USA - The latest in a succession of lighting professionals to adopt GLP’s award-winning X4 Bar 20 platform has been designer and programmer, Brian Jenkins. Part of an experienced team based on America’s West Coast, along with people like Roy Bennett, his verdict was unequivocal. “In the moving LED batten market, GLP has hit it out of the park.”
Jenkins is no stranger to the German company’s products, having originally been introduced to the Volkslicht by Seth Jackson when he was designing the Selena Gomez tour. This kick-started an enduring relationship with GLP and its staff. Now in his fourth year with Maroon 5, the LD says, “When we first fired-up in 2015, Roy Bennett designed the production and lighting, with Jason Baeri and myself handling programming and associate design duties. We’ve found a workflow that we both enjoy.
“Outside the main tour, which Roy designs, I handle all the other designs and show direction and am given creative freedom for each show.” And this included two shows at Las Vegas’ Mandalay Bay Events Centre on 30-31 December.
Regarding his lighting plot as “an extension of Roy’s vision”, Brian Jenkins kept returning to a promising, and pre-existing structural concept but recognised that it needed some “extra legs”.
Having been introduced to the X4 Bar 20 by Matt Shimamoto at Volt Lites he could see instantly that it had great potential.
“A few designers were present and we rammed through all the normal FX: colour saturation, dimmer curve, speed, pastels, homogenisation, etc. Fast f
Belgium - After experimenting with a number of different microphones, Belgian folk group Skratt has opted for DPA’s d:vote Instrument Microphones to capture the sound of a variety of unusual instruments, including accordion, bagpipes and nyckelharpa.
All seven members of the band have very different musical backgrounds covering a diverse range of styles, from heavy metal and pop to folk and classical. This allows their music to branch out from traditional folk and incorporate influences from all over the world and many different genres.
Skratt founder Mathias Van de Vliet says it was the search for a microphone that could truly capture the sound of an accordion that led the band to DPA.
“To begin with we tried other microphones but they sounded thin and were terrible on monitoring. We just could not hear the accordion,” he explains. “We also tried a condenser mic on a stand for the violin, but that wasn’t practical.”
The wide range of clip mounts available for d:vote microphones proved a big draw.
“The clip mounts are great because they are made for a different kinds of instrument shapes, so they fit really well,” Van de Vliet says. “They are super versatile and that’s what I like most. You can use them on just about every instrument because they are so well thought out.
“With a bit of creativity, you can even fit the clip mounts to instruments they were not originally designed for – for example, I use the piano clips on the accordion with some small metal plates and the guitar clip on the nyckelharpa. Th
USA - SGM Q-7 strobes were the main cannons of the stage lighting for Justin Bieber’s exclusive show at the Fontainebleau Hotel in Miami, FL.
Everlast Productions have carried out the New Year’s Eve Party at Fontainebleau Hotel for several years. It was the first year that Tyler Frank spearheaded the overall design. Tyler and his crew took the shell of the structure from previous years and incorporated that into the new design for the stage.
He wanted to create something that had more depth, immersion and dynamics, all the while fitting into the tight restrictions of the space. They built a 18m wide x 15m tall x 13m deep (60’ wide x 50’ tall x 40’ deep) structure and stage over an existing poolside bar. The lighting design had to be practical, bright and resilient to South Beach weather conditions. He explained why he chose the Q-7s for the stage setup:
“The Q-7s were the main cannons for the show. They were the only fixtures that I could trust to fill in the void between the LED walls and to have an output bright enough to make it across the pool. The Q-7s were going to be out in the open to the elements and so the IP-rating and the durability of SGM was a no brainer. The fixtures acted as bookends to the LED wall and really brought synergy between the lighting and video elements.”
Tyler was very satisfied with the performance of Q-7s from SGM: “The Q-7s set the bar for a LED strobe fixture. It’s a tank and can handle anything you throw at it. I didn’t have a single issue with these fixtures, whereas I had several with
Germany - Production company LaserFrame recently installed Elation Professional Platinum HFX hybrid moving heads and ACL 360 Bar effect lights into one of the world’s top clubs, Bootshaus in Cologne.
Located at the Cologne shipyard, Bootshaus has been an integral part of the city’s club culture for more than a decade. Primarily a techno club, Bootshaus attracts a clientele of sophisticated clubbers who often dance to the beats of top DJs like David Guetta, Avicii, Hardwell, Afrojack and Tiesto. The club is all about quality and as a top club maintains high standards when it comes to its lighting and sound systems. Pyro, Co2, lasers and confetti are part of the standard repertoire as well.
Bootshaus houses three rooms – the Mainfloor, the BLCKBX and the Dreherei, an old workshop – plus a large outdoor area where open air parties can be celebrated. The Mainfloor is the largest space with a total capacity of 1200 guests. It is here that 16 Elation Platinum HFX and 20 Elation ACL 360 Bars are used as part of an integrated lighting concept around the dance floor.
“We decided on the HFX due to its excellent price:performance ratio,” stated LaserFrame owner Guido Schütz. He adds, “From my perspective it was the best on the market. We tested it against hybrid lights from some of the top manufacturers and it came out on top. The most convincing fact about the HFX is that it´s a fantastic and bright spot-moving head that can also do a fantastic beam - that is the quite the opposite at all other manufacturers.”
Located in the town of K
UK - For a band named after Bastille Day (so named because lead vocalist Dan Smith’s birthday falls on 14 July), it seems somewhat appropriate that their Front of House engineer, Paul ‘Coop’ Cooper, has chosen to use a French loudspeaker brand for their Wild World tour. But his choice of L-Acoustics has nothing to do with a nod to any Gallic connection. It is simply because whenever he encounters L-Acoustics, he knows exactly what to expect and he knows it will be good.
The K1 and K2 system Coop is currently using is supplied by SSE Audio, who have been working with Bastille since 2013. “As Coop is a local lad to SSE one of the guys that works in our fabrications department knew him from the club scene in Birmingham. They said he was working with a band that just might have something about them,” explains SSE’s Dan Bennett. “At SSE we have a policy of supporting emerging talent, so I got in touch with Coop to see how we could help and it all started from there.”
Bastille certainly do have something about them. They now have two number one albums under their belts and, on this latest tour, have sold out arenas around the UK and Northern Europe, including London's 20,000-seater The O2 Arena.
“They did the summer festival run, which went really well,” says Dan. “They loaded out of SSE for the Wild World tour in October and now they’re going back out for a short run in Europe and then on to the US.”
“My use of L-Acoustics stems from installs at venues and at festivals all over the world,” says Coop. “As soon as it w
UK - Claypaky Spheriscans were selected to deliver a display of spectacular lighting effects that merged architectural and entertainment lighting during Edinburgh's famous Hogmanay torchlight procession. The award-winning fixtures were supplied and installed on The National Monument of Scotland at Calton Hill by Edinburgh-based production and rental outfit Black Light.
Project manager James Gow from Black Light worked alongside lighting designer Grant Anderson and production manager of the torchlight procession John Robb, to create a lighting plan that offered maximum impact and versatility for the event.
Gow explains: "We chose to use the Claypaky Spheriscan thanks to its 360-degree pan with an IP54 rating, which makes it a unique fixture on the market. With no need to add extra weather proofing, the unit has a sleek and discreet design."
One Spheriscan was placed between each of the eight front columns of The National Monument of Scotland. The remaining two were positioned in front of the monument where the fixtures bright beams and inbuilt gobos provided texture and illuminated the stone - making it prominent against the night sky.
"A key requirement for this event was 'in air effects'," explains Gow. "The Spheriscans offered us fast moving, strong beams of light that were captured perfectly by the smoke given off from the event's bonfire, fireworks and flames from the torches."
The National Monument of Scotland came to life as the static lighting progressed to a sequence of fast-moving effects during the event's firework display. The
Belgium - International creative design practice Painting with Light was commissioned to design lighting and a video system, plus produce video content for the recent staging of Disney’s Beauty & the Beast musical by Marmalade in Hall 8 at Ghent Expo in Belgium.
The Belgium based company’s Luc Peumans also seized the opportunity to use their new BlackTrax real-time motion tracking system for the first time on a major production . . . to ensure that all the principal cast members were perfectly illuminated as they moved around the performance space.
When Luc came on-board, the set designed by Stefaan Haudenhuyse - under licence to Disney with the producers having to meet certain criteria – was already initiated. Spectacular and dynamic, it was based around a 50m long performance area in the shape of a rose in the centre of the hall with audience seated 180 degrees in the round. Upstage of the ‘stage’ end was a large LED screen backdrop which split into four sections and tracked into different configurations.
The show, production managed by Bart de Coensel, also featured multiple flying props and scenery pieces which came in and out throughout, including large objects like show portals to books from the library and trees from the forest scenes, church windows and a host of others.
Luc – working with associate lighting designer Carlo Zaenen - created a series of ideas about lighting the show, while Jos Claesen produced the video content which had to be approved by the executive producers at Disney.
A mother grid was
UK - Originally performed at the Chichester Festival Theatre before transferring to Regent’s Park Open Air Theatre, Running Wild is now back and embarking on a UK tour. The show is based on Michael Morpurgo’s best-selling novel and uses live-action puppetry to tell the story of Will, whose visit to Indonesia sees her and elephant Oona having to ride deep into the jungle in order to escape a tsunami. White Light was called upon to provide the lighting equipment.
Running Wild is being produced by the Children’s Touring Partnership, which is a collaboration between producers Fiery Angel, CFT and a consortium of regional theatres.
The lighting design for the tour is by James Whiteside. He comments, “This is an extremely busy show, with the setting ranging from the Indonesian rainforest to a rural part of England to the tsunami itself. The highly-stylised set is based around the debris left by the destruction of the tsunami. We have a full-blown ceiling and masking legs of debris which form the jungle. One of my biggest tasks was to get the light pouring through the ceiling which would create the dappled light of the jungle.”
As the ceiling made it impossible to focus any lights above it, this meant that James would need to rely on moving fixtures. As a result, he drew on a series of 16 x Martin MAC 700 Washes for the backlight above the ceiling pieces. James also drew on Elation SixPar RGBW LEDs which provided additional colours to accentuate the jungle scenes.
James comments, “The show opens with a pair of sails
South Africa - The twelfth season of Idols South Africa wrapped up with a stunning finale at Carnival City Big Top Arena in Johannesburg, broadcast live on the Mzansi Magic network with a highly vocal audience of 3,500 packing into the venue - and lighting designer Joshua Cutts of Visual Frontier choosing nearly 200 Robe fixtures to be at the core of his rig.
As always, the challenge was to make this final season look better and different than before, and with over 80m votes cast across Series 12, a lot of eyes are on it and production values have been honed accordingly to reflect the intense public interest and impress fans. A skilled and imaginative creative team once again united to produce amazing results.
Technical production – lighting, sound, video, set and rigging - was delivered by Dream Sets for producers SIC Entertainment and the series, which also included nine elimination rounds recorded on the Drama Stage at the State Theatre in Pretoria, was directed by Gavin Wratten.
The popularity of this and other singing / talent contests in South Africa, highlights how a diversity of music, song and lyrical based entertainment is integral to the culture and heartbeat of the country.
Throughout the 2016 Idols final series, there was a big emphasis on lighting supported by video – rather than the other way around – and this continued at Carnival City, with a framed half-circle of LED screen upstage and the rest of the set architecture and lighting positions following this curvature.
Two side arches flanked the centre stage
USA - Officially, the theme of this year’s Portland Winter Light Festival was ‘Between the River and the Stars’. In reality, though, it could also have been described as ‘connecting people to light’. Held at the beginning of February on Portland’s beautiful Willamette River waterfront, the free four-day festival engaged visitors with an abundance of immersive lighting displays and interactive events like Illuminate Bike Rides and a Glow Jam circus show.
Among the festival’s most engaging attractions was Harmony Park, an interactive exhibit created by Justin Metras, the founder of Portland-based Ellumiglow. Setting an appropriately immersive backdrop for this one-of-a-kind participatory exhibit was a celestial display created with six Iluminarc Colorist Line 6Qa fixtures.
Metras used the RGBA linear fixtures to create a starry night sky, which he set against a fantastical Harmony Park “river” that immersed visitors in a multi-sensory experience. At the heart of this river were custom designed LED lily pads that emitted light and sound signatures when pressure was applied to them.
Visitors to the exhibit encountered these pads “floating” on faux water. When they jumped from pad to pad, they sent vividly illuminated ripples running through the water-like surface below them. Along with these ripples came a sound signature. Since the pads were connected to a central controller that varied the sound signatures based on the amount of weight applied, different people created their own unique sounds as they hopped
Poland - Cadac’s Polish distributor, Tommex Żebrowscy has been working hard to keep pace with demand to supply Cadac’s CDC six compact live production console, as it was being spec’d on events across the country. Throughout November and December, and moving into the new year, Tommex has supplied CDC six consoles, with CDC I/O 6448 or CDC I/O 3216 stage boxes, to local sound companies for a diversity of events, including gala performances, cabarets, church carol concerts and numerous concert performances.
Notable applications throughout the closing months of 2016, saw the CDC six / CDC I/O 6448 deployed FOH at the Final Gala of the Screen and Sound Festival on 29 October at the Kino Kijów.Centrum (Kijów.Centrum Cinema) in Krakow. Screen & Sound Festival - Let’s See The Music! is a project produced by the Bielecki Art Foundation as “a platform integrating artists’ visual imagination with the world of symphonic music”. Technical production, including sound, was by Wojciech Lipczyński, who spec’d the CDC six / CDC I/O 6448 configuration for its high I/O and channel count within a compact footprint, top end features, exceptional operational simplicity, and stunning transparent sound quality for a live orchestral production.
Events in November included the occasion of the 60-anniversary of famous Krakow based cabaret Piwnica pod Baranami (Cellar Under the Rams), and a special gala performance, in The Krakow Opera. A CDC six / CDC I/O 6448 system and CODA Audio ViRAY was again deployed by AUDIO-TECH Wojciech Lipczyński.
Sweden - An orchestral arrangement of David Bowie’s Berlin Trilogy has completed a series of sold-out concerts in Gothenburg Concert Hall and Stockholm’s Berwald Hall, with Allen & Heath’s dLive S Class and ME mixing systems managing FOH and monitors.
Arranged by renowned Swedish conductor and composer, Hans Ek, and performed by the Swedish Radio Symphony Orchestra and choir Zero 8, the technical production was managed by FOH engineer Hans ‘Surte’ Norin from Musikalisk Ljudteknink with Peter Fredriksson from PF Ljuddesign on monitors.
Mixing a total of 126 channels, the dLive system comprised two MADI-enabled S5000 Surfaces and DM64 MixRacks connected by GigaAce, with an additional DX32 Expander for monitors, an IP8 Controller for FOH remote control, and ME-1 personal monitoring mixers for the orchestra. A Waves V3 network card was also fitted at FOH for recording/Virtual soundcheck, and a broadcast feed was sent to Swedish Radio via MADI.
“This is a big production, with over 100 people in the orchestra, band and choir to manage,” explains Surte Norin. “With superior processing power and ample channel capacity, dLive easily handled the production, and the results sounded wonderfully rich and natural.”
The production is set to embark on an extensive European tour in 2017 with the same setup.
UK - Glantre Engineering has become ASM’s UK, Republic of Ireland, & Middle East approved distribution partner. Glantre announced the partnership with ASM having recently installed 29 HCWA Junior Hoists and control in a provincial theatre in Leamington Spa, UK.
Germany-based ASM is a manufacturer of hoists and controls for use in performance productions. All hoists are BGV-C1 and control is SIL 3. The ASM range of hoists includes point-hoists, stage and scenery hoists, chain hoists and control. These systems offer silent operation, and flexibility for load and speed to fit all types of venues and budgets.
Maurycy Sowka, CEO at ASM, added: “Partnering with ASM was a natural choice for Glantre and we are certain that our partnership will be of great mutual benefit. Glantre offers a complete service under one roof, for a convenient and efficient service to all customers. We offer stage engineering, audio-visual, lighting, audio and broadcast solutions and now with ASM, performance hoist systems.”
UK - Each year, the very best in television is recognised at the National Television Awards. Taking place in late January, the awards, which are voted for by the British public, honour television shows, actors and presenters in a range of categories. Producers Indigo TV bring together a variety of technical suppliers to support both the glamorous red carpet arrival space and the awards at The O2 in London, which are broadcast live on ITV.
Continuing a long-running relationship, PRG XL Video supplied both video and lighting technology for this year’s event. Video account manager Paul Wood has worked with Indigo TV’s Andy Bates for a number of years, and this year supplied the production team with the main LED backdrop made up of ROE Visual 7mm LED. The screen is used for all the main title logos, category information and video clips in the hall.
Playback footage was driven by two of PRG XL’s Catalyst media servers, with a PPU forming the link between the live camera footage and the four large IMAG screens located around the O2. These screens used 30k and 14k Barco projectors, and ensured the audience in the arena got a close-up view of the presenters and performers reactions as the awards were announced.
Paul Wood commented, “It’s great to work on the NTAs once again. Andy and the whole Indigo TV team put together a fantastic looking show each year, which runs very smoothly. It’s a pleasure to support them.”
On the lighting side, TV account director, Kelly Cornfield worked with designer Dave Davey to provide a wide variety of fixt
USA - NBC’s World of Dance is currently in production for a 10-episode rollout this spring. Tasked with painting the stage for The Biggest Dance Competition in the World, lighting designer Oscar Dominguez of Darkfire Lighting Design brought his signature kinetic energy and a palette that included 24 Solaris Flare Q+ LR linear fixtures.
“I’m in love with these new Flare LRs,” says Oscar, “they’re a versatile, violent, shootable weapon! Brighter than the original Flare (which says a lot!), we put a few fixtures in the aisles and the rest in the air. They’re the ultimate in accent lighting, as a wash, strobe, or blinder, and pixel-mapped for special effects.
“The technology of these Solaris fixtures never ceases to amaze me: they keep outdoing themselves, improving on perfection. They’re very nicely designed and of the highest quality. They will always be a part of my arsenal.”
The new Flare Q+ LR was first seen on Dominguez’s hit show, The Voice and his special, New Year’s Eve with Carson Daly.
World of Dance is produced for NBC by Universal Television Alternative Studios and Jennifer Lopez's Nuyorican Productions.
Germany - Since the introduction of Allen & Heath’s dLive mixing systems, many of Germany’s top artists, including Nena, Xavier Naidoo, Joris, Brings and Van Canto have taken S Class systems on national and international tours.
"The launch of dLive S Class has been a complete success and we are supporting a lot of satisfied customers and users,” comments Markus Sinsel, Allen & Heath’s German brand manager. “The unique design of the user interface, the FX processing, and the easy integration with Waves and Dante are especially appealing to users.”
Singer songwriter, Joris, has toured with a dLive S5000 Surface and DM48 MixRack with Waves V2, and plans to use dLive on his 2017 tour. FOH engineer, Daniel Lauer, says, "I use the integrated audio matrix switcher. This feature, and the possibility to integrate Dante, Waves and MADI, is perfect for Joris. Also, recording, the broadcast connections and the communication with the OB-vans all run through dLive."
Cologne band, Brings, toured with dLive including a final stadium gig before 50,000 spectators. For this gig, two S7000 Surfaces with DM64 MixRacks and DX32 Expander were used. There was a monitor split via Dante to a GLD-80 mixer, and a feed to the OB van was supplied via MADI.
"dLive sounds stunning, and the design of the surface is perfect and easy to use. I always have the impression that everyone at Allen & Heath knows what they are doing and how live mixing works. It’s 5/5 stars for A&H and the great support of Audio-Technica Germany," comments Georg Ganser,
UK - Britannia Row Productions Training is running its core 12-week Live Sound Technology Course (LSTC) from early April. The 2017 course will be primarily delivered from South Thames College in Wandsworth, with some sessions being held at Britannia Row’s main headquarters in Twickenham and others on-site at Britannia Row shows. The tutors delivering the course will, as usual, be Britannia Row staff and freelance engineers and technicians.
Britannia Row Productions Training’s managing director Mike Lowe said: ‘We have missed running the popular LSTC. Last year we ran six 16-week part-time courses, held on Saturdays and Sundays at Twickenham, as well as bespoke courses tailored to the specific needs of companies in the industry who send their employees to us for training but just did not have the physical space to run the LSTC. Unfortunately, we were unable to run the 12-week full-time Live Sound Technology Course in 2016 due to lack of appropriate accommodation.
“We have come to an arrangement with South Thames College, our partners for our 3-year BSc Hons Degree Course in Live Sound Production, to predominantly use their Wandsworth Campus to run LSTC this spring. The facilities at Wandsworth Campus include a dedicated training room for the course, lecture theatres, a theatre, a sports hall and several recording studios and rehearsal spaces. The college runs several courses for musicians and vocalists, so there is no shortage of live music for our LSTC students to work with. We could not have a better range of facilities.
“We are extrem
Nepal - When Lucy Peckham, co-partner of Anchorage-based Both Ears Live Sound, was contacted by Greg Mitchell, a design professor at UC Santa Barbara, she knew she would be a part of something special. Mitchell was looking for a sound engineer to go to Nepal to work on the first opera ever performed in that country. Peckham recognized early that she would also need equipment capable of performing under Kathmandu’s less than forgiving environment. Peckham found the solution she needed in DPA Microphones’ d:screet 4061 Necklace Microphone.
Peckham first heard of DPA after attending a Live Design conference in Las Vegas. “I started receiving Live Design’s online newsletter and DPA kept popping up in the articles I found most interesting,” she says. “One article in particular caught my attention: DPA microphones were used to mic the entire cast and orchestra of a San Francisco Opera performance for the purpose of recording it.
“The idea of using wireless to capture a live performance astonished me. I did not think there was a mic out there that could handle the kind of dynamic range that opera singers produce, while also capturing the qualitative nuance of character and expression that the singers must achieve. After that, I wanted to know more about DPA.”
Last spring, after attending a presentation by DPA representatives at the USITT conference, Peckham was convinced DPA was the microphone she needed for the challenging Nepal opera project she was about to undertake. “At the conference, I decided I wanted to use three d:screet 4061 Ne
Russia - An exclusive Claypaky rig of almost 300 moving-head fixtures delivered the high-impact lighting for international game developer and publisher Wargaming Group's highly anticipated debut video game event Wargaming Fest in Moscow's Expocentre.
Production and lighting designers Maxim Martynov and Jevgenij Juhnevich of Moscow-based production company MAX \ MAX Productions specified 81 x Claypaky Sharpy, 56 x Claypaky Stormy CC, 46 x Claypaky Mythos, 22 x Claypaky Alpha Profile 1500 and 76 x Claypaky A.leda B-EYE K20 supplied by Russian rental and production outfits Arlecchino Techno and MF Group.
"The work during the preparation period of the show was extremely detailed," says Max Martynov. "We discussed every second, every costume and every colour with the Wargaming team. This design tenacity followed through into our desire to achieve the 'perfect lighting quality' through extensive pre-programming and the selection of Claypaky fixtures."
Throughout Wargaming Fest audience members were encouraged to take part in real-time video game tournaments that were live streamed across the globe. Lighting designer Jevgenij Juhnevich created an immersive lighting environment using the Mythos and Alpha Profile 1500s to unify the show's live gaming tournaments, musical performances, product demonstrations and 20,000 strong live audience.
"The Mythos and Alpha Profile 1500 have great intensity of light," says Max Martynov. "The brightness and integrity of colour make them ideal for televised events such as the Wargaming Fest."
The Claypaky Myth
Denmark - In late 2015 Theatreplan was invited to undertake a wide-ranging 10-year review of the “Operaen”, Copenhagen’s magnificent opera house and home to the Royal Danish Theatre.
In response to the Theatreplan report, the A.P. Møller and Chastine McKinney Møller Foundation (who funded the entire 41,000sq.m building as a gift to the Danish people) announced a substantial grant to maintain the Operaen’s sizeable technical infrastructure and ensure that the Operaen remains a world-class opera house.
Theatreplan enjoyed a successful collaboration with architects Henning Larsens Tegnestue on the original build and is delighted to have been re-engaged by the Royal Danish Theatre to design, specify and monitor the installation of: stage machinery control upgrades; enhanced orchestra elevators; upgraded sound, video and communications infrastructure; upgraded production, work light and houselight systems, and a new architectural lighting scheme.
Following completion of works during summer closures in 2017 and 2018 the Operaen will be ensured of its place among the greatest performing arts buildings in the world for many years to come.
USA - If the impact of a man is measured by those who love him, Randy Travis is larger than life. Bandit Lites donated a lighting package for 1 Night. 1 Place. 1 Time: A Heroes & Friends Tribute to Randy Travis where Garth Brooks, Kenny Rogers, Alison Krauss, Kane Brown, Chris Young, Travis Tritt, Wynonna, Alabama and others honoured the man Garth Brooks said, “totally saved this music and this format.”
Part of the proceeds from the marathon tribute went to the Randy Travis Foundation which supports stroke research and rehabilitation. Three years ago, Randy Travis was gearing up for a two-week run when lighting designer Thom Roberts got the call that Randy had been hospitalized.
“Two days later he had the stroke, and that was that,” said Roberts. “Due to some experiences earlier in my career, I hate to use the word "family" when describing a road crew and band, but it really does fit and it always felt like something was unfinished, never having had that ‘Last Show’.”
For this tribute, Roberts harkened back to the direction Randy and, then manager, Elizabeth Travis gave him back in 1995: This is not a rock and roll show. It is country music. “I have always taken that to mean they did not want a lot of flash and trash, random movement or unnecessary changes. I tried to maintain that aesthetic, and to keep the show deliberate and fairly static, but with an interesting color palette, dramatic changes when called for, and using specials to highlight the always excellent band.”
Elements of the show were constantly changing (
Russia - Opened in September 2016, Vegas City Hall is a multi-level, multi-function concert hall in the North West of the Russian capital of Moscow. Owned by the Crocus Group, the venue has been designed to be highly flexible, with different configurations accommodating a variety of events.
This flexibility needed to be reflected in the design of the audio system, with L-Acoustics loudspeakers providing a solution that delivers high quality sound system that can be reconfigured in under a half hour.
The audio system was designed and installed by Theatre Techniques and Technologies (TTT Group, Moscow), together with Sonoruss, certified provider of L-Acoustics products in Russia.
Vegas City Hall’s auditorium spans three levels in the form of an amphitheatre. In its standard configuration, used mainly for rock, pop and jazz concerts and children’s events, the hall can seat 1,472. For circus events, the seating immediately in front of the stage is removed to provide a bigger performance area, reducing the seating capacity to 1354.
Large screens delivering 4K content akin to the quality of image one normally finds in a movie theatre are sited around the hall. These are designed to create the effect of augmented reality, fully immersing the audience in the atmosphere of what is happening on stage. The Crocus Group wanted an audio system of a quality to compliment this.
"We received the architectural plan and requirements for the sound system, such as sound pressure levels, coverage and frequency response,” says Ruslan Piletski, chief eng
UK - Bristol’s Colston Hall, which celebrates its 150th anniversary in September, has unveiled plans for a £48m refurbishment to make it a world-class music hub for the South West, February 8th, 2017.
The latest artist’s impressions of the ambitious project, which will involve remodelling and upgrading the Main Hall, Lantern cellars and historic foyer spaces to improve facilities for audiences and performers, have been revealed.
A public consultation exhibiting the new plans opened 8 February, 2017, and people are being invited to comment on the proposals before a formal planning application is submitted later this year.
The charitable trust which runs the city centre venue says the improvements will benefit artists and producers as well as audiences, improving the acoustics of the performance areas and opening up new venues in parts of the Colston Hall which are currently unused.
Louise Mitchell, chief executive of Bristol Music Trust, speaking at the launch of the public consultation, commented, “As we celebrate the 150th anniversary of Colston Hall, we enter a key stage in the second phase of our transformation programme.
“The Hall hasn’t been updated since the 1950’s, so it’s long overdue a refurbishment that will give Bristol and the West Country a world class venue to be proud of.
“Today, we invite the public to view our plans for the Hall that will transform it into a performance centre fit for the 21st century and secure its place as a leading national arts centre for the next 150 years.”
USA - Magical is a word that is often ascribed to Louis The Child’s spacey, ethereal sound. It also accurately describes this EDM duo’s phenomenal career path.
Their focus instead is on creating music that captures real moments, or as they once put it in an interview, “songs that are going to become the soundtrack to your life”. This spirit is very evident on the duo’s current tour, not only in its music but also in its immersive and highly original lightshow designed by Kendall Clark and programmed by Andrew Roman, using all Chauvet Professional fixtures supplied by Creative Production & Design (CPD) of Austin, Texas.
Like the music of Louis The Child, the lightshow on the group’s sold-out 21-city tour, is powerful, evocative and very approachable. “The lighting really reflects the music and what these artists are all about,” said Justin Jenkins of CPD. “Kendall’s design manages to be complex without being complicated. It isn’t just massive for the sake of being big; every fixture in the rig has a purpose and it contributes to telling the story we want to tell.”
A big part of this story telling comes from the 18 Rogue R1 FX-B fixtures in the rig. “We have a lot of these fixtures in our inventory, and we use them often because there are so many looks you can create with them,” said Jenkins. “They are a truly unique fixture that really helps you add depth and texture to a design without taking up a lot of space.”
On the Louis The Child Tour, 12 of the Rogue R1 FX-B fixtures are used to outline a three-pointed