UK - Shure partnered with Autograph Sound to upgrade the audio equipment at Epsom College as part of a centralised AV control and integration system installation.
Founded in 1855, Epsom College is a co-educational independent school, located in Surrey.
The school, which has a long-standing relationship with Autograph, worked together with them to design and supply an AV solution that connected three areas of the building - Big School, the main auditorium in the building used for assembly, events and music concerts; The Main Hall, a smaller auditorium for assemblies, large meetings and parent’s events, and finally, The Chapel, a space which was used for services only but is now becoming more diversified.
As part of the new audio-visual upgrade, the college had a requirement for wireless microphone and Autograph supplied eight channels of Shure’s latest SLX-D digital wireless microphone systems for use in all three locations.
Adam Broom, projects and installations manager, Autograph comments: “Shure’s SLX-D is a new product which was ideal for Epsom College. It offers the audio quality, multi-channel capability and ease of setup (via its Wireless Workbench compatibility) of the latest professional 24-bit digital transmission systems, without the advanced features that would have no use in this type of application, and at a very attractive price point.
“The rechargeable battery solution extended its attractiveness even further, using the SB903 lithium ion batteries and chargers which add to the reliability and user experience, r
Portugal - Prolights’ DeltaPix 29B, a 2.9 mm indoor rental LED screen, has made its debut in Portugal, with rental specialist BragaEventos purchasing the screen.
The Italian manufacturer released these new series at the end of 2020, to complement its range of LED screens with a rental-friendly solution and a good return-on-investment. The 29B range has the latest generation of Novastar A5s receiver cards with a refresh rate up to 3,840Hz, an SMD1515 LED source and a high contrast range. Besides being flicker free and high-definition, these series were made for the most demanding events and touring applications, with an intelligent back-up power system and easy assembly.
Paulo Dinis, CEO of BragaEventos, comments, “We were looking for a reliable screen that could be supported by a team in Europe and that we could cross-rental with other companies. Prolights has a very knowledgeable team in Italy and are able to not only support us but will carry spare parts for a very long time and are able to calibrate the panels to the batch we have should we expand our fleet in the future.”
Rui Nunes, CEO of SLS and Prolights' exclusive distributor in the region, said: “Prolights' LED screens are hugely popular in Portugal, precisely because of the after-sales support they offer. Buying LED screens is not a difficult endeavour for most companies, the biggest issue is customer service and matching panels over time.”
UAE - Creative Technology Middle East (CTME) is the official live events audio-visual partner for the UK Pavilion at Expo 2020.
The UK Pavilion, which is situated in the Opportunity District at Expo 2020 is based around the theme of Innovating for a Shared Future and promises to offer ‘inspiration and excitement to visitors from around the world’. The six-month event will see the UK Pavilion host a variety of events from multiple trade missions and conferences to various live entertainment spectaculars, including the UK National Day event, which is set to bring the imagination of Glastonbury Festival to Dubai.
Andy Reardon, CTME’s managing director, comments, “CT Middle East will be delivering audio, video and lighting solutions alongside providing a team of highly skilled project managers and technicians for the duration of the event. The UK Pavilion have an exciting, informative and educational six-month events programme lined up, and we are honoured to be part of it.”
Reardon goes on to say: “Millions of people will be travelling to Dubai from all over the world to see the Expo unfold, and we are excited for them to experience the creativity, immersive and inspiring audio, video and lighting installations that our team have delivered for multiple pavilions and legacy areas throughout the Expo, alongside all the other amazing showcases the event has to offer.”
Laura Faulkner, UK Commissioner for EXPO 2020 Dubai, adds: “We have a really exciting series of activities and events planned for UK Pavilion throughout Expo 2
UK - Middlesex Sound & Light (MSL) recently completed the ninth installation in the high intensity 1Rebel gym infrastructure, with the completion of 1Rebel Oxford Circus.
Their eighth premium site in London, the brand has a portfolio that extends to the Middle East (which was completed late last year). Described as a fitness-fashion hybrid, boasting nightclub quality production values, each site features sound reinforcement from the Martin Audio catalogue.
Originally introduced to owners Giles Dean and James Balfour around four years ago as a replacement for their previous sound supplier, MSL provided a sophisticated AV upgrade of the first two venues, which were already in the estate, before setting out a design blueprint for future roll-out.
Project manager and designer Toby Jones confirms that Martin Audio products - from BlacklineX and CDD through to ADORN - now appear in all venues. “At Oxford Circus, the profile and raw sound of BlacklineX perfectly suit the brick-built industrial theme of the interior,” he says. “BlacklineX again met all the requirements for performance and budget, and this is the third venue in which it is featured.”
1Rebel Oxford Circus features two of the gym’s three large studio concepts: Rumble (explosive boxing sessions for 55 clients, immersed in 45 minutes of sound and energy) and Reshape (offering a gruelling and dynamic programme of weights, core and cardio training, equipped for 25 people).
The sound in Rumble is played out through 12 x Blackline X8, mounted on the boxing structure itsel
Belgium - Measuring 88m long and 132m wide, with a roof spanning 11,600 m², the Sportpaleis in Antwerp is an impressive structure. But, for one weekend this September the big building and the neighbouring Lotto Arena melted into intimate spaces of sound and light for Reverze, the hardstyle music festival produced by Bass Events.
Celebrating this ultra-intense form of electronic music that was born in Benelux, Reverze ‘radiated immersive energy that defied notions of space and time as it enveloped the huge crowd with its sights and sounds’.
Contributing to this experience was a series of transformative lightshows run by designer and programmer Leon Driessen of LD Company with help from two ChamSys MagicQ MQ500M consoles with Stadium Wings. (A third MQ500M was held in reserve, but never used).
Featuring 1017 lighting fixtures and 36,225 channels spread over 117 universes run through sACN and ArtNet, the lightshows, which supported performances by 14 different artists, ‘filled the entire venue with massive waves of visual energy’.
Driessen described the vision behind the visuals: “The looks mainly have to do with how the show is programmed,” he said. “A show file will often be divided by lamp type, but we did the opposite. We made combinations of lamp types and looks that were related to color bumps, looks, and movements. A small example of this is how we triggered an odd/even bump and had everything go along with it. Think of the grouping for strobes / washes / movements etcetera, so that any addition you make with a type of lamp
USA - Darkroom Creative, a fusion of ideas and production design from lighting and visual experts Seth Jackson and Nathan Alves, combined history, nostalgia, and reinvention in a blind pitch for the lighting and production design of the Doobie Brothers 50th Anniversary tour, which they won.
The tour was originally scheduled for 2020, was halted amid the initial pandemic shutdowns, and is now back on the road across North America.
The lighting design includes 92 Robe Spikie moving lights which play a key role in shaping the show’s aesthetic, which takes inspiration from a collage of classic stage lighting design gems emanating from the 1970s and 1980s, when the industry we know today was in its infancy.
Stylistically reminiscent of that era, there are no cameras or IMAG video elements. However, unlike then, the lighting rig encapsulating the foot-tapping Doobie Brothers’ music and harmonies that spanned five glorious decades is completely LED.
Seth and Nate are - by their own description - “walking encyclopedias” on the history of concert touring lighting, so they enthusiastically developed this concept, noting that any eagle-eyed lighting nerds will spot essences of Marc Brickman, Steve Cohen, Peter Morse, Jeff Ravitz, Marilyn Lowey, Alan Owen, Howard Ungerleider and so many more of those early-stage lighting design influencers in this show.
“We wanted to pay homage to all that amazing history with a design reflecting the era of the band, and without it feeling dated,” stated Seth.
Woven into the show’s lighti
Singapore - BroaMan MUX22 fibre multiplexer and Repeat 48 3G/HD/SD-SDI Video/MADI fibre extender were provided by Total Solution Marketing (TSM), along with full-service support, for the recent Singapore National Day celebrations. The event this year was rescheduled by the Government from its traditional 9 August date to 21 August due to the increase in COVID-19 cases.
These interfaces were deployed by The Show Company Pte, the appointed vendor of the multimedia committee for this year’s National Day Parade. The fibre-based solutions were used between transmitters and receivers, across distances averaging 250m - over LC multimode fibre to three different camera locations.
This enabled all data to be transported over a single duplex fibre, thus reducing the number of the cables otherwise necessary over long distances. At the same time, it ensured extremely low latency in the transmission.
CWDM-equipped MUX22 devices, configured eight 3G/HD/SD-SDI in/out, and with RTS 4-wire intercom, were used in all Augmented Reality (AR) camera transmissions.
The Show Company also used Repeat 48 as a means of signal transmission over a multicore singlemode fibre to send six channels of HD-SDI LED content feeds (three main signals and three back-up) to Mediacorp's OB truck.
The event itself was divided into a main parade, at the Marina Bay Floating Platform, and then the show itself - a spectacular song-and-dance extravaganza. While both the parade and show segment had to be scaled back for Covid reasons, as always it provided a fitting commemoration
UK - The National Lottery’s Team GB Homecoming, staged at the SSE Arena, Wembley in August, saw Britain’s Olympic athletes honoured by some of the biggest names in music and entertainment during two hours of storytelling, live performances, and big screen content from the Tokyo 2020 Olympic Games.
With production led by Global Touring Office, the star-studded line up saw Rag’n’Bone Man (otherwise known as Rory Graham) open and close the event with a powerful audio control package supplied by Brit Row.
“I think any show post-pandemic has a certain electric feel about it, but this one was another level,” comments Rag’n’Bone Man’s FOH engineer, Rob Sadler. “To be part of the show welcoming back Team GB is a high accolade in anyone’s books, and the pre-show ambient noise of the crowd in the arena was welcoming to say the least.”
Rag'n'Bone Man’s live sound has developed considerably for the new album cycle - with the introduction of a bigger band and the absence of any backing tracks.
“It’s a lot more rock ‘n’ roll,” continues Sadler. “Rory’s vocal is the show, so it’s my priority to make sure it sits on top of the mix. The choir and strings - which were mixed by Davide Lombardi - add a completely different feel and emotion to the songs, very fitting for this occasion.”
Sadler mixed on a DiGiCo SD10 with an XTA D2 Stereo Dynamic EQ, Bricasti M7, and Empirical Labs Distressor for artist vocals, a TC Electronic Reverb 4000 for drums and a Smart Research C2 compressor as a mix bus.
USA - The Sing! Global 2021 Getty Music Worship Conference this year took place at Nashville’s Bridgestone Arena from 13-15 September. The event, hosted by Christian music power duo Keith and Kristyn Getty, perhaps best known as the writers/singers of In Christ Alone, brought together worship leaders, music directors, composers and others in the worship-production sector for four days of workshops, panels, and music.
For the fourth year in a row, Brentwood-based integrator CTS AVL was the audio and lighting systems provider for the event. However, this year, the company also took on the conference’s broadcast and audio-recording tasks. That called for a more comprehensive approach to infrastructure, for which CTS AVL constructed an all-DiGiCo architecture, consisting of three SD5 consoles for front of house, monitors and broadcast, and an SD12 96 desk for production.
Utilising three SD-Racks and DiGiGrid MGB interfaces between consoles and computers, the system seamlessly handled over 160 inputs, managing over 50 separate mixes for bands, groups, choirs, and an orchestra.
“In past years, we had used an analogue infrastructure to break out signal for front of house, monitor and production, but with the addition of broadcast this year and the ever-growing input list we needed to create an all-digital infrastructure that was reliable and easy to use,” says Mike Taylor, CTS AVL vice president. “That meant DiGiCo, was an obvious choice because we were able to source all we needed to the growing system in town due to the readily available
Germany - With a capacity of 2,500 seats, the Festspielhaus in Baden-Baden is considered Germany's largest opera and concert house. However, the huge concert hall is acoustically challenging. A recently installed Alcons QR24 pro-ribbon column speaker system is reliably mastering these challenges.
The project to replace the ageing sound reinforcement system of the Festspielhaus had been underway since 2017. The German-based theatre consultancy Walter Kottke Ingenieure GmbH were commissioned to do the job. The specialist in charge, Joachim Lindemann, reports: "The system was not only outdated, but also yielded rather sub-optimal results.
“Due to its size and wall surfaces, the hall creates a reverberation of more than two seconds. Great for concert performances but very problematic for sound reinforcement of any kind. The more sound energy you release into the room, the more response you receive in return. Unless the throw is super directional, one will eventually lose control of the sound at some point.“
Lindemann suggested an Alcons QR24 modular line-source array column system for a listening test. While listening to it, Stefan Ibach, team leader audio and video technology at the Festspielhaus, "almost fell off his chair," the planner is pleased to report. "In fact, I've never heard anything quite like this in this room“, Ibach agrees.
During the summer break, two QR24 4x 6,5” (left / right) systems were installed, supplemented by a center cluster of 4 LR14 pro-ribbon line array systems. Three additional QR24 systems each (left / righ
USA - To create exciting, immersive visuals that highlighted Red Rocks Amphitheatre’s unique layout during the String Cheese Incident’s multi-night run, PHNTM Labs deployed a lighting rig featuring Martin Professional lighting fixtures, provided by Brown Note Productions.
Colorado-based jam band The String Cheese Incident returned to the Red Rocks Amphitheatre for the 45th time this past July to kick off their 2021 tour, marking the first full-capacity events at the venue in over a year.
Red Rocks’ geological architecture and storied history make performing there a major career milestone for many artists, with performers from The Beatles to Vulfpeck gracing the stage over the past 80 years. Because the venue’s steep seating arrangement means a majority of the audience is seated above the stage roof, Red Rocks has historically posed a challenge to lighting designers. However, the venue received a new stage and roof area in 2020 for easier installation and greater production potential.
To give audiences an unforgettable experience, The String Cheese Incident requested a dynamic light show that kept up the excitement throughout their multi-hour improvisational sets and reached every audience member with impactful and immersive visuals. To deliver a truly memorable light show, PHNTM Labs deployed an advanced lighting rig featuring Martin VDO Atomic Dot and MAC Axiom Hybrid fixtures.
“The String Cheese Incident generally do multi-night runs at Red Rocks every year,” said Michael Smalley, creative director, production designer and lig
UK - England’s Enlightened Lighting sparked up its stock of VL10 Beamwash and VL2600 Series luminaires from Vari-Lite for the Bath Festival Finale Weekend in August. One of the first major music festivals to take place in the UK after the pandemic lockdown, it saw favourites McFly, Scouting for Girls and Gabrielle perform alongside a host of big-name bands.
For Dave Thorpe of Enlightened this was the first time their newly purchased VL2600 Profile and Wash fixtures and VL10s had graced the stage of a busy festival. Therefore, he was keen to see how they performed and gauge the response from both festival lighting designer Nic Ayres and McFly’s visiting lighting designer, Chris Yeomans.
“It was a delight to use the VL2600 Wash and Profile fixtures and the VL10 Beamwash luminaires on this production,” says Ayres. “The colours are great - and although the fixtures can be a bit channel hungry that does make them all the more flexible, which is crucial in a festival situation.”
The rig was designed as a traditional spot and wash set up with the versatile VL10 Beamwash luminaires taking care of backlight gobos from the rig.
“What is great about the VL10s is that they work as a beam, a wash and as a spot, which is brilliant on such a small stage and with such limited time to program,” Ayres continues. “None of the acts bring in any set, except maybe a backdrop. The atmosphere is all coming from the artist and from the lights augmenting the mood of the performance, with a bit of haze thrown in for good measure.
“The VL10s are
Germany - On 9 September, Gentleman was the star guest at the Strandkorb Open Air series of concerts at Berlin’s Hoppegarten venue. The reggae artist from Cologne and his band delighted around 2,000 fans who watched from the comfort of 1,000 two-seat beach chairs at the historic racecourse.
Wired and wireless microphones and IEM solutions from the Sennheiser portfolio are ubiquitous at concerts by Gentleman and his band. And by forming the first links in the audio signal chain, they play a key role in ensuring the live sound quality.
For his performances, lead vocalist Gentleman, aka Tilmann Otto, uses a Sennheiser SKM 6000 handheld transmitter fitted with an MM 435 microphone head.
At the Gentleman concert at Berlin’s Hoppegarten, a 19” rack was located directly next to the monitoring console set up at the side of the stage. The rack contained two Sennheiser EM 6000 receivers, an L 6000 charging station and three LM 6060 modules, as well as a drawer with five SKM 6000 handheld transmitters and various capsules.
“We’ve been using the digital Sennheiser systems since the beginning of the 2021 summer season,” said Nepomuk “Muk” Tuschy, who has spent many years working as the monitor mixer for Gentleman. “It makes absolute sense for a touring band to take their own backline and all the mics along with them. And we intend to buy more Sennheiser microphones in the future so that we can completely mike the drum kit using suitable models from this manufacturer. At the moment, we are already using a Sennheiser e 901 boundary microp
USA - Tom Kenny wowed the crowd and cameras at the iHeart Radio Music Festival at the T-Mobile Arena in Las Vegas in mid-September with a big, but artfully balanced, lightshow that featured 124 Chauvet Professional Maverick MK3 Wash fixtures supplied by 4Wall Entertainment.
Produced by Diversified Production Services, C2W, Firehouse Productions, All Access Staging & Productions, Inc., and Atomic, The iHeart Radio Music Festival is “a real hybrid,” notes Kenny. “It’s really a big TV special,” he said of the show, which was broadcast on the CW Network. “All the experienced LDs and creatives understand that this is not a festival in the usual sense of the word. It’s a huge party being filmed and aired for the enjoyment of millions of fans.”
With this in mind, Kenny used copious amounts of lighting, along with video elements to create an ebullient, festive aura that made it easy for fans at the venue as well as those watching on TV to get swept up in the good-time excitement. The characteristics of the T-Mobile Arena provided him with a good foundation for generating this atmosphere.
“I’ve lit many big shows and TV specials here,” said Kenny “This is very much a 21st century arena with all the bells and whistles that can help a show of this kind. It has a very high trim and some great video elements including ribbons that helped me build a bigger palette. This setting contributed to the show coming off so well, as did my colleagues in this project Mike Appel ,Fuji, Jess Baker, Mark Butts. Jason Uchita, Bob from 4Wall, Joey Vi
Denmark - Coinciding with Denmark’s ‘Freedom Day’ - the lifting of all the current coronavirus restrictions - in September, an innovative and popular production of Jesus Christ Superstar featuring the Danish Chamber Orchestra (Danmarks Underholdningsorkester) conducted by Andreas Vetö was staged at Copenhagen’s Royal Arena, complete with a spectacular lighting and stage design by Sune Verdier.
This version of Andrew Lloyd Webber’s ‘rock opera’ embraced the production genres of theatre and rock ‘n’ roll in staging and lighting.
The lighting included an all Robe moving light rig comprising nearly 150 luminaires - supplied together with audio equipment by Copenhagen-based European Tour Production (ETP).
Imposing three-tiered scaffolding decks accommodated the orchestra, while a 30m long 3m wide runway extended across the arena floor which was the principal playing area for all the action. This layout enabled the actors to get close up to the audience, which apart from the surprise element - as everyone gets used to face-to-face contact again - was particularly effective for the many intense and intimate JCS moments.
With no video the pressure was on the lighting as the main visual embellishment to enhance all the emotion, drama and thought provocation of the piece, plus highlighting a string of rousing musical numbers. “I wanted the lighting to be edgy, simple and impactful,” explained Sune.
During the planning stages, no-one was certain what venue capacities might be possible, so it was planned for a half-
USA - Christie and the University of Waterloo’s Vision and Image Processing Lab are celebrating a new milestone – the development and productisation of the patented algorithm that drives the resolution enhancement of the new Christie M 4K25 RGB pure laser projector. This is the latest success between the institution and Christie, which together recently wrapped up a third, two-year research project.
The collaboration between the Vision and Image Processing Lab at the University of Waterloo and Christie began in 2013.
“Years ago, we wrote out a set of problems we’d like help with,” says Mark Lamm, senior product developer, advanced research and collaboration, Christie. “The group at the University of Waterloo works on vision and camera research, and more recently, machine learning. It was a match – we had problems and they had interest.”
Waterloo and Christie have collaborated on papers, presentations, and patents over the three projects. Each project involved eight to 10 graduate students and included an internship which allows students to dedicate two days a week to Christie research.
“Christie has interesting problems. The people at Christie appreciate the research aspect – we’re providing ideas and insight,” says Paul Fieguth, professor in systems design engineering at the University of Waterloo. “We’re committed to working jointly and talking about where our research is going and next directions, as well as contributing ideas to Christie’s research goals.”
The research that led to the algorithm for the
USA - Car dealership Porsche Austin’s top floor window display features 10 Porsche cars highlighted using SEVEN Batten 72 linear lights from Elation Professional.
Eric Bernstein of Intelligent Lighting Services (ILS) of Austin has worked with the dealership’s ownership group for about 20 years. On this latest project, he worked with Kirk Franceschini, managing partner at Hi Tech Motorcars (Porsche Austin Group), who was tasked with implementing a lighting system that would attract attention to the new dealership. The idea was to line 10 Porsche cars along a sixth-floor display window and illuminate them in high-quality lighting so they couldn’t be missed by the myriads of people who drive by the dealership each day.
Bernstein designed the sixth-floor look and specified 20 Elation SEVEN Batten 72 fixtures, 6ft colour-changing LED battens with 7-color multi-chip LEDs, two units illuminating each car. “We brought several fixtures up there to demo in order to give the client a few choices,” said Bernstein, who was already familiar with the SEVEN Batten from several church installations he has used them on. “We decided that the SEVEN Batten was best for both colour choices and power. It also has an integrated gel slot so it’s easy to put filters in.”
At Porsche Austin, the SEVEN Battens work with light halos above each car, each halo comprising 496 4-color LEDs with the intention of having full control over them. Each halo runs four universes via a Netron EN4 from Obsidian Control Systems, a powerful Ethernet to DMX gateway with interna
India - The Centre for Materials for Electronics Technology (CMET) in Hyderabad enlisted KVIK Infotel to equip the facility with an end-to-end Harman Professional Solutions audio system.
An autonomous group under the Government of India’s Ministry of Electronics & Information Technology, CMET is a research institute dedicated to developing materials for electronics using local resources and supporting India’s technological industries.
Administrators at CMET wanted to utilise the facility’s auditorium for events including training sessions, conferences and seminars; however, the auditorium’s previous audio system lacked versatility for different types of events. To meet CMET’s goals, AV integration provider KVIK Infotel overhauled the auditorium with flexible and cost-effective JBL Professional, Crown Audio, Soundcraft, BSS and AKG audio solutions.
“The Centre For Material for Electronics Technology required an audio solution that could provide breathtaking sound output and clarity for a variety of events such as trainings, presentations and seminars,” said K. Venkata Krishna Rao, director, KVIK Infotel, Hyderabad. “We decided that the JBL PRX speakers would be the best solution, as they would deliver extensive coverage.”
The installation team designed the new audio system so that the auditorium could be used either at full capacity or as two separate seminar halls and still have pristine sound quality and coverage in either setting. The combined set of JBL PRX415M two-way monitors and PRX418S subwoofers create a system
Serbia - Since it arrived on the scene in 1994 with over 100 channels, TV Pink has been a media success story. The privately-owned broadcaster is well-known for its innovative programming aired on numerous channels in entertainment, music, talk shows and news.
The popular broadcaster recently upgraded its PFI studio complex in Šimanovci near Belgrade with an intelligent LED lighting system.
Designed and installed by Novi Sad-based AVL Projekt, the new system includes a collection of 64 Chauvet Professional Maverick and Rouge fixtures as well as four RDMX Splitter 8 units and two Net-X II nodes.
The Chauvet Professional fixtures (16 Maverick MK3 Wash, 12 Maverick MK2 Wash, 12 Maverick Silens 2, and 24 Rogue R3 Beam units) were selected for the upgrade project after an extensive review by professionals in image quality and management of lighting resources, including PFI rental director Dragan Gravara, deputy director of PFI Rental Miloš Jeremić and directors of photography at TV Pink Nenad Serafijanović and Nenad Stojković Piksi.
As part of their evaluations, these experts checked the fixtures using two colour meters: Sekonic C800 and Sekonic C700. The analysis and testing proved that the technical characteristics from the specification matched the measurement results in actual environment.
Given the diverse range of programs on RTV Pink, the broadcaster’s team paid careful attention to evaluating the flexibility and multi-functionality of the lighting fixtures. They came away very impressed by the Maverick Silens 2 Profile LED movi
USA - When Germany-based Thomas Christmann saw Claypaky Xtylos at a Prolight + Sound expo in Frankfurt he knew he had to work with the fixture one day.
The lighting designer and director for metal band Korn since 2015, Christmann, who is known as ‘Church’, thought the 2020 tour planned for the band would be the perfect opportunity to use the first moving head light with a laser light source. “I’m not a big fan of beam lights and try not to use them for effects lighting,” he says. “But I love the Xtylos beam, their colour and speed and was eager to use them.”
Then the coronavirus pandemic intervened and 2020 touring for all bands was cancelled. But as soon as Korn was booked to play two 2021 summer festival dates, Church put 20 Xtylos from OSA International, Inc. in the rig for Rock Fest Wisconsin and the Upheaval Festival in Michigan.
Now Korn has begun a 28-date US tour with Staind. The run kicked off in early August in West Palm Beach, Florida and will wrap at the end of September in Dallas. Church upped the ante and specified 36 Xtylos for the tour, also obtained from OSA. He mounted four each on top of a straight line of five upstage pods, which roll onto the set, and eight on each side of angled upstage trusses, which split over the drum riser.
“My lighting designs are pretty theatrical with cues and strong looks - I don’t go crazy with a lot of positions,” Church explains. “The Xtylos’s beam light was very impressive when I saw it the first time, and I trust OSA’s (vice president, lighting) Mark Fetto, whom I
USA - When San Francisco’s Tempo debuted in 2020, it had the connected fitness industry buzzing. The interactive personal training solution brings a team of expert trainers into the home virtually, with adaptive technology that delivers real-time guidance and creates custom workout plans around a user’s fitness goals.
Instructors are filmed in a dedicated recording space in San Francisco, and audio is a key consideration in simulating the energy of an in-person workout class. To provide users ‘the ultimate sound experience’, the brand selected DPA Microphones.
According to Cemil Revan, Tempo’s head of studio, the company first selected DPA 4288 and 4088 headset microphones to support its audio needs. Following a preference from instructors, the studio later incorporated a pair of 4017B shotgun mics in an XY pair overhead and 4098 gooseneck mics on the floor.
“Our trainers move all over the place and get really sweaty, so I went to DPA to help problem-solve our unique situation,” explains Revan. “From the start, Gabriel [Antonini, DPA business development and global support manager] was so helpful. I had been experimenting with the idea of having external microphones to capture the trainers and he helped me so much in this process. I couldn’t have done it without him.”
Ultimately, Revan and Antonini settled on the 4017B and 4098 as the primary mics for the live workouts, which are now used in both the original location and the newly opened second Tempo recording space. “We’re running all DPA equipment at our two recordin
USA - When the COVID-19 pandemic first swept across the nation last year, Flagstaff’s Orpheum Theatre had no choice but to close its doors to the public. For audio production manager Scotty J., this meant not being able to showcase the venue’s new KF810P PA system from Eastern Acoustic Works (EAW).
While the Orpheum was closed, the theatre still produced some virtual events including about 25 webcasts during 2020 from its indoor stage with the new EAW system. The venue also created an outdoor space in the parking lot, which was first used for a two-day Halloween/Grateful Dead event last October.
Today, with some restrictions easing, Scotty J. is able to show off the new PA system as the Orpheum re-opens. Scotty J. chose the KF810P Line Array and SB818P Single 18-inch flyable subwoofers from EAW with the help of Sound Image, a full-service audio, video, theatrical lighting, control system, acoustic design and integration firm.
“Since we are a multipurpose music venue, we really needed a versatile PA that could handle all different genres of music that encompass various different decibel levels,” says Scotty. “Ben Davis from Sound Image was instrumental in helping us find the best system for our venue. We heard the EAW rig in a few different environments and it always sounded amazing. The acts/engineers that come through the venue know EAW, which added to my confidence in the brand.”
The new EAW PA system consists of 12 KF810P line arrays with six boxes on the left and right respectively, 12 SB818P Single 18-inch flyable subwoofer
USA - North Montgomery High School auditorium in Crawfordsville, IN, is benefiting from a new technical upgrade, including advanced C21 dimming technology and Vision.net touchscreen control interfaces from Strand.
Looking for new power-saving LED house lights and stage lighting control infrastructure to replace their increasingly unreliable systems, North Montgomery High School turned to Associated Controls & Design (ACD) for help. “The existing wall controls had started to fail, while the dimmer racks were also failing and had started randomly flickering various circuits when the system was in use,” said Sean Cole of ACD.
Cole opted for Strand’s versatile C21 dimming system because it offered “the best level of flexibility and control for the needs of the auditorium”. He specified a combination of non-dim modules for the stage circuits, and IGBT modules to take care of the new, dimmable-LED house lighting system.
A new Strand Vision.net system, installed on the existing wiring infrastructure, allows touchscreen control of the house lighting system for the operators in the control booth. Further Vision.net touch panels are positioned near the entrances and on the stage.
“The ability to seamlessly go from using Vision.net, to the lighting console and back, was instrumental to meeting the customer’s needs,” said Cole. “And the generous 10-inch touchscreen allowed me to put most of the controls on one screen for easy access,” he added.
“Overall, the new system offers a greater level of flexibility and a system that
Austria - To give the reimagined Starmania 21 a fresh look, lighting designer Roland Greil designed a dynamic and versatile lighting rig using Martin Professional LED lighting fixtures and creative video solutions.
Starmania is an Austrian televised musical competition that was originally broadcast from 2002 to 2009 on channel ORF 1. This year, ORF decided to bring the show back as Starmania 21, with a fresh cast of contestants and a new panel of judges. Taking the opportunity to give the revived show a fresh look, the producers hired lighting designer Roland Greil, who designed a lighting rig using a variety of Martin LED fixtures and creative video elements.
“The young talents on Starmania performed all kinds of music, from early 20th-century Austrian folk music to the newest chart hits and everything in between,” said Greil. “You want to give every song the right look and feel. Your fixtures need to be versatile enough to do this, because you’re still dealing with budget constraints. You can’t have 300 lights for rock and roll and 300 lights for modern hits.”
Greil’s lighting design included 48 Martin MAC Aura PXL wash lights, To supplement these, Greil added 35 MAC Viper Wash DX fixtures for additional wash illumination. To highlight the performers, Greil selected 68 MAC Viper Performance fixtures, taking advantage of an innovative ‘Follow Me’ system, which automatically follows the performers’ movements like a traditional follow spot.
To produce synchronised effects, Florian Wieder, the prod