UK - Success is serving the independently owned, 1,700 cap Electric Brixton well, a two-step refurbishment programme refining the venue’s image and functionality.
LED fixtures light the building’s front wall, which has been resealed and repainted, amplifying the Electric’s standing on Brixton Hill.
Through the doors to the main space the second room wall has gone, improving sightlines and bringing more flexibility in terms of operating the area. It also makes for a much larger bar stage left and quicker service.
An LX console front of house, with additional motors above stage and across the room, and new fixtures, gives LDs easier access to the venue’s lighting equipment and more capacity to shape the image of a performance/club.
Production manager, Tom Cull, comments: “This is all brand new, state-of-the-art equipment. It was about improving the quality, the reach, of the system but at the same time making it easier for touring parties, so we have more scope in the main room for designers.
“The buildings around us have been subject to multi-million refurbs and we thought the time was right to update the Electric outside too. Our LED treatment means it really glows at night now.”
Club nights at Electric Brixton are typically capacity events and the number of live shows is up 25 per cent in the last six months.
Electric Brixton works with Live Nation, SJM, AEG, Metropolis, Kilimanjaro, DHP, Eat Your Own Ears, Rockfeedback, Bird On The Wire and Crosstown Concerts. Upcoming shows include Bakar, Ari Lennox and P
USA - As one of this year’s most anticipated Broadway musicals, Moulin Rouge! The Musical has captured the hearts of critics and audiences alike. Its performances and production design combine to create an extravagant experience thanks to the talent on and off the stage - and, in part, to the power of Eos.
“ETC’s products are why we can make this show happen,” says lighting designer Justin Townsend. “There is just so much data - nothing else could have driven the show.”
Most people are familiar with the 2001 motion picture, a stylistic spectacle from the mind of Baz Luhrmann, so it was important to the musical’s creative team to make something that both honoured the film and stood out for itself.
“We didn’t want to just recreate the movie,” Townsend says, “but try to create a live Moulin Rouge experience.” The over-the-top scenery by set designer Derek McLane was matched by Townsend’s lighting design. “It needed to be bold, nimble, striking, rococo,” he explained, “And I’m tickled we were able to have such huge resources put into set electrics to make it happen.
“All around - we put the pedal down on all fronts in order to create something that could really sparkle and be different.” With nearly 200 moving lights in the rig, LEDs, LED neon, actual neon, thousands of lightbulbs, and a huge amount of power in the footlights, the show required a control system that was up to the task.
“Any given show might have one really tricky element,” says lighting programmer Brad Gray. “Whether it’s
South Africa - A recent technical upgrade at Joburg Theatre includes four Robert Juliat Cyrano 2500W HMI followspots which have been installed for use in the 1000+ seat Mandela Theatre.
The complex’s largest auditorium, The Nelson Mandela Theatre, regularly sees over 75% of capacity audiences and remains open a minimum of 50 weeks in each year. In the past decade, it has hosted many hit shows, including William Kentridge’s acclaimed interpretation of Mozart’s The Magic Flute, the West End and Broadway musicals West Side Story, Chicago, The Color Purple and Spamalot and top-of-the-line global touring shows, such as Le Grand Cirque, Lord of the Dance and Brazouka.
Joburg Theatre is also the permanent home to Joburg Ballet, Jill Girard and Keith Smith’s Peoples Theatre Company, and one of the country’s most respected community development projects in the arts, the tiny ‘black-box’ theatre known as space.com. Its varied and loaded schedule also includes Joburg Theatre’s season of annual pantomime productions.
“The Mandela Theatre’s followspots, which have probably stood the test of time for around 30 years, have been replaced by four Robert Juliat Cyranos,” says Kevin Stannett from DWR.
“We are very happy for Enos Ramoroko and his team, who have always been amazing to work with. I think Johan Tshiwo who handles all maintenance at the theatre, will be pleased to have fewer repairs on his hands.”
The recommendation and installation came from DWR Distribution. The
Europe - Björk has kicked off the European portion of her critically-acclaimed Cornucopia tour deploying a d&b Soundscape Immersive sound system as the show scales up dramatically from its debut in New York’s new arts centre, The Shed, to a run of largescale arena dates including London’s O2 arena.
Cornucopia is Björk’s most elaborate stage production to date, incorporating stunning visuals, intricate stage movements and a fully integrated immersive sound design. Cornucopia’s sound was designed by Björk and FOH sound engineer John Gale, supported by Southby Productions, and Steve Jones from d&b, utilising the d&b En-Scene object-based mixing and En-Space room emulation software, running on the DS100 system processor and a comprehensive d&b KSL speaker system as an integral part of the concert performance design.
“Björk wanted the sound for Cornucopia to create an otherworldly sensory experience for the audience that draws all the visual, aural and virtual elements together," explains Jones. "By utilising Soundscape from the studio all the way through to the show performances, she has delivered of that impressive vision.”
While already utilised in many major musical productions, installations, festivals and concerts, the Cornucopia tour marks one of the most ambitious and extensive applications of the Soundscape system. Björk's creative vision, combined with d&b's vision for designing the highest quality audio experiences, provided the opportunity to bring Cornucopia’s
Germany - Thomas Gottschalk once again gathered a who's who of ‘80s cult stars at the TUI Arena in Hannover for Gottschalk's Big 80s Show. Performances by Kim Wilde, Paul Young, Thomas Anders, Marc Almond and many more could be experienced on the set's four show stages, with the concert broadcast by ZDF.
Lighting cameraman / gaffer for the production was Michael Donecker. Frank Hofmann - better known as FH - from Scan Design Berlin was responsible for the show lighting design of a production that lasted for several hours. FH, who developed a penchant for lighting design early in life, today works predominantly for TV productions. He notes: “I wanted to create a vintage look that could be interpreted in a modern way - that is, to imitate the looks of those days but using modern technology.”
The set itself was dominated by video elements. A huge LED display of approx. 60m in width and six metres in height gave the stage a flexible visual design. In the centre were two movable LED screens, which parted to allow artists and guests to emerge and perform on stage.
To make the show as glamorous and, above all, as varied as possible FH decided to install a matrix of 48 (4x12) GLP KNV Dot. The KNV system had attracted the attention of the designer from an early stage, but initially he could not envisage any application possibilities for the larger KNV Arc or Cube modules. That changed abruptly when Michael Feldmann from GLP presented the new, compact KNV Dot at a trade fair.
"I used to think that the KNV system was more for the EDM genre,
USA - Rhett McLaughlin and Charles Lincoln Neal III (Rhett & Link) have been blazing a trail with their mix of music and comic antics. Their routines include ‘rap battles’ that feature unlikely antagonists, such as the Wright Brothers vs the Mario Brothers and Leonardo Da Vinci against The Teenage Mutant Ninja Turtles.
Lighting this pair of comedic musicians on tour requires a design that is powerful enough to accent punch lines and ballyhoo moments, while still serving up softer, subtle looks that create theatrical moments for sketches. This is precisely what the design team of Rebecca and Bryan Hairston delivered for Rhett & Link when they stopped at the iSaenger Theatre in New Orleans recently. Helping them were a group of Chauvet Professional Maverick, Rogue and Ovation fixtures supplied by See-Hear Productions.
“Everything came together for us at this stop on the tour,” said Bryan, who, along with Rebecca, owns Hairston Touring Productions. “We used the Mavericks to create some sculpted theatrical looks on stage one moment, while providing some really punchy looks the next.”
The Hairston’s rig featured 20 Maverick MK2 Spot fixtures, 10 Rogue R2 Wash units, and six Ovation 910-FC ellipsoidals. They flew 12 of the Maverick units, along with the 10 Rogue fixtures and four of the Ovation ellipsoidals, on overhead truss. Drawing on the six position rotating gobo wheel of the Maverick MK2 Spot, they used the 440W LED moving fixture to create mood-setting patterns on stage. At other points in the show, they relied on its intens
Australia - On Sunday 6 October, the Canberra Raiders squared off against the Sydney Roosters at the NRL Grand Final in front of 82,922 spectators at Sydney’s ANZ Stadium, with millions more watching the broadcast. Impressive numbers - as was the 229 radio microphones active at the ground that Peter Twartz, radio frequency manager for the stadium and the NRL, had to coordinate to work flawlessly with one another.
Wayne Mulder, engineering coordinator for production provider JPJ, made Peter’s job that bit easier by using Shure Axient Digital and PSM1000 IEMs across pre-show entertainers OneRepublic, the choir, MCs, hosts, and national anthem performers. All up, 52 channels of Shure’s premium wireless mic and monitor products kept the show running flawlessly in an extremely hostile RF environment.
“At JPJ, we wouldn’t use anything else but Shure Axient for this kind of application,” declares Wayne Mulder. “The mics have to work when millions are watching, and Axient Digital’s performance is flawless. I trust Shure Axient completely - it turns on, does what it says it’s going to do, and even in the crazy, hostile RF environment of the NRL Grand Final, it’s bulletproof.”
Wayne and the JPJ team chose four handheld ADX2 transmitters for the main vocal channels, running in dual frequency diversity mode. This mode sees a redundant signal transmitted from the ADX2 to the receivers, which automatically select the best signal from the two independent frequencies. Both are automatically managed, and change undetectably if RF problems oc
USA - Garth Brooks wrapped up the 2019 leg of his Stadium Tour with a record-breaking, sold-out show of 85,000 people at The University of Tennessee’s Neyland Stadium. Knoxville is the tenth city this year to welcome the tour following sold-out performances in St. Louis, Glendale, Gainesville, Minneapolis, Pittsburgh, Denver, Eugene, Boise and Regina.
The concert at Neyland is his second show there since 2003 and comes on the heels of Brooks winning County Music Association’s Entertainer of the Year award for the seventh time. Bandit Lites has provided the lighting for Brooks for more than three decades, and the Grammy-award winning artist once again entrusted his massive vision to the Bandit team.
Brooks also gave an impromptu shout out to Bandit Lites during the concert, sharing how he has worked with Bandit “ever since we could afford lights”. He praised the crew’s work ethic, and how they’ve been with him around the world.
Lighting designer Dave ‘Gig’ Butzler utilised more than 600 hundred Bandit Lites fixtures including Robe MegaPointes, HES SolaFrame 3000s, GLP X4 Bar 10, VL 3500 washes, Martin Atomic 3000 LED Strobes, GLP KNV Cube, Robe BMFL, Robe Robin 1200 LED Washes, Solaris Flares and Showline Nitro 510C. Three grandMA2 Full consoles provide control.
Tyler Truss crafted custom, automated pods for Brooks and Bandit loaded with Robe Robin 1200 LEDs, Martin Atomic 3000s, Nitro Strobes and Robe BMFLs that move about the in-the-round stage. Eight additional BMFL Wash beams mounted with Light Master controls act as the
USA - As Wheel of Fortune begins shooting its 37th season, the popular game show has been replacing its ageing lights with LED fixtures requiring less power, generating less heat and needing little maintenance. Joining the show’s upgraded rig are Ayrton Khamsin compact LED profiles provided by Sony Set Lighting.
“LEDs have finally caught up to where they’re able to replace a 1200W arc source,” says lighting director and programmer, William McLachlan. “I’ve used Ayrton fixtures on other shows; they’re building interesting lights that are becoming mainline workhorse fixtures.”
It was through McLachlan’s long-time relationship with ACT Lighting, the exclusive distributor of Ayrton fixtures in North America, that he learned about the new Khamsin fixtures. “We wanted to expand the show’s plot with moving key lights, and Khamsin had just come out. They had all the features, the output and the quality of light that we needed, so ACT lent us some Khamsins for a shoot-out, and we actually shot some shows with them.”
The Khamsin units “definitely stood out” he reports, so McLachlan recommended them to DP and lighting designer, Jeff Engel, and the Khamsins soon joined a group of 85 moving lights on the pipe grid over the 150 x 250-foot stage.
“That’s a big footprint to cover; we needed lights that would be usable from 90 feet away, and Khamsin’s output put them over the top,” says McLachlan. “They serve as moving key lights that save us lots of time as shots are set up, they fill the need for shutters that ar
USA - A forest of nearly 100 Astera Titan Tubes were used by lighting designer Nook Schoenfeld to create some high impact lighting effects during a sizzle-reel shoot to get player highlights for NHL ice hockey team Minnesota Wild, who are based in the Excel Centre Arena, St Paul, Minneapolis.
These are shown when the players’ names flash up onscreen before and during a game and are also used to highlight players on televised ads, interstitials and other promotions through a season. These clips are shot during a designated ‘media day’ about two weeks ahead of the season opening each season.
Creative designer Chad Gilmour of the Minnesota Wild worked directly with creatives Mark Hussey and Nook to come up with a new look to produce the footage. Chad brought in DoP Robert Durland who found he needed very little lighting other than four ellipsoidals to shoot through the forest of Titans.
Scott Saja edited the whole piece together. Much of this footage was assembled to be played live on the big scoreboard at the Excel Centre during game ceremonies. Production was overseen and managed by game operations manager Sean Zeller (director of game presentation). Secondary cameras were run by Matt Hussey and Chris Dougherty.
Chad Gilmour wanted lighting that was “totally different” to last year when Nook had specified moving light beams and strobes. In their advance meetings, Chad showed a couple of clips he liked that featured - sporadically - some horizontally hanging tubes and wondered if they could find a new and original way of using these,
Finland - The Rantakylä School Centre in Mikkeli has recently undergone a major audio upgrade with two Allen & Heath SQ digital mixing systems.
With around 700 students, the renovated school centre prides itself on providing the latest cutting-edge technologies. “When our huge renovation project started, it was clear in our minds that our audio system needed to be as accommodating and up-to-date as possible without compromising on an easy and intuitive user interface,” explains Juha Lindbohm, a music teacher at Rantakylä school. “As we have several event locations within the premises, the key requirements for us were: a reliable audio network, wireless control and integration with lighting and video.”
The school turned to Allen & Heath’s Finnish distributor, F-Pro, who recommended two identical systems featuring an SQ-6 equipped with a Dante card and an AR2412 AudioRack.
Connecting to the Dante network (via two Dante-enabled rack units in the auditorium entrance hall and the sports hall), an SQ system is positioned in one of the music rehearsal rooms, providing the option to link anywhere on the premises via network switches located in the tech room. Audio is then directed to multiple breakout points situated in the sports arena, auditorium and two adjacent music classrooms. Lindbohm further utilises the SQ’s Dante card for multi-track recording of local school events.
The second SQ-6 setup is built into a flip case, which can be easily moved around the campus and used for a variety of events.
South Africa - Music lovers gathered for the RMB Starlight Classics at the Country Club Johannesburg in September to experience a harmonious journey that has become a springtime tradition over the past 20 years. The RMB Starlight Classics is hosted twice annually in Johannesburg and at Vergelegen Wine Estate in Somerset West respectively.
Sam McGrath and Joanne Jaques from Jam Events have managed the production since its inception in 1998, which is one of the crown jewels in the South African event calendar. “RMB Starlight Classics is an amazing product and has grown beyond anything we thought it would,” explains McGrath. “We have reached a point where the technical team is a family.”
Gearhouse South Africa once again provided the dome structure, as well as all lighting requirements. Peter Abrahamse, who has worked on the event since 2005, was appointed as project manager. “It’s probably my favourite gig, and I get to do it twice a year,” he says.
“The show really has evolved over the years, and while it’s always held under a Gearhouse In2Structure roof, the lighting changes every time. The venues are beautiful too - we work outdoors and the client, RMB, are amazing and take great care of us. Sam and Jo have put together a top team over the years and handpick the people with whom they want to work.”
Abrahamse continues: “The great thing is that they also love it when promising youngsters from the Gearhouse’s Kentse Mpahlwa Academy, work on the event. RMB Starlight Classics is a great platform for learning, and Sam and
Poland - Singer-songwriter Dawid Podsiadlo found fame by winning the second series of Poland’s X Factor in 2012, securing himself a recording contract with Sony Music. Following the success of his two Diamond certified albums, Podsiadlo embarked on a stadium tour, where FOH engineer Rafal Smolen relied on SSL L300 consoles, supplied by GMB Pro Sound and Polish distributor Audiotech Commercial.
“The L300 was the best possible choice for this tour,” says Smolen. “I got comfortable working with it, as it quickly became apparent that whatever I did on this console would always sound exceptional.”
One of the Dawid Podsiadlo concerts was held at the National Stadium in Warsaw, which Smolen says was always intended to be a 'one of a kind' show.
“We wanted it to be a real, one-time event that would really amaze people and make them want more. That was our goal,” he says. “I am not someone who likes to brag, but it was the National Stadium, which is the venue where probably 90% of the live music concerts that took place there were a disaster, because it has horrible acoustics and it's a really difficult venue to play music in.
“However, this event was a great success. It was attended by music journalists and other musicians, and all the feedback said it was the first concert that sounded fantastic, which was a really great achievement for us and our partner company GMB Pro Sound who worked on the PA.”
Dawid Podsiadlo has some smaller gigs planned for 2020, where Smolen reports that he will be using SSL once again.
USA - The Pink Shell Beach Resort & Marina, located at the northern tip of Estero Island in the Fort Myers area, has won awards for its amenities and striking beauty. The resort is positioned in a prime location along the Florida shore and boasts premiere beach access, restaurants, a spa and incredible pools.
That said, the location also comes with some expected Floridian challenges, such as a recent hurricane that did damage to the resort’s audio system. But, while many would see this as a problem for the destination, Pink Shell saw it as an opportunity to reimagine its entire soundscape and AV experience for guests. And at the heart of the new system sit a number of Ashly Audio solutions.
“When I showed them the Ashly offerings, and then the price we could install a complete system at with Ashly, they were immediately on board with adding additional features,” says Mike Kelly of Southwest Florida Custom Electronics - the integrator who designed and installed the new audio system. “They really saw the value in adding more locations of audio and in having an excellent ability to control the system.”
Kelly says audio is now routed to the resorts’ porte-cochere, lobby, three different pools, the bars, restaurants, on-site gym, conference room and even the bathrooms.
“We expect we’ll be adding the spa to the list very soon,” Kelly adds. “Right now, in total, we have more than 90 speakers installed. The resort is just blown away by what we’ve been able to accomplish.”
Kelly says the reason the project grew so s
Germany - Founded in 1952, the Maxim Gorki Theatre is Berlin's smallest with 440 seats, and regards itself as a contemporary city theatre in a historic setting.
In autumn 2019, the Maxim Gorki Theatre (MGT) adopted a new audio infrastructure. Central to this is a Lawo mc²96 production console as FOH console in the main hall, and a Lawo mc²56 console that serves as a backup and a remote console for the preparation of new projects. The mc²56 is also used as a recording console for the venue’s in-house recording studio.
A Nova73 compact serves as the setup’s central router with five Dallis units available as stageboxes, two of which can be used mobile in combination with the mc²56, or on stage. Further Dallis units are located where most of the inputs and outputs are needed, in the orchestra pit and in the basement (Amp-City). The ‘local inputs and outputs’ at the rear of the two consoles are also used both in the FOH area and in the recording studio. Unusually, the theatre’s recording studio and a small studio stage are located in the neighbouring building complex.
Head of sound and video department, Christopher von Nathusius, was responsible for the modernisation of the theatre’s audio technology, together with his team and planning support from Gunter Lühder of Avissplan. Elektroakustik Neuenhagen carried out the project work.
For Christopher von Nathusius, reliability was the most important consideration when choosing the new system - and, in this respect, mixing consoles which run reliably in 24/7 radio operation for years
South Africa - Robe moving lights were all over the rig designed by Ryan Lombard, H.O.D of show lighting for lighting suppliers Blond Productions, for the latest series of popular Afrikaans language music quiz Noot vir Noot which is broadcast on South Africa’s SABC2 channel.
It’s the longest continually-running TV game show in the country - first broadcast in 1991 and presented for the last 28 years by Johan Stemmet. He finally stepped down in January this year to focus on other projects including producing Noot vir Noot through his company Stemmburg Television. Popular actor and singer Emo Adams was revealed as the fresh new face of the perennially popular show in the latest series.
Ryan himself and Blond Productions, who delivered lighting, audio and LED screen, had already clocked up at least 10 years on the series.
For this series, with all the changes, the producers wanted a complete revamp for the show that was recorded at the Urban Brew Studios in Randburg. Blond Productions’ owner and founder Christiaan Ballot and Ryan designed a new set concept.
Ryan integrated 72 Robes in the design - 24 LEDWash 300s, 12 miniPointes, 12 CycFX 4s, 12 MMX Spots and 12 Robe 600E Beams.
The LEDWash 300s were located all around the studio at the back, and used as primary rear lighting on the band.
The MMXs Spots were ensconced in the set walls and used for beam work and some gobo texturing and distinctive gobo looks.
The miniPointes were also rigged towards the back of the set playing to the front with beams and eff
UK - Creative technical production experts Hawthorn and AVC Live have been appointed as the preferred technical production partner at Wembley Stadium in London.
As part of the long-term joint partnership agreement, the companies, which are both part of the PSAV International family, will be the preferred technical production suppliers for events across all eight of Wembley Stadium’s event spaces and 160 pitch-facing corporate suites.
With a capacity of 90,000, Wembley is one of the largest stadiums in the UK and offers a flexible set of event spaces.
Michael Simmons, business development manager at Wembley Stadium, comments: “We’re delighted to have AVC Live and Hawthorn onboard as we continue to bolster our offering to event organisers. Wembley Stadium is a venue with a fascinating history and with that in mind, it’s vital that we work with highly knowledgeable and trusted technical partners, like those within the PSAV International family.
“We’re always looking to take what we offer our clients to the next level and help them create those wow moments. With AVC Live and Hawthorn’s impressive track record of building successful partnerships with prestigious venues, alongside their reputation for delivering creative technical solutions for events of all shapes, sizes and budgets, we can’t wait to see what we can achieve together.”
Scott Rooney-Ashby, account director at Hawthorn, adds: “We’re thrilled that Hawthorn is embarking on this exciting new partnership with Wembley Stadium and our sister company AVC Live. The
Jamaica - Located in Kingston, Main Event Entertainment Group (MEEG) is a multi-level experience agency. Their technical services department recently acquired a large Martin Audio MLA/MLX multicellular array system.
Solomon Sharpe, CEO at MEEG, comments: “Main Event is a full-blown experiential marketing company that has grown organically; the company operates as small internal business units, thus allowing us to deliver a holistic brand experience to our clients from the root to the fruit. We work with numerous corporate giants in Jamaica and have supported major campaigns and activations from above-the-line advertising to below-the-line marketing strategies.”
Sharpe adds: “Over the years we have produced everything from major festivals to executing multi-level engagements for the MICE (Meetings, Incentives, Conventions, Events) market. Jamaica is positioned as a very great market for those kinds of destination events.”
The company’s landmark Martin Audio purchase included 28 MLA enclosures and four MLD (down-fill) enclosures along with 16 MLX subwoofers.
UK - Protec supported its client Optimum for the Jaguar Land Rover Long Service Awards at the Ricoh Arena in Coventry on 25-26 October. This event, held over two nights, hosted over 2,400 guests in total celebrating employees who have given 25, 40, and 50 years loyal service to the company.
Protec put together a bespoke audio and video package working alongside Christie Lites for this production servicing a corporate presentation, an awards ceremony, the showcasing of two new vehicles, live entertainment including singers, dancers and theatrical performers, and a gala dinner.
Production manager for Optimum, Tony Butler reports: “Protec have been fantastic on the most recent production for Optimum at the Ricoh Arena. From early planning and budgeting, all the way through the pre-production process and on-site delivery the whole team have supported me superbly. I can’t thank them enough for making my job so much easier & the client’s reaction to the project says it all. A true bunch of dedicated professionals.”
HOD of video Sean Godefroy notes: “Barco E2 was the ideal choice to handle the pixel space of all the content as there were 4K inputs and outputs and it is incredibly flexible in a show environment. We chose a 2.6mm Unilumin LED wall measuring 12 x 5m with a resolution of 4608 x 1920 flanked by two circular side screens using double stacked Barco 30k projectors to display camera feeds ensuring a vivid, sharp display. We also used two Panasonic 12K projectors for the relay screens projecting 16 x 9 content and one DSM monitor for
Slovenia - Over 30 Chroma-Q Inspire XT LED house lights have been installed in the Conservatory of Music and Ballet Ljubljana (KGBL) to provide high quality lighting with minimal noise.
Regarded as being instrumental to the development of the Slovenian music and ballet profession, KGBL’s basic music education, secondary music and ballet education, and higher ballet education programmes have earned it numerous awards and recognition on the international stage.
As part of an upgrade to KGBL’s main performance auditorium, the project brief was to source a multi-purpose fixture that could be used as a high-quality working light for musicians, a show light for performers, and a house light for the overall room.
In addition, the requirement was for a very powerful solution, which could illuminate the large 16m by 16m space using as few fixtures as possible. However, owing to the room doubling as a recording studio, the chosen product needed to be fanless and virtually silent in operation to meet strict acoustic requirements.
Professional equipment provider, KSL Sound and Light Studio specified the award-winning Chroma-Q Inspire XT due to its high-quality white light and colour-mixing abilities. Delivering up to 9,500 lumens, the fixture is convection-cooled and has additional protection as standard against electrical and audible noise.
KSL’s CEO, Bostjan Konic comments: “For the prestigious KGBL, we needed a light of really premium quality to meet the high technical specification. With its homogenised RGBW optics, the Inspire XT pro
Australia - The Australian College of the Arts Pty recently outfitted their new flagship campus with JBL by Harman audio systems for their audio and music production programmes.
The Australian College of the Arts Pty (Collarts) is an independent tertiary college specialising in degrees and diplomas in the creative industries, including audio engineering and music production. With four campuses throughout Melbourne, Collarts teaches their students the fundamentals of studio recording, live production, and sound for film.
When the college moved its main campus from South Melbourne to Collingwood, they used the opportunity to equip their recording, mastering and post-production studios with JBL by Harman audio systems, including Studio One, Critical Listening and an immersive Dolby Atmos Room.
Collarts equipped their primary recording space, Studio One, with soffit-mounted JBL M2 Master reference monitors, powered by a Crown amplifier. The Critical Listening Room, which doubles as a mastering suite, is also equipped with a pair of M2 Reference Monitors driven by a Crown amplifier. Three smaller recording spaces utilize with JBL 305P MKII powered studio monitors, which provide stunning detail, precise imaging and impressive dynamic range.
The Atmos Room, primarily used for creating Dolby Atmos mixes to video, is outfitted with 20 JBL loudspeakers, including three JBL 708P monitors in L/C/R configuration, 10 705P monitors around the walls, six Control 2P monitors on the ceiling and a JBL S2SEX 15-inch subwoofer powered by a Crown amplifier. The sy
USA - In January 1996, what is now Life.Church was founded as Life Covenant Church in a two-car garage equipped with an overhead projector and two construction lights purchased at Lowes for under $40. The church and its technological prowess have both come a long way since then.
Ranked among the largest houses of worship in the US, Life.Church has 34 different campuses stretched out 2,078 miles, from Rio Ranch, New Mexico to Albany, New York. Live stream video has been key to helping the church reach worshippers throughout this far flung network of satellites.
Since July of this year, these videos have emanated from a sprawling new broadcast campus, engineered by Summit Integrated Systems, that features equipment, including a lighting rig anchored by a collection of over 100 Chauvet Professional Maverick, Ovation, and Rogue fixtures.
The product of a two-year process, overseen by project manager Jared Wells, technical director Greg Baucus, and lighting designer Daniel Connnel, the new broadcast campus is capable of capturing and distributing 4k video content. Featuring a fully robotic camera and dolly system as well as AR- equipped technology, the campus is a model of precise engineering.
Given the sophistication of its video equipment, the campus needed a lighting system that could deliver optimal colour temperatures and smooth, even fields of light with no distractive shadows or flickers. The lighting rig also had to operate silently. These considerations led to the specification of the Chauvet gear, such as the 48 Rogue R2 Wash fixtures th
Finland - The University of the Arts recently upgraded some of its AV facilities to improve the student experience. Electro Waves, a local integrator, carried out the work which includes new Christie APS and the GS series laser projectors in a number of lecture theatres and music performance halls.
With its combination of disciplines including fine art, music and theatre studies, the new university offers varied education opportunities to students in Finland and overseas. And, with increasing numbers of students attracted to the university through its growing reputation, the in-house AV team were keen to add first-class projection to enhance the teaching and presentation facilities. Kai Tuovinen of Electro Waves organised a trial period to test which projectors would be suited to the university’s requirements.
“In partnership with the in-house AV team we decided to put various projectors through their paces before we made our final choice. Christie came out on top overall and we were happy to settle on the one brand for the two separate requirements - classrooms and music performance areas,” explains Tuovinen. “The APS Series are perfect for the teaching environment and the versatility and performance of the GS Series made it a natural fit for the performance areas.”
The GS series have been installed in four of the main music theatres which are for acoustic and electric music, opera and organ music. “The projectors stood out for the almost silent operation, the uniformity of the image, flexible lens choices and the general cost-effective
USA - After auditioning nearly every industry standard microphone capsule for multi-platinum recording artist Khalid, production manager and FOH Engineer CJ Blair found that DPA Microphones’ d:facto 4018VL Vocal Microphone “perfectly complemented” the singer’s deep R&B tones. Now out on Khalid’s Free Spirit World Tour, Blair initially sought out a new vocal solution as a means of bringing the singer-songwriter’s studio sound to the live stage.
“Khalid, like most artists, doesn’t want a technical explanation of why something does or does not sound great,” says Blair. “He just wants a great sounding solution; and we found that with the d:facto 4018VL.”
Blair has used the DPA d:factos for the entirety of the Free Spirit tour and has been impressed with the sound he’s attained. “When Landon (Storey, Khalid’s monitor engineer) and I started using the d:facto 4018VL, we finally began to breathe easier,” he says. “The d:facto delivers a much more usable response for Khalid’s voice without me having to hack the EQ too much. Khalid has a very rich, deep voice and sings a lot of soft, lower-register songs. The d:facto has very little proximity effect in the low mids, so I no longer have to rely on EQ. Prior to using the d:facto 4018VL, that was a big struggle for me as FOH, especially in a big, resonant room.”
Another prior concern that Blair is able to address by using the DPA d:facto is the ability to control stage bleed from other sources. “Khalid is an extremely dynamic singer who, thankfully, has a good mic techn