWash 800s to supplement their existing stock and which have been the workhorses on productions like Robin Hood and the Babes in the Wood, the new pantomime adventure from Janice Honyeman which ran until 30 December 2016.
“We chose the Robin LEDWash 800s two years ago because of their popularity amongst visiting companies,” said Enos Ramoroko, technical manager at the Joburg Theatre. “The lamp shaper is quite handy for theatre, and we have received positive feedback from lighting designers who love their output and colour mixing.”
While the Robin LEDWash 800s were a hit on Robin Hood and the Babes in the Wood, they have been used on all shows performed at the Mandela Stage over the past year with highlights including Supreme Divas and Burn the Floor, the ultimate ballroom sensation.
Italy - A classical music concert, Noi Per Napoli, was hosted at Naples’ Teatro Delle Palme theatre managed by Allen & Heath’s Qu-SB ultra compact digital rack mixer.
The event comprised performances from members of Naples’ San Carlo Opera House, who performed waltzes, classic folk songs and operetta. Audio requirements were managed by PA company, Megaride, and comprised a chorus of 40 people, a piano, harp, two violins, a cello, and the principal singers, two tenors, a baritone and a soprano. The faderless Qu-SB, with additional AB168 IO rack, provided FOH and monitor mixes, set up and controlled via the Qu-Pad app.
Sound engineer, Luigi Esposito, commented, “Qu-SB is a fantastically flexible, fast mixer. Simply plug in your inputs on stage, and then enjoy the freedom to set up your channels and change your settings from anywhere in the venue using the Qu-Pad app.
“The app controls everything, and runs without any problems or interference. With AB168, you have 32 input channels available for all patching and routing. The ability to configure a custom fader strip provides the possibility to assign channels in DCA and Groups and work with only one screen for the entire performance.”
USA - Bandit Lites provides its clients access to its Venue One rehearsal facility, consisting of virtual programming suites, accommodations for 80,000 pound hang capacity, bus parking and easy access. Up and coming urban pop dance artist Taylor X utilized the space for her recent music video shoot for the song, No Ceiling.
In addition to using the Venue One rehearsal space for the shoot, Bandit Lites supplied VL 3000 Spots, GLP X4S, Martin Atomic Strobes, and ETC Source Four Pars, giving lighting designer Erik Parker the tools to tailor a high energy look.
“My role in this shoot was to add the ‘rock and roll’ effect in the video with moving lights, but the looks were much more about lease-flare and how the lights interact with the lens than what an audience member would see,” said Parker. “For a live production I try to make large pretty pictures to be seen from the front row and back of arena alike, whereas for a music video shoot my aim is to make the viewfinder look epic, which brings everything in much tighter than for a live experience.”
Even with the video calling for multiple scenes, Bandit’s expansive Venue One facility allowed for all scenes to be built within the 8,000sq.ft space, while still leaving room for both a Bentley to drive through and space for the dancers to rehearse choreography.
“I took their vision in the treatment and added lights around it to help expand the video and add some ‘pop’ in each scene,” Parker explained. “Some of these would use the ‘less is more’ approach having a light
USA - Time: its passage and the way it shapes our lives, is at the heart of Gulf View Drive, the third and final drama in Arlene Hutton’s classic Nibroc Trilogy, which follows the lives of a young couple over a decade during the post-World War II era. Helping to convey this evocative theme at the Rubicon Theatre’s production of the play is a powerful Mike Billings lighting design that creates a visually rich and textured sense of time’s inexorable flow with help from the Chauvet Professional Ovation E-910FC colour mixing ellipsoidal.
“Early in the design process, the creative team discussed the colour arc for this show, which was incorporated into costumes, scenery and, of course, lighting,” said Billings.
“The show is set in 1953 Florida. It starts off very warm during a hot day. Then as the story unfolds, things become more tense, which we convey by using cool colours. At the conclusion, the mood becomes bright and warm again as conflicts are resolved over time. The playwright used time of day and weather to underscore the emotional quality of the scene. We show a broad spectrum of times and weather changes in the show, which made my job as a lighting designer fun.”
Contributing greatly to Billings’ enjoyment were the six Ovation E-910FC ellipsoidals he used. Arranged on taildowns, the RGBA-Lime fixtures were hung at an angle between head-high and pipe-ends to deliver colour and texture to the stage at a low angle.
“The colour mixing of the Ovation E-910FC was wonderful,” said Billings. “The lime was esse
USA - Whether working as tour manager for Mike Posner or mixing for such groups as Rixton and MisterWives, Robert Dugan has found one common element that keeps his artists happy: Sensaphonics 2MAX.
“I’ve been using Sensaphonics since I started working with singer/songwriter Mike Posner in 2011,” says Dugan. “He turned me onto them, and I’ve been using them ever since. The 2MAX is so well balanced, with such accurate bass response, it feels like you’re listening to a full PA. I like referencing through them, even for studio work.”
On the road, Dugan uses the 2MAX even when he's not mixing monitors. "When I'm mixing front of house, I record my house feed most nights, then listen to it through the 2MAX on the bus or in my hotel. I know I'm hearing all the details, and it's a great way to keep both myself and the band happy with the mix."
Recently, Dugan was on a tour where he mixed both FOH and monitors from one console. He found the fit and isolation of custom silicone earpieces in the 2MAX to be ideal for that task. “We were playing two hours per night, so we needed something that was comfortable, easy to pop in and out with a good seal,” he recalls.
“The show is all live, so you don’t get the luxury of having tracks to build on. My job is to make them sound big out front while also providing a clean, clear monitor mix. The response of the 2MAX is so accurate, you can hear a lot of nuances. It helped me with adding some breath into a vocal and making it sound more organic in the in-ear mixes."
Another benefit that Du
USA - Lamar University serves 15,000 students on its Beaumont campus in south eastern Texas and one of the biggest sports on campus is basketball. Their basketball team, the Cardinals, has played in eleven NCAA tournaments.
Now over 30-years-old, the 10,080-seat Montagne Centre hosts all of the Lamar Cardinals’ home basketball games, as well as graduation ceremonies, athletic banquets, rock concerts, and touring entertainment. Until recently, it was limping along using the original sound reinforcement system that came with the building. Those forty-plus boxes have now been replaced by a single Danley J1-94 Jericho Horn and five Danley SM-80 full-range loudspeakers for fill.
“The old system lacked fidelity, coverage, and intelligibility, all of which was compounded by the fact that boxes were failing,” explained Chase Daigle, system designer at Beaumont-based MSC Systems, the firm that designed and installed the new system. “We worked with Kim Comeaux at Anderson Sales & Marketing, the regional Danley rep, to come up with a design that would provide even, impactful coverage with excellent intelligibility.”
The best solutions centred on a single Danley J1-94 Jericho Horn, the same box that lights up some of the biggest football arenas in the world. To provide proof of concept, Daigle and Comeaux arranged a J1-94 demo. They brought the J1-94 to the Montagne Centre’s concourse level and played program music and live spoken word so that all the stakeholders could experience Danley fidelity in the very place it would be used. “They were
UK - Lighting Design International has used the MentorLED Remote from Light Projects in conjunction with Soraa's AR111s to help illuminate and accentuate the beautiful Human Nature artwork in the Shard’s 37th floor Aqua Shard restaurant.
This stunning Christmas feature was a collaboration between Timothy Hatton Architects and Sir David Attenborough in aid of the charity Flora & Fauna International. It comprises a beautiful nine-metre high cascading leaf sculpture made from 3D-printed recycled plastic leaves in the shape of English Oak, Silver Birch, Dogwood, Wych Elm and Field Maple.
During the day, the white leaves are silhouetted against the dramatic London skyline. At night, the soft light from the MentorLED grazes up through the leaves which seemingly float in space, casting gentle shadows on the ceiling.
The MentorLED Remote uses the latest SR111 LED dimmable Soraa lamp technology contained in the fixture’s compact steel and aluminium housing on a small surface plate. The lamp ensures consistent light continuity with beam angles available ranging from 4° narrow through to a wide 60° at 12V. Additional beam spreaders, eggcrate louvres, scrims, colour and frosted glass accessories give the Mentor huge versatility.
In addition, Soraa’s innovative Snap system allows for CCT Shifter filters which can provide colour temperatures that are rare or impossible to find such as warm glowing natural 2200K CCT along with other louvres, beam spreaders and shapers.
Australia - As part of their pitch for the rebranding of the Australian Open, Landor, Tennis Australia’s chosen branding agency, created a video rendering of their proposed logo. The rendering depicted a 3m high three-dimensional logo, complete with a video screen on its front and LED pixels covering the side surfaces.
Whilst not part of Landor’s actual deliverable, the concept inspired Tennis Australia to test the market to see if it were possible.
The technical team at Tennis Australia prepared and issued a specification in August last year. Sydney’s The P.A. People, who had worked with Tennis Australia on many events over the years, took up the challenge.
“Our experience in designing bespoke mechanical solutions as part of AV systems integration, coupled with our work around the world on large scale events, led us to believe we could create a viable and cost effective solution” said Chris Dodds, managing director - The P.A. People and lead designer of the AO logo project.
“The P.A. People took a concept and brought it to life with an extraordinary feat of engineering. The AO installation became a cornerstone of our international brand roll out and it captivated our audiences with its sheer size and stunning imagery. The team at The P.A. People are to be commended for working with us on such a complex project in such a short timeframe; the evidence of its success is in the exposure the installation had during the tournament,” said Jo Juler, head of marketing for AO.
Chris Dodds outlines the process: “Our solutio
UK - Following the successful deployment of Martin Audio’s MLA system at Regents Park Open Theatre this summer, Autograph Sound has been using the manufacturer’s CDD-LIVE 15 15” powered, point source solution in some of its recent theatre productions.
First, sound designer Nick Lidster — the man responsible for designing the Jesus Christ Superstar sound in Regents Park — had four CDD-LIVE 15 out on duty at the Jason Robert Brown musical Last Five Years, repurposed for London’s St. James Theatre. Then his colleague Avgoustos Psillas fielded a complete proscenium system, with surround and fills, at Hackney Empire for Sleeping Beauty, the seasonal pantomime.
In this challenging environment, a three-way L/C/R CDD-LIVE 15 system, with three enclosures each side of a clustered centre fill/down-fill, was mounted overhead on the motorized horizontal truss.
“We were curious to hear it after having had such a good experience with MLA,” said Lidster. “Although our existing 15” point source solution is still reliable it is 30-year-old technology so we had been looking for a replacement to handle this kind of show.”
The Autograph team listened to the CDD-LIVE 8”, 12” and 15”. “While the first two were both nice and clean, producing good horizontal coverage with a flat response, it was the 15” that really stood out,” noted Psillas.
“It didn’t colour the sound, it had a flat response, and it delivered the fullness of sound that you would normally expect from a large PA. We spun it round so it