Poland - The Open’er Festival - one of the largest music festivals in Poland - has been an institution since 2002. Having welcomed international names including the Red Hot Chilli Peppers, Pharrel Williams, Snoop Dogg and Coldplay, it has maintained its status in the Polish festival calendar.
Open’er Festival is held annually in the seaside city of Gdynia. Tasked with overall multimedia support of the five stages was one of Poland’s largest event engineering companies, VES.
Responsible for the overall design and operation of the Beat Stage, Michał ‘Kurczak’ Mazurkiewicz of VES used more than 180 lighting fixtures. Included in the package was the Prolights Arenacob4FC, a full colour LED replacement for a traditional four-cell DWE blinder alongside the Prolights Aar5FAN which stood out as the pixel-FX moving head. It allowed the designer to control the spread of its pixels through the motorised lens system, passing seamlessly from a sharp linear beam effect to a multi-ray effect proving to be “an indispensable fixture in the rig”.
VES says in a statement: “Thanks to the beautiful design and flexibility of these fixtures, the Beat Stage was highly complimented by designers and artists from around the world. We believe the ‘wow factor’ was really achieved.”
USA - Halsey hit the road in May for a short run of shows in support of a new single release, Nightmare and lighting designer Jose Antunes chose Elation’s Artiste Monet and Rayzor 760 to light the special performances. Lighting vendor was DCR of Nashville.
The festival and specials run included shows at Webster Hall in New York City prior to the single release along with a string of radio performances in California in early June.
Antunes designed the shows around some of Elation Professional’s newest luminaires, the Artiste Monet and Rayzor 760, and was one of the first designers to use the fixtures. “The design for this run was meant to pack a lot of punch with a small compact package that would fit in a small club, but also be able to spread out on a large festival stage and fare well outdoors in regards to output,” says Antunes, who also served as programmer for the shows.
“We wanted to try out some new-to-the-market fixtures and based this design and package on what was just recently released to showcase and put some new technology to the test.”
Because the run was festivals and club-type settings, flying a rig wasn’t an option so the Artiste Monets were ground supported behind the three-piece band. The designer used the 45,000-lumen LED profile fixtures for big, powerful aerial effects using its selection of gobos, animation wheel and wide zoom range.
“The Monet is by far the brightest LED profile fixture I have seen on the market so far,” Antunes enthused. “Its 950W white LED engine combined with its 7-c
UK - When The Mavericks stopped at the Glastonbury Festival during their 30th Anniversary World Tour, their LD Landon Bloss did what he always does on fly dates: he walked over to look at the lighting rig that he would be running later that day.
Approaching the festival’s Acoustic Stage from a distance, Bloss was impressed with the looks the festival LD was conjuring up with some large spots. “I thought for sure, given how bright their output was, that they were 1700w arc lamp fixtures,” said the Nashville-based designer. “So, I was completely surprised when I learned that these fixtures actually had LED engines.”
The fixtures that astonished Bloss shared the name of the band he lights. They were Mavericks, or more precisely 16 Maverick MK3 Spot and 18 Maverick MK3 Wash fixtures from Chauvet Professional supplied by Fineline Lighting.
For Bloss, his first impression of the Maverick fixtures proved to be well-founded. This was evident as soon as he sat down at his console. “The challenges I encountered at Glastonbury were what any LD faces when walking into a festival on the day of the show,” he said. “You have very limited time on the console with the rig before the show starts. The only time I had to patch, clone, and focus positions was the two 30-minute set changes before we went on. The MK3s were easy fixtures to figure out. They cloned into my rig seamlessly.”
Having integrated the fixtures into his show, Bloss proceeded to rattle the Acoustic Stage with some powerful looks that mixed big beams, deep intense colours, a
Europe - This summer, Muse continued their Simulation Theory world tour through the UK and Europe. The successful North American leg of the stadium tour put crew and equipment to the test in 23 cities.
“Jesse Lee Stout, the creative director for the tour, wanted the entire lighting rig and stage to feel like a spaceship straight out of the ‘80s/’90s sci-fi movies we all know and love,” explains tour lighting designer and programmer, Sooner Routhier.
“Making that all-encompassing vision brighter are 176 Solaris Flare LR and 51 Solaris Flare Q+ fixtures. First, neon outlines, comprised of Upstaging Sabers, outline the sides of the truss to help turn the rig into a giant space invader. The Flare LRs provide a thicker, brighter line of light to accentuate the lines of trusses. At the tips of each truss, the structure flips up 45° with three LRs sitting side by side. They represent the thrusters of the spaceship. The Flare Q+ fixtures sit inside ramps inside the stage, functioning as metal gratings/vents in the spaceship floors. The Flare Q+ light them as if they are glowing with futuristic energy.”
Routhier adds: “Brightness is the biggest factor in specifying Flares. We are competing with a very large video wall upstage. It was important for the lines of the structure to stand out when needed. We also really love the clean, smooth surface of the lights.”
Lighting director Aaron Luke says: “From my side of things, I find both the Q+ and the LRs to be performing quite well. The fixtures serve a few different purposes on t
Ireland - At the start of 2019, one of Ireland’s leading audio hire, sales and installations companies, Acoustik, took delivery of two DiGiCo SD10s to add to its existing stock of mixing consoles and, according to the company’s operations and systems designer Will Fitzpatrick, they are “flying out of the door”.
“For the past couple of years, DiGiCo has been at the top of the list on the riders we recieve and they are our crew’s console of choice, so the decision to invest in the SD10s was without question,” says Fitzpatrick. “We also had the option to upgrade to the new 32-bit cards. They have improved the SD10s already incredible audio quality and everyone is amazed by them.”
One of the Acoustik team’s favourite functions on the consoles is macros, which give “seemingly endless possibilities” according to Fitzpatrick. “And the connectivity between multiple consoles and multiple racks, whether it be a front of house or monitor configuration, or mirroring / redundant consoles, is also incredibly useful,” he adds.
Praise for Rea Sound, DiGiCo’s distributor in Ireland from whom Acoustik purchased the consoles, is also high. “They’ve been great,” continues Fitzpatrick. “From the very beginning, Rea’s Sean Gallagher was really helpful and guided us through the process with great care. Rea also organised training, which has brought all of our guys up to speed, and Rea’s guys are always at the end of the phone if we need anything.”
With the SD10s having barely seen Acoustik’s warehouse since they took de
UK - Wireless headphone provider Silent Disco King partnered with Cineramageddon at Glastonbury festival for a debut screening of Ibiza, The Silent Movie.
Cineramageddon is curated by film director Julien Temple and returned to Glastonbury this year for its second outing after debuting in 2017.
The area has the UK’s largest outdoor cinema screen and includes 60 vehicles including Mad Max style cars, classic cars, fairground bumper cars and convertibles dug into the ground, which festival goers can rent out to watch an array of cult classic movies.
The activation was opened this year with the premiere of Ibiza, The Silent Movie directed by Julien Temple and music curated by Fatboy Slim. The film is an exploration of the hedonistic history of the Ibiza island and was introduced by Glastonbury’s co-creator Michael Eavis, Julien Temple and Fatboy Slim himself.
Attendees enjoyed the two-hour long film on Silent Disco King headphones, followed by a live 45-minute DJ set from Fatboy Slim.
Ibiza, The Silent Movie was recorded in 7.1 Surround and Cineramageddon were passionate about attendees experiencing the movie in this format, just the way the producers intended in the studio. However, noise limitations on the cinema site meant that all audio must be relayed via headphones rather than a conventional cinema sound system.
As a result, the technical brief for the silent cinema was far more demanding than the first year. HD Pro Audio approached Silent Disco King with a mutual solution.
The Silent Disco Kin
China - The Trophée des Champions returned to Shenzhen on 3 August, for its 24th edition, which saw Paris Saint-Germain go head-to-head with Stade Rennais. This is the second year that the French Super Cup has been held at the Shenzhen Universiade Centre.
Absen was the exclusive and official LED display supplier of the event, providing 200 panels of perimeter LED and onsite support throughout the event.
The game, which was attended by over 31,000 spectators, saw the defending champions Paris Saint-Germain retain their title following a 2-1 win, making it their seventh Trophée des Champions title in a row, and their ninth overall.
The company in charge of onsite management, Kaisa Culture & Sports, selected Absen’s 9mm resolution LED perimeter display system for the event, which was installed around three sides of the pitch and used to play adverting and sponsorship content throughout the game.
“The event was a great success”, said a representative from Kaisa Culture & Sports. “The LED system performed very well and the Absen team were extremely professional, showing a deep understanding of our needs and ability to get the job done. We really appreciate the hard work put in by Absen and look forward to future cooperation.”
“In order to achieve the best results, the Absen team have been working very closely with the organisers, as always,” says Allen Lv, Absen sports engineer onsite. “We monitored the system closely and performed multiple tests before the game was played in the evening. I’m very proud that th
The Netherlands - Violinist Nigel Kennedy played an engaging concert as part of the Schleswig-Holstein Music Festival in Neumünster. The violinist was accompanied by the Schleswig-Holstein Festival Orchestra, which comprised young musicians from 27 nations, who were selected from 1,500 applicants through international auditions.
Dutch loudspeaker manufacturer Alcons Audio teamed up with Kennedy's sound engineer Andreas Adelhofer of Headroom Media Service or the sound experience. Adelhofer, who has been working as sound engineer for Nigel Kennedy for more than five years, is responsible for all his concerts worldwide as FOH engineer. In this capacity, he is also the interface between artist and promoter or service provider in the production preparation. In part, his company also provides the complete production for European tour stops.
At the concert in Neumünster Adelhofer cooperated with Alcons Audio for the first time. "I've been wanting to test an Alcons pro-ribbon system live for a long time and from time to time I'd been talking to Carsten Albrecht from Alcons Audio Germany. With Nigel Kennedy, I was finally able to put this project into action", says the Tonmeister.
The PA system consisting of 36 Alcons LR18 midsize line-array (16 front, 20 out-fill), six Alcons LR7/120 as additional front-fills, four RR12 as centre cluster, two RR12 as side-fill and six BF302 in cardioid arrangement, was sourced from the Alcons Audio rental network The Ribbon Network. All systems were digitally powered by 13 Sentinel S10 controller amplifiers.
As a s
UK - White Light recently provided the lighting equipment for the Apollo Nights season at the Eventim Apollo - a week of live performances from a range of music artists.
The inaugural Apollo Nights season at the Eventim Apollo in Hammersmith, London, brought together a premium VIP dining experience and a roster of headline artists for a week of shows at the landmark venue.
Curated by Ollie Rosenblatt at Senbla, the season delivered an audience experience with the front stalls seating removed to create space for VIP pre-show dining with live jazz piano before opening up the full auditorium for headline shows. The first performance was by Burt Bacharach and Joss Stone and was followed by George Benson and finally Marc Almond.
The lighting designer for the season was Ben M Rogers, who WL has previously worked with on the award-winning Hair musical. Rogers comments: “I was tasked with creating a flexible 'festival' rig that would frame the action on stage and enhance the auditorium for the dining experience. Taking the artists touring riders as a starting point, and working closely with WL’s Customer Services Team Leader Andy Cullen, I had to assemble a rig capable of delivering everything, from big, classy show looks to intimate moments.”
Alongside this, Ben also had to consider the building’s architecture when formulating his design. “The venue has exceptional sight lines with all seats able to see the full proscenium opening. I wanted to achieve layers of light to fill the large proscenium - so cascaded the fly bars and adde
UK - Version 2 is supporting a growing number of crews with low energy solutions both in the studio and on location.
Working with a number of leading lighting directors, the Buckinghamshire based lighting rental specialists have supported coverage on a selection of premier summer events with products form their low energy inventory. First up was a visit to Worthy Farm, Somerset as broadcast partners for the BBC’s comprehensive coverage of the 2019 Glastonbury Festival.
Making use of a selection of V2 low energy fixtures, lighting director Oli Richards and gaffer Paul Evans made this year’s Glastonbury coverage a completely LED lit event. The Version 2 team deployed a pair of lighting trucks to help deliver the look for both the ‘live studio’ areas and the considerable number of interviews held remotely across the vast festival site.
The studio set-ups mixed Martin’s MAC Aura Wash and Rush Par 2 with Litepanels Gemini 2 x 1 Soft Panels to provide a blend of soft, even illumination and controllable colour. To complete the look, LED ribbon was added for extra sparkle throughout the set. For the location spots, V2 sent out their Litepanels Astra LED Soft Panel kits.
Heading to London SW18, the Version 2 team joined LD Malcolm Reed for ESPN’s coverage of Wimbledon 2019. As one of the largest on-site broadcasters, ESPN delivered over 145 hours of TV to over 3m viewers throughout the entire Championships.
Covering the action from every angle, the set-up required the custom install of two main studios plus lighting of numerous remot
Europe - Having recently purchased their own Allen & Heath SQ-5 digital mixer, British rockers Don Broco chose to pair it up with a full dLive system this summer for a short festival run across the UK & Europe, including appearances at Mad Cool (Madrid), Meo Mares Festival (Porto) and Truck Festival (Oxfordshire).
Supplied by SSE Audio, a DM64 MixRack fitted with gigaACE and fibreACE cards formed the core of the system; paired with a dLive S3000 surface at FOH (fitted with a Dante card), while a digital split from the gigaACE card allowed the band to use their own SQ-5 for monitor duties.
Adam Boole, FOH engineer and long-time user of Allen & Heath products, comments: “When we started this project, we needed to build a system that would work with the band’s own SQ-5 on monitors, luckily it was easy to achieve by having dLive on FOH. All I/O is set up through the DM64 MixRack, which just creates an extremely neat and tidy, yet small package.”
“SQ has a very similar workflow to dLive,” adds monitor engineer Scott Howarth. “It has an extremely small footprint and local I/O which I use for shouts and local festival drum subs / side-fills. It’s great that we can pair it with pretty much any I/O from Allen & Heath too, it makes this owned console easily applicable to a host of uses for the band.”
The band now prepare to head to Asia for a series of support shows before moving on to the US on a headline tour - both sets of shows will feature the SQ-5 covering both FOH and monitors and two AB168 stage boxes.
Belgium - Main stage artists at the 2019 Ghent Jazz Festival were illuminated by 86 Robe moving lights - including 35 new T1s - in a slick lighting design created by Bart Weyts of company L&L Stage Services, who provided technical production, including lightning, audio and video, for that stage.
The event was located in the attractive surroundings of De Bijloke, a charismatic historic site formally a hospital that now houses the Ghent Music Centre in the Belgian city. L&L has been involved in the main stage technical production for the last few years, working directly for the organisers.
This year, L&L purchased T1s with this and other projects in mind from Robe’s Benelux distributor Controllux, adding to their ever-growing rental inventory of Robe moving lights which is now around the 650 mark. He wanted to use them on the Jazz festival because they are silent.
Jazz performance often features some very intense ‘pin drop’ moments - where the ambience can potentially be ruined by the clunking and whirring of a moving light!
In addition to these, 29 Spiiders and 22 LEDWash 600s graced the rig which was based on Danny Nolan’s design for Sting. Other high-profile stars included Jamie Cullum, Rymden, Diana Krall, Joan Baez, Gregory Porter, Mulatu Astatke, Melissa Aldana, Big Whoop and many others all reflecting superlative jazz from around the globe.
The lights were positioned on three overhead trusses slightly racked (lowest at the back) above the stage and on a front (advance) truss, with the LEDWash 600s on two 90-degr
USA - Jackson Browne is back on the road for the next leg of his tour with a lighting package supplied by Bandit Lites, and while the singer-songwriter’s last few tours featured big, saturated looks and backdrops, lighting designer Steve Comer designed this year’s run around beams rather than a set.
“I chose to do ladders behind the band and some side trusses at a downward angle to wrap around the band and provide beams of light that surrounds them,” Comer explaines.
“It was 12 years ago now that Jackson himself with designer David Davidian led the charge to go to a more earth friendly approach to lighting using a 90% LED based system,” says Bandit production director Dizzy Gosnell. “Back then it was 160 LED Par 64s. Jackson’s house had been off the grid a long while before, and he was intensely interested in pushing LED on his lighting systems. It was his vision and faith in us that enabled us to take the leap into the LED path we’re at now.”
Bandit Lites is providing more than 100 fixtures for the tour, including Martin MAC Auras for wash and band member key lights and Vipers for full stage gobo wash and band member solo highlights. GLP X4 fixtures bring tight beams of color and aerial beams. Additional beam effects are provided by Chauvet Rogue RH1 Hybrids and Chauvet Maverick Pyxis.
“I have really enjoyed having the Pyxis out,” Comer adds. “It is like having two fixtures in one where I can get a tight beam in one colour and a colour wash in a different color at the same time. The zoom on the outer ring really
Japan - Uplink’s Tokyo cinemas can be described as mini theatres, including the city’s smallest such venue, which is located in the city’s Shibuya district. The company has embarked on a quest to offer cinema goers the best indie and foreign films in a country where Japanese blockbusters are becoming increasingly popular at the expense of both Hollywood movies and foreign arthouse titles.
Over the last decade, the number of mini theatres has declined as multiplexes have flourished, but Uplink and its president, Takashi Asai, have remained true to their belief that the future is bright for arthouse mini theatres in Tokyo. The way to ensure this, in their opinion, is to offer a pristine AV experience to their customers.
As a result, Uplink has chosen Powersoft amplifier platforms to drive the bespoke audio systems in its venues in the Kichijo-ji area, one of the city’s most fashionable districts. The audio setup in each of the venue’s five screens is driven by Powersoft Ottocanali amplifier platforms, which power Taguchi Acoustic Lab speaker systems.
“The visual side of cinema is constantly evolving,” opens Asai, “But, quite surprisingly, the audio side seems to have stagnated a little in the last few decades. Obviously, SPL in cinemas has increased and dedicated subwoofers have become commonplace, but I have felt for a while that we, as cinema proprietors, could be doing more.”
Asai began conversations with an old friend - Kazunori Taguchi, director of Taguchi Acoustic Lab - to understand how to take Uplink’s audio system
Canada - Corey Hart has sold more than 16m records worldwide and earlier this year was inducted into the Canadian Music Hall of Fame. The singer-songwriter recently undertook his first full arena tour of Canada since 1986, having twice taken long sabbaticals from the road during his 35-year career.
The hotly anticipated Never Surrender tour demonstrated that he has lost nothing of his ageless star quality and reviews of the shows praised his skill, showmanship and the quality of his powerful eight-piece band.
Supplying audio for the shows was production specialist Solotech and its choice of Coda Audio’s compact AiRAY system to deliver the Corey Hart message to his fans proved a great success. Front of House engineer Gary Stokes (k.d. lang, Adam Lambert) enjoyed his first experience with the system and was in no doubt about its qualities.
“Usually, the biggest challenge with an arena system is trying to make it sound consistent in every seat and that’s probably what we spend most of our time trying to do. Of all the different systems I’ve used - and I’ve probably used most of the ones on the market - I would say that this system has proven to be radically effective, in the sense that you can make it sound the same everywhere pretty easily.”
The System deployed on the Never Surrender tour comprised main hangs of 16 x AiRAY per side, side hangs of four AiRAY with eight ViRAY per side, a sub array of 16 x SCPF Subs and eight ViRAY as front-fill.
Stokes continues: “It was very obvious that this system is different from other sy
Switzerland - Around every 20 years, the ‘once in a generation’ Fête des Vignerons takes over the Swiss town of Vevey for a month in July and August. Featuring nearly 6,400 performers, musicians and singers, 2,000 lighting fixtures, 612 loudspeakers and over 300 channels of wireless microphones, 11 networked Yamaha digital mixing systems were needed for the centrepiece production of the 2019 event.
Fête des Vignerons is a spectacular event which pays homage to the centuries-old traditions of the Brotherhood of Winegrowers, which covers the area from Pully to Vevey, in the Lavaux region of Switzerland. The centrepiece production takes place in a temporary arena, built on the banks of Lac Léman (Lake Geneva) and depicts a year in the life of the vineyard over 20 scenes.
Taking place from 18 July to 11 August, this year’s production comprised 23 shows, plus the coronation of the Vigneron-Tâcheron (wine-grower’s hand), traditionally regarded as the ‘keeper of the immemorial know-how’. It saw a quantum leap in the staging and production since it last took place in 1999, with today’s technology meaning the audio production could surpass the highest audience expectations.
The show’s design was for five stages - one in the centre, plus one on each side of the arena - so sound coverage was a complex issue. For the 1999 event, the audio system was mounted on a single tower in the middle, meaning all of the sound came from one point. This year’s technical director François Mottier wanted to make sure that the mistakes from last time were
UK - White Light supplied the lighting equipment for the UK premiere of the Broadway musical Amélie, which completed its UK tour.
Originally performed on Broadway, Amélie is based on the 2001 romantic comedy film by Jean-Pierre Jeunet and tells the story of an astonishing young woman who lives quietly in the real world but loudly in her mind. This UK premiere is directed by Michael Fentiman, stars Audrey Brisson and Danny Mac and features a lighting design by Elliot Griggs.
Griggs explains: “Amélie is unlike anything I’ve ever worked on before. The film itself actually broke a lot of traditional concepts, with the central character being largely passive and the story being told through short vignettes, which together create a rich tapestry of 90s Paris, but also highlight its loneliness and isolation.
“Trying to encompass this successfully into a stage musical is no small feat! That said, the show manages to stay very true to the film. There are no big toe tapping numbers and the score, which was re-orchestrated by the fantastic Barney Race, steers the piece back towards its Parisian, folk-like roots; away from the Broadway-esque version of the Original Cast Recording”.
Alongside capturing the themes of the film, the creative team was also eager to catch its unique aesthetic. The LD continues: “Anyone who knows the film will instantly recognise the image of Amélie in her red outfit surrounded by a muted green backdrop. Set designer Madeleine Girling’s beautiful dark green art-deco Métro station set holds the enti
UK - Independent event production specialists Light Fantastic Production Services returned to The Old Truman Brewery, London to support innovation festival Unbound with a complete event solution.
Featuring presentations by a host of leading brands, the two-day symposium attracted over 5,000 visitors.
The LFPS team worked with Unbound to transform the capacious venue into a series of zones, including the Main Stage, Future Stage, Networking Zone, Partners Lounge plus individually-branded spaces for over 140 exhibitors.
The guest speaker presentations and panel style discussions were hosted within custom designed auditoria, built from the ground up by the LFPS team. Covering every aspect of the installation LFPS provided all lighting, audio, video and staging along with an extensive suite of stylish exhibition stands, digital event branding and signage.
Commenting on the project LFPS managing director Rob Myer says: “We’re delighted to have once again partnered with the Unbound team for this phenomenal event. With our 50 strong crew, we provided the organisers a single source solution for all equipment, technical support and full production management.”
Central to the event was the 500-seat Unbound Main Stage. The set design wove together LED video panels and 3D fragments of the Unbound logo to create an abstract, modern setting around a 10m upstage video wall. This LED wall was fed via a Barco S3 switcher with Panasonic laser projectors deployed on IMAG duties. In addition to the live audience, all sessions on the main stage were st
France - The Printemps department store at the intersection of Boulevard Haussmann and Rue du Havre became the first store in Paris to use 100 percent electric lighting in 1883. For this year’s Fashion Show Spring Vélizy 2 at the store, battery powered and Wi-Fi controlled LED WELL Fit fixtures from Chauvet Professional supplied by Axilum provided the lighting.
Axilum used 36 WELL Fit units in its lighting for the fashion show event. Many of the fixtures were used to illuminate displays, while others, positioned by the runway itself, played a more unusual role.
The WELL Fit units at the runway were placed on their sides so they could create a lattice work of crisscrossing light on the carpet as models paraded to showcase the latest fashions.
“We had free card from our client to recreate a friendly space,” says Lionel Tachet of Axilum. “So, we relied on our imaginations to use the WELL Fits in a unique way to create a path. The WELL Fits are powerful autonomous projectors with a high autonomy and Wi-Fi management, which made them very well-suited for this project.”
Thailand - Mahajak Development Co recently outfitted the Toyota Buzz Co headquarters with a Harman Professional Solutions networked AV system to deliver audio and video in nine locations.
Toyota Buzz Vibhavadi is a Toyota dealership and headquarters of the Toyota Buzz dealership sales channel. In order to broadcast and distribute AV content throughout the facilities - and to eight additional branch locations - Toyota Buzz recruited the help of pro audio distributor Mahajak Development. Mahajak deployed a networked AV system in the boardroom, hall, fitness room, sky garden and mobile room to provide advanced audio and video control.
“After thorough consideration, our team designed and installed a Harman system that seamlessly delivers high-fidelity audio and video across multiple locations to meet the specific requirements of the client,” says Pongsakorn Kanchanachayphoom, project director at Mahajak Development.
Mahajak equipped the boardroom with JBL Control 14C/T full-range ceiling speakers. JBL 305P MkII powered studio monitors deliver precise imaging and impressive dynamic range for critical listening. The system is powered by Crown CT 475 amplifiers and routed through BSS BLU-101, BIB and BOB1 digital processors for maximum flexibility. The conferencing system also includes a video wall with 55” 3x3 seamless display screens, which are controlled effortlessly via computer.
The Toyota Buzz headquarters features a 1,000-seat hall for internal presentations, performances and activities. Mahajak outfitted the hall with compact JBL AE Se
Spain - ETC dealer Stonex has supplied 19 Source Four LED Mini fixtures to light the installations of acclaimed Indian artist and filmmaker Amar Kanwar at the Thyssen Bornemisza National Museum in Madrid.
The museum hosted the work of Amar Kanwar - Testimonios Relámpago and El Bosque Soberano. ETC lighting was used to enhance his exhibition which focuses on the concepts of nature, landscape, climate and human presence whilst criticizing the political state and lack of justice in his native country, India.
Kanwar’s artwork in La Sala de Las Semillas, is characterised by taking elements of nature from India and using them as an activist proposal. Different types of rice grains were collected and carefully categorized in small drawers. The room required a dim light that created a warm and intimate atmosphere. Kanwar selected ETC for the installation based on his previous experience with the company from exhibiting in different parts of the world.
Lighting designer Carlos Alzueta specialises in theatrical and museum lighting and worked on the project at the Thyssen Bornemisza. “Amar Kanwar has in-depth lighting knowledge and having used ETC before, was especially interested in using Source Four LED Mini fixtures for their reliability and superior optics,” comments Alzueta.
“For lighting in museums and exhibitions, it is useful to have the option of focusing, adjusting or cutting out light. We worked with a combination of neutral filters with different densities to adjust the light of the fixtures,” remarks Kanwar.
USA - With a career spanning 19 years, 12 songs that have made Billboard's country charts, and word of a new major label record deal in the oﬃng, country artist Craig Morgan is on the road this summer, touring with new gear in the form of an Allen & Heath dLive S5000 console/DM0 MixRack at front of house, an SQ-7 for monitors, and four DX168 I/O expanders on-deck.
“I had been looking for a new console since last year,” opens Morgan’s FOH engineer, Robert Harmon. “I narrowed down my search to three, but none of them worked out. Then I ran across a console I didn’t recognise online. It looked high-end. It turned out to be an Allen & Heath S5000. Having logged thousands of hours on a GL2400 and other Allen & Heath analogue products in the past, I have to admit my mind was having a hard time wrapping itself around this new digital oﬀering.”
Harmon agreed to try the desk following a conversation with Allen & Heath’s Eastern Regional Sales Manager, Kevin Madden. He wound up using it for two shows and never gave it back, choosing to send the company a cheque instead.
“They told me it could be customised any way I wanted,” he recalls. “I heard that before, but this time it was true. Using a show ﬁle I wrote at home, it loaded correctly the ﬁrst time and sound check went quickly for starting at zero. I conﬁgured the desk to mimic the layout of my old one exactly, that made the transition seamless. I also brought things to the top surface I never could before.
“I always wanted my matrix out with my
Spain La Ciudad del Rock Arganda del Rey hosted electronic music festival A Summer Story on 21-22 June as 100,000 attendees enjoyed the latest music trends highlighted by Claypaky fixtures.
The festival has become one of the epicentres of electronic music in Spain Its fifth edition, produced by Disorder Events, featured performances by more than 70 artists, as well as large screens and spectacular lighting that combined tungsten and LED technologies.
A Summer Story featured four stages with lighting designs that mixed moving heads, LED bars and blinders, among others, all controlled from a grandMA2 full-size console supplied by Stonex.
Disorder Events and Enrique Jiménez of Fluge Audiovisuales worked together to light four stages. Fluge Audiovisuales was once again in charge of providing the AV equipment, including Claypaky Sharpy PLUS fixtures.
The main stage had a pyramidal structure 35m high. Its integral design was by Eduardo Valverde of Pixelmap Studio with programming and operation by Juan Manuel Lázaro Ordiales.
The Live and Techno Stage, designed by Jiménez, showcased several types of Claypaky fixtures. “The difficulty of the design was that this scenario hosted two very different types of performances on Friday and Saturday. The lighting design had to respond to these two different configurations, so we needed very versatile equipment,” he says.
Jiménez used eight A.LEDA B-EYE K10 devices to meet the challenge. "A.LEDA K10 could act as a street light in wash mode during the daytime and work with the LED surface a
China - Elation has been providing lighting solutions for Royal Caribbean International cruise ships since the first Oasis class ship launched in 2009. That trend continues with Royal Caribbean’s latest luxury cruise liner, Spectrum of the Seas.
Custom-built for the Chinese market and accommodating 4,246 guests, Spectrum of the Seas set sail from Shanghai in June as the largest cruise ship in Asia. Similar to Royal Caribbean’s previously launched Quantum class ships, Spectrum of the Seas features first-at-sea amenities including Sky Pad, a bungee trampoline experience, and two-level family suites with an in-room slide.
Built at Germany’s Meyer Werft shipyard, Amptown System Company (ASC) served as system integrator for sound, light, video, projection, media control and networking of media technology for the entertainment areas of the ship, working closely with the Royal Caribbean architects and technical team under the leadership of Royal Caribbean’s Superintendent SLVR & Architectural Lighting, Christopher Vlassopulos. Vlassopulos co-ordinated the design and specification for all the entertainment equipment in all three Quantum class ships’ public spaces, including the entertainment lighting systems, and served the same role on Spectrum of the Seas.
Spectrum of the Seas is an environmentally friendly smartship with energy-efficient entertainment lighting systems. She boasts a similar lighting package template as the Quantum class ships although with some updates and changes. “To keep up with the evolution of LED fixtures, the newe