Belgium - For almost 30 years, the municipality of Ingelmunster in the Belgian province of West Flanders has played host to the Labadoux festival. Now as much a part of the Belgian cultural fabric as the region’s chocolate and beer delights, the 'Music with Roots' festival blends a wide variety of folk and other genres, and serves as a key platform for both established and up and coming acts.
For this year’s festival, organisers wanted to up the visual ante for headliners including The European Pink Floyd Show and Levellers. To this end, LD Vincent de Schinckel specified a number of Chauvet fixtures for the festival’s main stage, including 12 Chauvet Professional Maverick MK2 spots, 16 Maverick MK2 washes and 16 Chauvet DJ Intimidator 140SR hybrids.
Wanting to give the impression of visual depth from the audience perspective on the main stage, De Schinkel positioned the 440w Maverick MK2 Spot and 480w Maverick Wash fixtures over three rows of ceiling trussing hung from the front to the back of the stage. The contrasting looks of the Maverick spot and Wash fixtures allowed de Schinckel to create a colourful lattice of light which both illuminated the performers on stage and the audience, whilst simultaneously empowering the stage with a formidable visual aesthetic.
“I specified the Maverick Spots for their ability to produce ipowerful and sharp spot lighting with versatile effects such as gobos and three-facet prisms,” commented de Schinckel. “The wash fixtures, on the other hand, allowed me to contrast the spots with saturated and vivid
UK - Creative technical event production company Hawthorn brought the bright lights of Las Vegas to Battersea Evolution for the Waitrose Supplier Gala Dinner 2017 on 19 May 2017. Following a Vintage Vegas theme, Hawthorn worked with client Entertee Events to transform the venue into a show-stopping party venue.
Not only providing an opportunity for the company’s suppliers to network with the executive board, commercial directors, category directors, and senior traders, the evening also raised vital funds for the charity GroceryAid.
With 1,500 guests seated across 147 tables, Entertee made the most of Battersea’s large versatile space. Decorated with crystal chandeliers, entrance tunnels made from Hawthorn’s lavish blue velvet drape and thirty-two palm trees wrapped in fairy lights, guests were transported back to the golden age of Vegas. Hawthorn also created ten custom-made uplit columns, specially constructed on site during the day of the event. A proscenium arch theatre style stage made using the company’s red drape completed the luxurious aesthetic, setting the scene for an evening of fabulous food and excellent entertainment.
The key focus of the lighting and video design for the evening was to enhance the Vintage Vegas theme whilst also being able to adapt the look within the room and on the stage. For this, Hawthorn designed a split 10mm LED wall that consisted of seven 1m wide by 5m high strips. In between these strips were two bars of six par cans with very narrow lamps, producing powerful beams to cut through the band.
The Netherlands - Philips Lighting’s new lighting fixture, the Philips Vari-Lite VL6000 Beam, featured prominently in the lighting design from specialists Light-H-Art for the finals of The Voice Kids Holland, broadcast on RTL 4.
Bas de Vries, lighting designer at Light-H-Art, had just two days of camera rehearsals to create distinctive looks for 18 different acts on the show, so needed a lighting rig that would give him a range of options. The Philips VL6000 Beam, introduced to the market earlier this year, drew his attention and Philips Entertainment Lighting worked with Dutch distributor FACE to provide Light-H-Art with the units for the show.
De Vries employed six of the Philips VL6000 beams on the set, mounted on moving trusses arrayed above mid-stage. This allowed him to vary the visual framing of the performance, bringing the six wide beams into play to add a different texture to the beam looks from the rig, and to bring a strong focus onto the central performance area. The VL6000s were at times framing the performance area in open white, or complementing the rest of the rig with colour, or even adding bold movement to the spectacle by rising slowly from floor level.
Using the powerful lighting fixture for the first time, de Vries was impressed. "I always like to have a couple of 'big guys' in my lighting rig!" he says. "I really like the beam and the output, and I think it works especially well in combination with all the video that we had in the set."
Bas de Vries was particularly impressed by the super bright output and the
China - A range of Claypaky moving head fixtures created the responsive theatrical lighting for immersive Chinese theatre production Encore Dunhuang, a 'walk-in' theatre show that debuted at the first Silk Road Dunhuang International Cultural Expo.
The event's theatrical lighting design was created by lighting designer Mr Wang Yugang, who specified the Claypaky Scenius Profile, Claypaky Alpha Profile 1200s and Claypaky Sharpy Wash 330s to meet the demands and the scale of the production. Mr Wang Yugang singled out the Scenius Profile for its superior colour rendering.
"In the flying scenes, I chose to base the look around the Scenius Profile," says Mr Wang Yugang. "The colour reproduction on clothing and characters is extremely good, and the consistency of light is far more than the other brands of fixtures available."
The 90-minute performance guided audience members on a journey through time, providing them with an immersive experience of some of the key events and characters from the 2,000-year history of the city of Dunhuang, once a key trading point on the historic Silk Road.
"An Encore theatre is different from a standard theatre," explained Mr Wang Yugang. "Depending on the needs of the scene, it is built to be a flexible space that meets all the regular theatre construction specifications, whilst being configurable to realise each individual scene."
One of the main challenges was in lighting the vast, 1000sq.m performance space, which is divided into four zones and through which the audience walk. It was a task which requi
UK - Imelda May’s latest album Life Love Flesh Blood has seen a marked change of direction, with the Irish singer replacing her earlier rockabilly romps with a more country/soul ballad approach.
She also has a new FOH sound team, with Nick Ingram following a line of experienced sound engineers that have included Trevor Gilligan and Gerry Wilkes - both of whom have used Capital Sound as their equipment vendor.
With a classical musician’s background, Ingram was an appropriate choice to reinforce sound in the series of concert hall and theatre venues around which the tour is based; and he is delighted he took up the recommendation from Capital’s Paul Timmins to use the Martin Audio MLA Compact PA to support one of their long term accounts.
Although this was the first time Nick had taken the system out following three days’ production rehearsals at Music Bank, the FOH man is no stranger to the platform, having previously mixed his other charge, Jake Bugg through the system. “I experienced MLA at Hyde Park [British Summer Time] and the sound was unbelievable,” he reports. “After all the historic problems with noise restrictions on the site, Hyde Park is now somewhere you look forward to rather than with dread. I also mixed Jake on the John Peel Stage at Glastonbury with the MLA Compact - I thought there was never going to be enough PA [to carry] but once again it was fantastic.”
Thanks to an instinctive compatibility with Imelda May, Nick - who has unwittingly found himself specializing in acoustic singer-songwriters - has co
UK - Academy Music Group (AMG) has once again enlisted Liverpool based Adlib to design and deliver a completely new, full touring specification, audio system for its most recent venue acquisition, O2 Forum Kentish Town in North London. The 2,300-capacity venue is one of the most popular live music destinations in the capital.
The brief was to future-proof the venue’s technical infrastructure, bring it up-to-date and give incoming productions the flexibility and facilities they need to stage world class performances with the convenience of using the house system.
Adlib’s experience in live touring and venue installations coupled with detailed research of current rider information drove the specification of an L-Acoustics K2 loudspeaker system, DiGiCo consoles and Adlib’s latest proprietary MP5 wedges and side-fills for the monitor system.
Adlib’s MD Andy Dockerty and John Hughes led the initial requirement discussions with Academy Music Group’s divisional managers Helen McGee and Steve Hoyland with newly appointed general manager, Eral Hassan and technical manager John Pinner, who have joined O2 Forum Kentish Town this year from London venues, The Garage and O2 Shepherd’s Bush Empire respectively.
“We’ve listened to many promoters, sound engineers and production managers and wanted to invest in a first-class system. O2 Forum Kentish Town is an art-deco theatre and a much-loved, major touring venue that attracts high profile, international artists, so we needed to invest in a completely new PA system that really is the best-in-
UK - Nottingham Trent University (NTU) is a truly global university. Boasting a strong and internationally recognised research status, NTU offers one of the best employability records in the country, with 94% of students progressing to full-time employment or further education within six months of graduation.
One of the UK's leading new universities, since 2004, NTU has invested more than £350m across its three campuses, developing world class teaching and learning facilities. A stated goal of the university is that its teaching estate and the technical support behind it, should be first class. NTU's investment in state-of-the-art AV systems reflects this commitment and Polar Integrated Solutions has co-operated with the university's AV Team Leader, Stuart Loughran, on a number of projects designed to meet the highest standards.
A feature of modern educational practice is 'lecture capture', an umbrella term to describe any technology that allows educational practitioners to record what happens in their classrooms and make it digitally available to their students. The advantages of this are clear. Students are able to catch up if classes are missed, content may be closely reviewed and also may be retained for course development.
Central and absolutely crucial to the process of lecture capture is recorded audio. It is clear that whilst any problems with the visual aspect of lecture capture might compromise the results, poor audio quality would render the whole exercise futile. Stuart Loughran consulted with Polar as to the best way to achieve optimum
UK - Midas was the power behind Stonehenge last week as druids, pagans, tourists and locals saw sunup ahead of 16 hours 38 minutes of scorching daylight on 21 June.
The summer solstice is one of just two occasions the public can get full access to the stone circle free of charge.
Working for Sygma Safety in the second of a three-year contract, Midas supplied site power and sourced an ambient lighting wash for the monuments, together with tower lights for the car park and exits.
The site is open to the paying public until 8pm on 20 June and from 4pm on the 21st, with English Heritage watching the clock. So it was crucial the Midas generators, run with 100 per cent HVO (hydrotreated vegetable oil), and the lighting and plant it provided, moved quickly and efficiently.
Andy Dann, operations director at Midas, comments: “We learned a lot about the process in 2016 so were in a position to make a few subtle changes this time. Monitoring the loads on last year’s event meant we could reduce the generator sizes, for instance, and switch from two sets to one for a particular part of the site.
“Sygma has put a top team together and we left, if I may, no stone unturned for people celebrating midsummer.”
Lizzy Dickinson, production manager for Sygma, says: “You have to work around the public for the in and the out at Stonehenge, to a very tight deadline, leaving no trace. There are always late changes too, so you need suppliers you can trust. Midas understands the unique nature of this job and it’s a great company to work w
UK - Depeche Mode’s career spans four decades and a reputation for musical originality has kept them relevant and at the cutting edge in delivering one visually and sonically inspiring performance after another.
Blackburn lighting rental specialist HSL is the main lighting and video contractor worldwide for the current Spirit tour. They are partnering with CT to deliver the video package.
The raw, stylish, industrial production design is by creative director Anton Corbijn, who has always pioneered video as an essential vehicle of live production. Lighting has been designed by Sooner Routhier and Robert Long of SRae Productions and is being directed on the road by their associate LD, Manny Conde.
The Spirit tour is being production managed by Tony Gittins and plays a mix of stadiums and arenas. HSL’s project manager Jordan Hanson is working closely with CT’s music and touring specialist, Graham Miller and the HSL crew of five is being chiefed on the road by Ian Stevens. They will be travelling internationally, together with the full lighting rig.
HSL’s MD Simon Stuart commented: “We are delighted to be working with Tony and his team on this ground-breaking tour and it’s been a real pleasure to collaborate with Sooner and Manny and ensure they have had all the support they need. The design is innovative and edgy. I am a huge fan of Sooner and her thoughtful, intelligent approach, which captures the mood perfectly. The band are on top form as always.”
The entire look of the Spirit show is inspired by Anton’s branding for th
South Africa - As the Naledi Award winners of the night thanked their mothers, their fathers, their oumas (grandmothers) and life partners, as tears flowed, speeches were read and the audience cheered and rose to their feet, it was clear that the ceremony hosted at the Lyric Theatre in Johannesburg on 5 June 2017, held great substance to the victors of the night.
With sponsorship and finances bleak, an act of kindness and financial support saw various local and international companies rallying alongside founders Dawn and Des Lindberg, to ensure the 13th Naledi Awards would take place. To top it off, Haccius Mokopakasi, who has been in the industry for 40 years and works in the Market Technical Department, received the Lifetime Achievement Award while Hlomohang Mothetho and Wesley France were the winners in the Best Lighting Design category.
Many people are unaware that Des and Dawn had to take out a second bond on their home to pay for the Naledi Awards which took place in 2016. With perseverance, they continued to push forward against all odds to continue with the awards this year, which recognizes excellence in the Performing Arts.
Sitting around a boardroom table with Des and Dawn at DWR Distribution earlier this year, Duncan Riley knew that it was up to like-minded companies to stand together to ensure the show could go on. He knew that the faithful companies assisted the awards in the past with the technical requirements, Dream Sets, MJ Event Gear and MGG Productions would jump at the opportunity to help again. He then approached Joshua Cutts
USA - After 12 years, 19 Number One singles and untold touring miles, AMC Entertainer of the Year Jason Aldean isn’t about to take his foot off the pedal. The dust had barely settled from his 2016 We Are Here tour back in January, when he announced plans for his current 33-city They Don’t Know road show. At the time, the country superstar promised that his new tour would be bigger, bolder and brasher than anything he’d ever done before.
Rolling through a 90-minute, 22-song set of old and new hits, Aldean has sold-out crowds on their feet, with his animated stage presence and rip-roaring mix of hard-driving music. Supporting his performance and lending extra visual pop to the proceedings is a brawny and colourful Chris Lisle-designed lightshow, anchored by 118 Chauvet Professional Rogue RH1 Hybrid moving fixtures supplied by Bandit Lites.
Lisle positions the 330W moving beam/spot fixtures throughout his massive rig to maximize their visual impact. “Generally speaking, the Rogues are clustered in groups of three to create the punchiest looks possible,” he said. “We have them on the upstage chevron trusses, the mid-stage finger trusses, and on the floor, where they excel as aerial effects.”
The Rogues, along with a collection of over 150 other luminaires, are all used to accent the hexagonal-shaped theme of Lisle’s design. Representing a hard-working industrial look that celebrates core American values, hexagons figure prominently in the set design, from the shape of the main LED video screen and IMAG screens at the wings,
Italy - Singer songwriter Davide Van De Sfroos has brought the picturesque stories spoken in the ‘laghèe’ dialect, which is spoken in the northern areas of Lecco and Como, to one of the most important stages in Italy - the San Siro in Milan.
More than 20,000 people attended his concert, exactly the goal that the artist (real name Davide Bernasconi) had been hoping for - and hugely impressive considering he was using a language very difficult to understand for anyone not from that area of Northern Italy.
The sound reinforcement was provided by Martin Audio partners, All Access, and they fielded their premium and award-winning MLA PA. The hangs comprised no fewer than 22 MLA and an MLD Downfill on each side of the stage, underpinned by 36 MLX subs. For side-fills they added a further 11 MLA on each flank, while front-fills were made up of four further MLD Downfills and eight Martin Audio W8LM Mini Line Array.
For the musicians, 12 Martin Audio LE2100 and six LE1200 floor monitors were provided for reference sound, and stage-fills comprised eight Martin Audio W8LM and four WS218X subs.
Sound engineer Paolo ‘Red’ Talami, All Access PA manager, explained the choice of system configuration. "The attendance was estimated between 20,000 and 25,000 people and it was not decided until the last moment whether to open the second ring of the stadium," he explained.
"For this reason I developed three different projections in [Martin Audio’s proprietary] Display 2.2; one was covering only the first ring, the second was a partial ring cover a
USA - Tom Petty and The Heartbreakers’ 40th anniversary tour has been thrilling TP fans across the USA since April, and the show’s visuals are the handiwork of lighting designer / director Stanley Green and co-visual designer Kevin Cassidy. To augment his potent arena lighting package, Green specified 30 High End Systems SolaSpot 1500s as the ‘workhorse’ hard edge fixtures for the tour.
Green prepared a total of six complete lighting and set designs for the 40th anniversary tour for Tom to choose from. He comments: “Our technical director Kevin Cassidy had lots of creative input, and was instrumental in bringing it all together. Also, Tom asked for some things which changed the original look somewhat.
“I'm using 30 SolaSpot 1500s sprinkled throughout the rig; in fact there are 1500s on every single truss. They are my work horse hard edge fixture for this tour. I use some as specials on the down stage trusses in lieu of follow spots - they are bright and crisp, brighter in fact than most follow spots we get from that distance.”
The SolaSpot 1500s also serve as the LD’s main back light fixture. Green comments: “The 1500’s brightness holds up against every other fixture in the rig. I wanted an all LED rig to help reduce the heat on Tom, yet I needed punch to use in front of the big bright LED wall upstage. The SolaSpots are kicking ass. I can use gobos without losing a ton of light. I even use one to back light Mike Campbell during a big solo, and follow him manually, as they’re bright enough to look like a truss spot.
Europe - When Elation Professional launched the Fuze series at last year’s PLASA show, the company filled a niche in the market for dynamic LED wash luminaires with a line of modern PAR lights that project a high-quality flat field of light yet emulate the classic lens look of a traditional Fresnel.
Now, Elation is expanding the series with the addition of the new Fuze PAR Z175, a full-colour LED PAR light designed for use in all types of stage wash applications from theatre, TV studio and HoW environments to touring and special events.
With the Fuze series, Elation chose to improve upon the pixelated lens face of ordinary LED PAR fixtures by replicating the classic look of old-school pars and moving wash fixtures that so many designers and artists prefer. Like other lights in the Fuze series, the Fuze PAR Z175 uses single-lens RGBW COB LEDs to project a single homogenous beam of light with an evenly lit lens face that appears as one colour instead of individual LED diodes.
The Fuze PAR Z175 houses an advanced 175W RGBW COB LED engine for a wide palette of colour choice with smooth, single source colour mixing that gives fully premixed looks and an extremely flat field of light, the quality of light that today’s top designers demand. Besides their non-pixel look, designers have valued the Fuze series for their ability to wash a surface or subject without the multi-shadows created from traditional LED wash fixtures.
The Fuze PAR Z175 is powerful enough to use in all sizes of rigs and can project 15,026 LUX @ 6.6 ft (2m) when used full on
UK - The British Museum Experience (BME), a new museum dedicated to popular music honouring the global influence and history of British music and artists, is now open and in full swing at the Grade-II listed Cunard Building in Liverpool.
At the heart of the attraction, the main stage show is powered by a 7thSense Nano-SDI media server featuring a specially produced digitally-projected performance by music legend Boy George, and a large-scale stage hologram – all integrated by DJ Willrich.
The BME was originally housed inside London’s O2 venue between 2009 and 2014 – while a few items from the original site were recyclable, the new permanent home and themed zones of the BME have seen a full technology and content refresh.
Visitors are taken on a chronological journey of British music history from 1945 to the present day as told in eight state-of-the-art interactive exhibition galleries – as the final zone experience comes to an end, guests find themselves in the flagship ‘Main Stage’ attraction with a performance from singer, Boy George.
On stage, a Delta Nano-SDI Media Server powers a 13,000 lumen Digital Projection HIGHlite Laser II projector to screen a custom five-minute show produced by Graham English & Co. Once the front projection screen retracts into the ceiling, the high impact display system projects Boy George as a hologram onto a HoloNet gauze screen spanning the full width of the stage.
Josh Miller, DJ Willrich director, explained: “We needed the projected video of Boy George on the HoloNet screen to be brig
USA - Awe-struck. That sums up the feeling that visitors experience when they step into The National Building Museum. Located a short distance from the U.S. Capitol, the stately Italian Renaissance Revival structure that was built in 1887 is breathtaking in its scope and elegance. Its vast central hall has housed presidential inaugural balls from the time of Benjamin Harrison through Barack Obama. The Corinthian columns that line its great room are among the tallest in the world.
The Bozzuto Management Company recently held an employee award ceremony at the museum. Bozzuto Management focuses on creating extraordinary experiences for their residents and wanted to provide that same level of detail and care for their employees. To create this upbeat atmosphere, while accenting the building’s impressive architectural features, a multi-faceted lighting design by Brett Angstadt was anchored by over 120 Chauvet Professional LED fixtures.
“When you create an event design in a building like this, it’s obviously very exciting,” said Angstadt of Showtime Sound. “At the same time, however, this is also a corporate event - so your design has to take that into account. You can’t simply light the building as a museum; you have to take care of the event aspect of the evening, which is why you need to have very flexible fixtures.”
Exemplifying the flexibility that Angstadt had in mind were the 60 Rogue R2 Washes in his rig. He positioned 20 of the RGBW moving heads on the upstage and downstage truss for stage wash during the awards segment of the event
The Netherlands - Ampco Flashlight Rental selected Allen & Heath’s dLive S Class system for an annual concert at Amsterdam’s Johan Cruijf Arena for renowned pop group, Toppers.
Formed by Dutch singers, René Froger, Gerard Joling, Jeroen van der Boom and Jan Smit, the band performed in the round on two consecutive nights, in a sing-along event that has been staged every year since they formed in 2005.
This year, the band’s long-standing FOH engineer, John Kriek, selected a dLive system for the first time, comprising two S7000 and a S3000 Surface with three DM64 MixRacks and two DX32 Expander racks for FOH, fitted with several gigaACE and Waves3 network cards. The gigaACE cards were used to create digital audio splits between the three systems and the Waves3 modules were used for live recording, backing track/click playback and plugin processing.
“dLive’s sound quality and headroom are amazing. The system also enables you to make music without the need for a degree to learn how it works! The technology is way ahead of its time, and the best part about dLive is it enables you to use the same show file on any model without compromise, so I can mix on a S7000 one day and a S5000 the next,” comments Kriek.
One S7000 surface was employed to mix the band, the other was for vocals and melody instruments, and the S3000 managed pre-recorded backing tracks and orchestral samples. All three dLive surfaces utilised their 96kHz AES3 outputs which were fed to a loudspeaker management system.
A ME personal monitoring system comprising th
USA - Multiple Grammy Award winning singer songwriter Sheryl Crow is on the road with her new Be Myself album, together with a new lighting & scenic concept created by LD Jeremy Roth which includes Robe Spiider and BMFL Spot moving lights.
Jeremy landed the gig after production manager Rick Purcell saw his designs for the current tour by Chicago alt-rockers Wilco and made Sheryl aware of his work. They and her management team all wanted a more theatrical presentation that was based on soft scenic elements.
This provided the starting point for the design, together with extensive discussions between Jeremy and the artist about how stage aesthetics related to the vibe and direction of her album. Lyrically, the new songs deal with a disconnect in relationships fuelled by excessive electronic communications and over-exposure through social and other media distracting from real interactions.
Sheryl wanted to create a regal performance space that looked to have become distressed over time while Jeremy was keen to work with Valerie Light and Infinite Scenic again - who made his Wilco forest set. After extensive brainstorming, all agreed on an old railway station as the environment, with gothic stained glass windows creating an archway to serve as a mid-stage portal, with a tunnel of rusty pipes trailing off into the distance behind.
Using coated gauze material for the stained glass and a selection of back-painting techniques on the tunnel backdrop allowed these surfaces to be back-lit to create dynamics and effects throughout the show.
UK - You don’t get a Kerrang! front cover without blowing people’s socks off and that’s exactly what Biffy Clyro did at Download when they headlined w/e 10 June. “We used the exact same show we toured at the end of last year,” said LD Richard Larkum, “With my full light show and all the physical and video elements of Misty’s original stage design.”
That’s no small undertaking, the set is a striking example of forced diminishing perspective created from a stepped stage and portals constructed of video tiles in concentric array with an elongated landscape screen behind. It’s as eye popping as live video gets and is in no small part due to Larkum’s masterful combining of video and lights as a coherent whole.
“We took the production back into rehearsals for this, a one day set-up, two days working as we had a lot of new faces in the Lighting, Video and Set departments,” continued Larkum. “Video Design, who supply the rear screen and portals, devised with our rigger, Yose Lawson a means whereby we could deploy the whole system for a festival show and have it concealed for all the preceding acts.
“Essentially the stage set split into about six pieces for temporary storage backstage while the portals were on a Kinesys system that tracked to each side of the stage and were then raised out of the way for the rest of the day. It was a lot to do, for the Download show we worked from 2am through till 11am on show day to rig it all. It's such a busy time of year that key members of the original Video Design crew were just no
UK - For nearly 30 years, Durham Marenghi has been lighting Raymond Gubbay’s Classical Spectacular show. Marenghi’s designs for this production have enthralled audiences at the Royal Albert Hall for decades as he describes, “Classical Spectacular has developed from an all Parcan rig with me operating on a Celco Gold to the addition of Vari-lites on an Artisan desk. I believe that we had the first Vari-lite fixtures outside of Rock ‘n’ Roll from the VL1 upwards, through the LSD Icon control and fixtures and then on to a full automated system controlled by a grandMA from MA Lighting.
“Over the years, we have created a massive library of musical pieces with many different rigs and the grandMA2 has converted a lot of this data into the current repertoire. I know of few other control systems that could have achieved this.”
With MA control at the heart of the design, Marenghi goes on to reflect on how the rest of the rig has developed. “Since those years of the Par64, my fixture choices have obviously moved on a little! These days it is a Clay Paky rig that creates what I am looking for. The new Scenius Unico allows me to create some almost laser like lines using the shutter blades and the great optics while the Scenius Spot model gives me a wide range of the gobo options to keep each of the twenty odd musical pieces looking different especially with that superb range and depth of colour choices.”
Sharpys remain a mainstay of Marenghi’s rig but the newly upgraded Mythos2 have impressed: “The new lamp has made all the di
UK - Ed Sheeran has always enjoyed huge popularity, but with ÷ (Divide) having dominated the international album charts since its release and the accompanying ÷ tour selling out the instant dates were announced, it has never been higher.
The tour began in Europe in Turin in March, travelling to Switzerland, Germany, Sweden, Denmark, the Netherlands, Belgium, France and Spain before heading to the arenas of the UK and Ireland. It has worked its way round South America, Central America and Mexico in May and June, then back to the UK before heading over to the US.
Ed is once again using Sennheiser’s flagship Digital 9000 Series microphone system and 2000 series wireless monitors, supplied by production company Major Tom.
Chris Marsh, Ed’s production manager, as well as front-of-house and monitor engineer, has been with the singer for six years and has an intimate understanding of what he wants and needs. Ed has been using Sennheiser microphones from the very start and switched to Digital 9000 during his 2014 US tour for his vocal, loop vocal and guitar.
“We had Ed’s guitar on a cable and DI for four years, because I simply couldn’t find a wireless system that gave us the sound that we needed to deliver his performance,” Chris explains. “On first listening to the 9000 system, we discovered it was the most transparent sounding system we had ever heard. We were only meant to be checking it out on a soundcheck, but Ed and I both agreed we had to use it that night, and we have ever since.”
Four mic channels are dedicated to Ed
UK - Written by John Gay and with music arranged by Benjamin Britten, The Beggar’s Opera is one of the most renowned folk operas of all time. Since its first performance at Lincoln’s Inn Fields Theatre, London in 1728, there have been thousands of productions across the globe. The latest comes from Birmingham Conservatoire who recently performed the show at the city’s Crescent Theatre. White Light was called upon to provide the lighting equipment.
Upon its initial performance, The Beggar’s Opera parodied life in 18th century London and poked particular fun at the fashionable Handel operas of its day. This revival from Birmingham’s Conservatoire begins as a modernised version of the classic story and features a lighting design by Charlie Morgan Jones.
Charlie comments: “This production of The Beggar’s Opera starts as an up-to-date retelling, offering something fresh and vibrant for its audience. For my design, I worked closely with Colin Judges (set designer), Matthew Sharp (opera director) and Jack Ramplin (associate lighting designer) to create a feel which we felt served this story.”
The creative team decided to embark on recreating the feel of a dilapidated theatre. Charlie states: “Colin created this incredible design which was essentially made up of theatrical flats and scattered rubbish. It really brought to life this sense of derelict and decay and this was something I wanted to highlight in my lighting.”
To achieve this, Charlie drew on WL’s extensive hire inventory. He states: “Whenever I l
Denmark - A gigantic 24m diameter ‘earth globe’, known as Climate Planet, has been dominating the Aarhus skyline since early June - to coincide with the Danish city being appointed European Capital of Culture.
Encapsulated within this giant model of the Planet is a smaller sphere, and as visitors arrive at the spectacular high tech exhibition on climate change during the six weeks it will be stationed in Aarhus, they will be immersed in a surreal world of twinkling stars, generated by G-LEC Solaris LED balls.
Climate Planet is the brainchild of Henrik Rud, CEO of Koncept Aarhus, and he was soon sharing the idea of what he believed would be the largest facsimile of Earth ever produced, with Lars Nissen, operations manager at event A/V specialists, Comtech A/S. “When I first heard the idea I thought it was crazy,” admits Nissen.
The Comtech specialist in turn contacted Kasper Gissel at GLP, with whom he has a long association, most notably working with him in 2009 at The United Nations Climate Change Conference (COP 15) in Copenhagen. On that occasion Nissen, then with Seelite A/S, deployed more than 1000 of the early GLP Impression fixtures to light the plenum rooms, television broadcast locations and other ancillary areas in a remarkable feat of energy conservation.
This time his interest was in creating a galactic starry sky. “I asked Kasper what we could do, knowing that once again, one of the provisos was that the exhibition should not consume much power.”
GLP had the appropriate solution in G-LEC’s pioneering system. Vi
UK - The Claypaky Mythos2 luminaire was selected for its advanced optical features and superior colour mixing by lighting designer Steven Bewley to support his high-impact lighting design for record-breaking British grime artist Stormzy in his recent UK tour.
Bewley, who has worked with rap artists such as Dizzee Rascal and Tinie Tempah, was head-hunted by Stormzy after the rapper saw the designer's work for fellow artist Wretch 32.
"I worked closely with Stormzy's production managers Bronski and Trevor Williams to design two sets of shows for the debut album tour Gang Signs & Prayer,” says Bewley. "One design was larger and for a series of three 'one-off' performances at the Brixton O2 Academy. The other design was what we used for the main bulk of the tour in smaller venues."
The larger show design saw an expanded visual package of 14 independently moving screens and 20 x Mythos2 supplied by the tour's rental partner, London-based lighting and rigging rental experts Neg Earth.
"For the one-off shows, we placed the Mythos2 behind the screens and above head on a series of moving trusses," says Bewley. "The fixtures shone through the architecture on stage, creating big, stadium-like looks for crowds. We used the Mythos2 because we knew the fixtures were bright enough to punch through the light emitted from high-output video screens and had a zoom range that could create this stadium feel.
"As a hybrid light, the Mythos2 is the perfect solution," says Bewley. "It saved us having to hire twice as many fixtures, which, given t