France - Creating an immersive environment at a music festival starts with the stage, but it by no means ends there. This was the guiding philosophy that Vincent Rautureau and his team at Giglam SA followed when lighting the Weather Festival, which returned to Paris’ La Seine Musicale on 27 April after a two-year hiatus.
Rautureau and his associates certainly endowed the stage with dynamic looks to support the pulsating sounds of international EDM and alternative music stars like Daniel Avery, OKO DJ and Ciel, but their creative vision also extended beyond the immediate performance area. Seeking to engage the festival crowd on multiple levels, they turned much of the event’s island venue into a vibrant panorama with help from 140 Chauvet Professional EPIX Strip IP fixtures, supplied by Alive Events Angers.
“We positioned the EPIX Strips on all of the festival site’s bridges,” says Andreas Monschauer, lighting engineer at Giglam. “This turned the bridges into graphical elements, which really integrated the whole festival into one panorama. Using the strips this way gave our design a whole other dimension.”
Adding to the impact of the EPIX Strip IP fixtures were the stunning video images and patterns that Giglam pixel mapped on the one-meter RGB LED strip fixtures, using a ChamSys Magic MQ500 console.
“Displaying the graphic effects on the ÉPIX Strips was very important to creating an overall look that tied the festival together,” says Monschauer. “The ChamSys console made it much easier for us to create these looks. We c
Sweden - One of the largest and most beautiful of Stockholm’s churches, the Gustav Vasa Kyrka, in the city’s Vasastaden district, has carried out a major refurbishment and technical upgrade.
The Gustav Vasa Kyrka was designed by August Lindegren and completed in 1906, with a capacity of up to 1,200 worshippers, generations of whom have no doubt marvelled at the lavishly decorated marble surfaces, and soaring arches. They also can’t have failed to notice the remarkable reverberation time.
Jacob Julin of Soundcop, the company brought in to solve the church’s intelligibility woes, says, “The acoustics was the biggest challenge. When we started, the hall had an acoustic reverberation of six seconds, so that was of course an issue.”
Later however, following the building’s refurbishment, including new treatments to the floor and walls, that reverb time had risen to seven-and-a-half seconds. Julin continues, “The worst of the reverberation is between 300-500 Hz, so it is possible to improve it with a little bit of system trim, but the reverberation is very long in full frequency as well.”
Representing Svenska Kyrkan, facilities manager Urban Paulander says: “What we wanted was a system which would make speech and music as clear as possible for all the listeners in all areas of the church.”
d&b xC-Series column loudspeakers, which SoundCop had used successfully in Stockholm’s Maria Magdalena church the year before, were well suited to the task. Purchased via ARVA Trading, the d&b audiotechnik distributor for Swe
The Netherlands - For 77 years the locomotive repair facility in the Dutch city of Tilburg was a vital part of the Nederlandse Spoorwegen (NS, or Dutch Railways) network. Employing hundreds of local people, its 2009 closure had a profound effect on the area. But now the building has been reborn as a major cultural and learning centre, where Yamaha audio systems are helping to drive the train of new innovation forward.
Originally opened in 1932, the impressive 90m by 60m steel and glass building was a busy workplace, playing an important role in local employment. When it closed, rather than demolish it there was a strong desire to ‘return the building to the Tilburg people’. It was decided to use it to form the centrepiece of a contemporary, fashionable new ‘railway zone’ in the city.
“Impressed by the enormous size of the space, the design team realised that it is more than just a building,” says Dennis van der Vleuten, owner of Klundert Audiovisueel, who was commissioned to install AV solutions in the redeveloped facility. “It is a part of the urban fabric of the city that, with its heavy construction and internal ambience that gets lighter the further up you go, would provide a fantastic spatial experience.”
Reopened in 2019 and renamed LocHal (short for Locomotive Hall), it has been converted into a modern, sustainable art and cultural centre, featuring a relocated Tilburg Central Library as well as spaces for meetings, education, hospitality, artistic and cultural development, a cafe and more. Each space has been carefully desi
UK - LED illumination specialists LED Creative supported scenic designer Andrew Gates, lighting director Stuart Pring and the team at Joe Lycett's Got Your Back.
Filmed in front of a studio audience at h Studio, London, the series features comedian Joe Lycett serving up a healthy dose of consumer justice as he exposes a variety of scams, appalling customer service and unacceptable consumer standards on behalf of the people of the UK.
Helping to acheive the show’s bright, playful look, LED Creative provided their Pulse Wands, Alpha 60 and Byte System to deliver vibrant colour and optimum control over the set illumination.
In building the boldly coloured design, the scenic designer cleverly integrated LED Creative Alpha 60 throughout the structural components and backdrop. Additional runs of Alpha 60 were concealed above and below the raised stage area to create a halo effect around its perimeter.
LED Creative Pulse Wands were also applied to the installation dynamic shape and form.
Lighting director Stuart Pring says: “The plug-and-play nature of LED Creative’s Pulse Wands make them ideal as a simple to rig, highly controllable solution. The ability to manage the colour and intensity of the output allowed us to add some interesting effects to the set.”
The LD continues: “The design featured semi opaque perspex lightboxes which were rigged with Pulse Wands to form abstract illuminated shapes. We also positioned them behind the windows that flanked the stage and behind the audience adding a further dimension to the wi
UK - Taiwanese singer and film star Jay Chou has starred in Hollywood blockbusters, broken records for the most expensive live production in Australia and sold over 30 million albums worldwide.
Chou recently entrusted Britannia Row Productions to deliver one of the biggest PA rigs that London’s O2 Arena has ever seen.
For the final three concerts of his 120-date The Invincible 2 World Tour, Chou played two nights in London before deploying the Britannia Row rig for a final show at Paris’ Accor Arena. These three shows were promoted by Magic-Sound Entertainment.
Britannia Row crew chief, Scott Maxwell, says: “Jay is a huge star. We’re essentially working with a stadium-sized PA in an arena-sized production. Everything else in the design had to shrink down to fit inside the venue, but the PA remained the same.”
The entire production weighed in at 107 tonnes and used 208 overhead motors, 44 automation points, 274 rigging points, 14 under-stage lifts and featured a four-minute 180kg confetti hit, meaning the audio delivery had to have ample impact. Britannia Row’s Josh Lloyd designed an L-Acoustics system for the European dates, which featured main hangs of K1, flown K1 SBs, K2 delays and K2 under hangs below the main K1 hangs. The system was powered by 72 LA8 amplifiers and used Lake processing.
Maxwell continues: “One of our biggest challenges in the audio team was working between multiple departments who were all using aerial equipment - there are so many design elements going on, it’s unlike any other show I
USA - As technical director at the Collinsworth School of Music at California Baptist University, Matthew McConnell holds the equipment he purchases to the same high standards expected from the school’s students.
When McConnell recently found that he wasn’t satisfied with the sound he was capturing on the string bass and cello instruments during performances, he turned to Jeff Suchy at Apex Audio to find the best solution. After testing various clip-on mics and pick-ups, the duo ultimately selected DPA Microphones’ d:vote 4099 Instrument Microphone as the right tool for the job.
Though these have now become a staple at the school, the use of the d:vote 4099 wasn’t McConnell’s first foray into DPA mics. “I initially discovered DPA a decade ago, when I was trying to close-mic a grand piano, with a closed lid, through a PA system,” he explains. “DPA’s d:screet 4060 Miniature Omnidirectional Microphone helped me get the sound I was looking for, for that application. Soon after, I used a d:screet 4060 on a solo violin (with the included string mount) with similar success. From that point on, I was a big fan of DPA.”
More recently, McConnell turned to DPA after having a tough time finding a good mic position for string bass and cello performers who moved around the stage while playing. “I heard about the d:vote 4099 and purchased three of them, based mainly on my previous experience with the brand,” he says. “It was better than I could have hoped. The microphone stayed in place while the musicians performed. After that, I bought
UK - On the three days before Good Friday, the streets of central Birmingham were taken over by The Birmingham Passion Play 2019, an ambitious, contemporary retelling of the Easter story, organised by Christian charity and theatre company Saltmine Trust, with support from The Passion Trust. To help bring the creative vision to life, Saltmine partnered with UK audio visual production supplier SFL.
The Saltmine Trust Theatre company puts on regular public, partner, and education tours, as well as one-off shows, all inspired by the Christian faith. Even for Saltmine though, The Birmingham Passion Play 2019 was an ambitious undertaking as it was delivered on the move - a travelling street performance that started at Birmingham Bullring, progressing along New Street to Victoria Square, and finishing inside St Philip’s Cathedral - effectively making the stage over half a mile wide. It required a team of around one hundred community actors, musicians, and stewards alongside the core theatre company’s cast and crew, as well as extensive technical support and planning.
AV specialist SFL supplies and supports a wide variety of events across the UK and internationally as part of SFL Group, as well as being the official AV partner of The Royal Albert Hall and UK sales partner for d&b audiotechnik. SFL project manager, Mitch Jones comments: “This production was only possible with an incredible effort by all the Saltmine and SFL team members spreads across six locations - each telling the next part of the story as the cast performed through the streets betwe
UK - Lighting designer Stuart Pring has used Chroma-Q Space Force LED soft lights to illuminate the JW Anderson February Autumn/Winter Fashion Show.
Pring has previously worked on The 2018 Teen Awards, a variety of television studios including for NBC/ESPN’s Wimbledon Studio, and TV series John Bishop in Conversation.
The JW Anderson Fashion Show was hosted on an 11m square catwalk, which required Stuart to deliver an even coverage of light across the entire area. For this, Version 2 - lighting rental specialists for the Television, Broadcast and Event industries - provided Stuart with 36 Space Force tuneable white LED soft lights.
Pring comments: “I needed to achieve an even wash of daylight white light, to faithfully reproduce the colours of the models' clothing. The fixture's output was flawless in creating a seamless coverage across the entire catwalk area. In addition, being LED there was minimal heat emission, which was perfect for the room's low 5m high ceiling with 300 attendees.”
He also praises the quality of the light for photography applications: “The output of 5,600K gave the perfect colour temperature for the photographers, and the adjustable PWM, flicker-free operation ensured the live stream on the JW Anderson website and Facebook page rendered beautifully on camera.”
Denmark - SPOT, an annual music festival in Aarhus showcasing up-and-coming Danish and Scandinavian talents, saw 300 artists and bands perform across 25 stages throughout the city.
Lighting designer and programmer Heiða Kristín Ragnarsdóttir used a grandMA3 light console to run lighting on her stage, reserved for WILM (Women In Live Music) a European non-profit organisation that supports women working behind the scenes and backstage. For the first time, this stage was run by an all-female tech crew.
Ragnarsdóttir reports: “The MA system is my first choice for everything from theatre to concerts. It is very important for me to be able to personalize the setup to fit my needs of the moment which the grandMA2 software does easily. It is highly reliable, has intuitive controls and a lot of flexibility in programming which makes it ideal for ‘busking’ festivals.
“For a stage with a very varied genre of performers it was important that each performer had a lighting design to fit their aesthetic. A play on warm and cool along with dramatic side and backlighting gave us a good foundation to accommodate everything from Greenlandic metal to reggae for children.”
Lighting trainee Louise Bagger adds: “Being a self-taught lighting technician and coming from a different type of console I was excited and a little bit nervous to try out the grandMA3, but thanks to Heida, I quickly gained an understanding of the console, and of how easy it is to personalize a setup to your exact needs. The console design offers a nice straightforward outlook of
Turkey - Allen & Heath’s Turkish distributor HEC PRO recently completed a four-year project to construct its new four-floor HEC Plaza ‘experience’ centre in Istanbul. The grand opening of the new facility took place in the presence of influential designers and installers, as well as prominent figures in the Turkish music industry.
The vision of director Berk Ozan and his team was to create a setting comprising different environments into which relevant integrated technology solutions were placed, allowing customers the chance to experience first hand the practical application of the brands HEC PRO represents. The suites include a fully immersive cinema room, a hotel suite, conference facilities, office areas and an impressive bar/nightclub.
As part of HEC PRO’s impressive portfolio, Xone products feature prominently at HEC PLAZA, with all models on demonstration in one of the facility’s dedicated showrooms. In addition, the nightclub area has a DJ booth which is home to a Xone mixer that was straight into the thick of the action when a succession of A-list DJs took part in the opening night celebrations.
David Morbey, senior product manager at Allen & Heath (DJ) attended the opening night. He comments, “HEC PLAZA is a stunning achievement and a testament to the imagination and commitment of the HEC PRO team. The way in which the technology is integrated and presented in ‘real’ scenarios allows visitors to fully experience the possibilities afforded by HEC PRO’s extensive portfolio. With the entire Xone range on show and a
Philippines - Resorts World Manila (RWM) has created El Calle Food and Music Hall – a space that celebrates the Filipinos’ passion for jam sessions, delicious food, and good times over drinks.
El Calle, the city’s latest acoustic chill-out spot, features nightly entertainment from some of the best acoustic performers in the country today and special performances from the country’s top acts. Past performers have included True Faith, Ben&Ben, Clara Benin, Top Suzara, Luke Mejares, and more. With El Calle’s special focus on raising the bar for live acoustic music, choosing the optimal sound system was essential.
“El Calle is a very intimate space seating a maximum of eighty people, so we needed a sound system that could deliver powerful sounds but with the necessary clarity for clean acoustic performances,” said RWM technical director for theatre and entertainment Ernesto De Leon. “Since our theme is almost exclusively acoustic and unplugged acts, our wish list for the right loudspeaker and monitor brand was efficiently accommodated by Clair Brothers.”
Wayne Grosser, managing director of Clair Brothers Australia, specified the equipment he knew would possess the sound quality the team at RWM expected. Grosser describes the system’s technicalities, “The main FOH speakers are two Clair Brothers kiT12s that are flown horizontally, left and right, on the downstage edge at 4.8 meters high, with two Clair Brothers CS18-IIs recessed into the stage front on the left and right. The system is running in tri-amp mode, which delivers the
USA - Established in 1968 and sponsored by the Olympic Committee, the longstanding International Children’s Games branched out in 1994 with the launch of the Children’s Winter Games. This year the competition was held in Lake Placid, New York, giving young athletes from across the globe the chance to compete at the highest level in a wide range of winter sports.
While the Games are all about exceptional sporting achievement and fostering the exchange of ideas between athletes from different countries and cultures, it’s also about putting on a memorable show for the spectators. And that’s where ADJ comes in.
Having worked with the historic Olympic Centre on countless competitions, lighting designer Eric Wilson was brought in to deliver an epic lightshow for the Children’s Winter Games opening ceremony, jumping at the chance to work on a prestigious sporting event that was headed to the US for the very first time.
Part of the challenge for Eric was translating the event’s ethos and themes into a lightshow, while considering the practicalities and limitations of lighting a large 8000-capacity venue. A long-time user, he called on a wide range of ADJ’s versatile fixtures and controllers to actualize his vision for the opening celebrations.
Inside the large arena, 12 ADJ Vizi BSW 300s and 12 ADJ Vizi Beam RXONEs formed the crux of the lighting setup. The ceremony was laid out in a horseshoe shape, with a central facade and truss archway forming the visual focus for the audience up in the bleachers. To ensure enough coverage across thi
Europe - Hayden Borgars has covered a broad spectrum of shows during his career as a lighting designer, including a wide range of music genres, corporate, dance and theatre. Most recently he joined forces with American rap artist, Hoodie Allen (Steven Markowitz) for a British and European tour, at venues ranging from the 700-capacity Garage Glasgow to 2,000-capacity Shepherds Bush Empire.
Travelling with him throughout was an inventory of 18 VDO Sceptron 10, four MAC Encore Performance Colds and two AURA XB, which combined as the cutting-edge Martin Professional lighting package, supplied by rental company, Siyan.
The tour was set up essentially as a pre-album promo tour in advance of Hoodie’s next album release.
Given the nature of the venues, Hayden drew on his vast theatre experience where he’d deployed Martin fixtures previously, generally the MAC 250’s. For this show he was able to create the same dramatic effect to complement Hoodie’s performance.
Hayden used the Aura XB’s as a sidelight downstage, while the Sceptrons were mounted on a goalpost pipe located upstage as a central set piece, and the MAC Encores were on risers either side of the drum kit.
He explained: “Being the first time I’ve worked with a Hip-Hop artist I wanted to try something different. By using a spot fixture, I was able to bring in something extra that you don’t often get to use outside of theatre whilst combining it with some classic hip-hop style lighting.
“The colour mixing and dimmer curve on the MAC Encore Performance Colds is real
USA - When The Grove Community Church of Riverside, California built its current Worship Centre more than a dozen years ago, Olympia, Washington-based CCI Solutions facilitated the design and installation of the sound system for its 1,800-seat main auditorium. Since that time, like many churches, The Grove’s music sets have gradually moved toward a more contemporary praise style requiring a robust sound system to best capture both the band’s impact and vocalists’ intelligibility.
When CCI Solutions recently got the call to once again assess the room’s sonic needs, the integrator recommended a new system built on L-Acoustics’ Kara(i) and Kiva II platforms.
“The Grove definitely takes a more contemporary approach to music, but the only thing that’s safe to expect is the unexpected,” notes CCI Solutions vice president of sales and integration Duke DeJong. “Their team is highly creative and dynamic, so they mix it up pretty regularly going from a traditional worship set with a 25-piece choir and full orchestra one week to a high-energy, modern worship music set the next. They really needed a system that could handle it all and we knew that L-Acoustics would certainly deliver.”
Using L-Acoustics’ Soundvision 3D real-time acoustical modelling software, CCI Solutions project lead Mark Pearson explored numerous designs and ultimately specified a system featuring left and right main arrays each comprised of 11 Kara(i) enclosures with eight SB18i subs flown in a central horizontal array between them.
Twin arrays of six smaller Kiva
USA - Wiz Khalifa’s Coachella performance was filled with dramatic moments. But for the Grammy-nominated star’s long-time lighting designer Jason Bullock, the real drama started about 24 hours before the show began.
It was then that the New York-based LD received the ChamSys MagicQ MQ500 desk from Upstaging that he would use to run his 90-universe show. “Coachella is a very important festival for all artists involved, so there was some pressure,” acknowledged Bullock. “I didn’t see the ChamSys desk until I arrived at the festival. I built the patch and show file in a Viz room on the site. Being able to build a show with a few hours and only get on the lighting system for three hours made time of the essence. ChamSys was the ideal tool, given that I was in a crunch.
“The Sahara Tent at Coachella was primarily EDM acts,” said Bullock. “Since Wiz brought the entire band with him, I decided to make the show completely different than the other acts by going in the direction of a more classical rock show. Our beautiful set, which was designed by the team from Nimblist, made it easier to create this kind of look with its band risers and large center gate. We also had a powerful video display from Screenworks NEP that covered the front of the set and added to the intense vibe.”
Bullock controlled a universe of Catalyst to send multiple outputs to the massive amount of video surfaces on the set. His show was extensive (his patch had 21 pages of paperwork), and impressively, he punted throughout its entire length.
“My whole show w
Qatar – The world’s largest permanent video projection installation has opened at the new National Museum of Qatar (NMoQ). Inside 21 billion pixels are being processed every second by nine Avolites Ai Q3 servers, alongside another 163 Ai Miami software licences, running on 1U 8K media servers custom designed by the London-based visual technologists, RES.
The video projection aspects of the project involve a series of ‘Art Films’, which were produced by the Doha Film Institute (DFI) in collaboration with handpicked directors and videographers, to immerse visitors in a journey through Qatar’s past, present and future aspirations. The projections cover a vast area, co-created by RES, MAN Enterprise / EMPTY Joint Venture and the DFI.
“Avolites Ai is always our go-to software for demanding projects like this - the AIM Codec and Salvation Engine are both powerful and reliable,” says Mark Calvert from RES. “My colleagues Dave Green and Trey Harrison were of course the architects of the original source code for the Ai software, so we are very familiar with what it can achieve when a project needs to go big.”
The Avolites Ai Q3 servers and custom-designed 8K servers are feeding more than one petabyte of movie data to 112 Panasonic 4K projectors, which are beaming the content onto curved interior walls of the museum, known as the ‘cinematic display zones’. The data is shared via 50.6km of 3G SDI cabling and each video requires full motion image resolution as high as 25K by 4K, to cover more than 33,000 sq.ft. of space. The huge quantity
USA - Located in Otisville, Michigan, Richfield Church of the Nazarene is dedicated to serving the community through an inspirational and heartfelt worship environment. Offering both contemporary and traditional services each week, the church recently underwent a lighting renovation to better create a positive and life-changing experience for all their members and guests.
Needing an upgrade to the complete lighting system, they worked with the design professionals at Mercury Sound and Lighting who installed a new house design filled with Chalice LED downlights from Altman Lighting.
“This was actually our first time working with the church and they wanted us to take a look at their theatrical and house lighting equipment which was reaching the end of its life cycle,” began Japheth Boivin, A/V solutions facilitator, Mercury Sound and Lighting. “The existing house lights were custom fixtures made specifically for the space when it was initially constructed, and they were becoming costly and difficult to maintain. To alleviate these challenges, they wanted an LED retrofit of their house lighting design, so we installed a package of Chalice LED downlights.”
As the team at Mercury Sound and Lighting prepared to tackle the retrofit of the house design, they would face a bit of a challenge when it came to working space. In a sanctuary with both high ceilings and minimal room to work overhead, the innovative dimming capabilities of the Chalice LED luminaires would prove to be a valuable asset to the design.
“With a ceiling height of about 45f
USA - Calvary Church in Lancaster, Pennsylvania is a non-denominational house of worship with a lot of heart and room for nearly 2,800 congregants. Although Calvary Church’s services involve all of the elements of a contemporary approach, including high-definition IMAG, a live band, and online streaming, it takes a softer approach and blends plenty of traditional elements as well, including a choir and orchestra.
As one of the largest venues in the area, Calvary Church also opens its doors to outside groups and events, such as local high school graduations and (mostly Christian) concerts. Because of Clair Solutions’ staff’s expertise and cheerful willingness to provide helpful demos, the company has been Calvary Church’s preferred AVL integration firm for over a decade and helped pilot the church through its most recent – and most significant – technology upgrades.
“The philosophy of Calvary Church is that anyone from age 1 to 101 should feel welcomed and engaged in its services and community,” explained Bill Simmons, senior lighting designer with Clair Solutions. “They want to be inclusive of all the demographics. That said, they toe a trickier line with regard to technology; just enough, but not too much. As a result, the staff members at Calvary Church don’t jump into anything that they don’t already fully understand. At Clair Solutions, we respect where they’re coming from and are happy to provide an abundance of models and on-site demonstrations so that they can feel confident in all of the decisions they make.”
USA/UK - Electronic wizard and Mercury Prize winner James Blake has been touring the States prior to returning to his native UK for theatre dates, and appearances at European festivals, starting with All Points East.
On the road with him is Blake’s long-serving, and experienced LD, Chris Bushell, accompanied by an inventory of GLP fixtures, chosen, he says “for their uniqueness and versatility”. These include 18 of the JDC1 hybrid strobes (which he affectionately dubs ‘J-Dogs’) and 16 award-winning X4 Bar 20 battens (which with a wink he refers to as Twizzlesticks).
When James Blake’s Assume Form album touring cycle was announced he zipped into action, production designing to a brief that was to have less equipment on show “and less of the circus that can surround a show as it increases in size.” He explained, “Last time we went out, there was a large video screen, video content updates, long days, tension and people everywhere.”
The brief was evident in his lyric: Lesson’s always there, that less is always more. “This suggested a stripped back design, with strong thought-out minimalist scenes that maximise a limited number of lighting sources, all to be hidden from view as far as possible.” The GLP armoury provided all the solutions he needed.
The three musicians on stage are on even-height platforms, and hidden behind each are six JDC1s. “These create epic halos around each musician as well as below the platform to give the illusion of the riser floating above the actual stage,” he explains.
Belgium - The Ancienne Belgique - AB as it’s universally known - sits right in the bustling heart of old Brussels as part of a vibrant multicultural metropolis and a thriving music scene.
The venue has just purchased 24 x Robe MegaPointes which join the 50 x Spiiders that have graced the house lighting rig since 2017.
Together with some other lights, these ensure that the very best production values can be offered for all incoming shows - for those who might be using the full house rig and not carrying any of their own kit as well as those touring with specials packages and hooking into the house ‘top’ rigs each night.
Head of AB’s lighting department, Renaat Van Hee, explained that they were extremely happy with the Spiiders and looked to Robe again to invest in new spot / beam fixtures.
“We have good contact and have enjoyed great service from both Controllux (Robe’s Benelux distributor) and Robe themselves, and we want to continue the positive relationship” he explained.
He’s confident they made the right decision on both fixtures as so many touring productions are now coming through with both on their riders. “Spiiders and MegaPointes are a great combination that delivers excellent performance for music shows where you really need the punch, power and versatility.”
He also remarks on the light weight of both which is important as they do overnight re-rigs most of the time. The crews all love them as they can rig them single handed and “we have received great feedback from everyone.”
UK - Yamaha’s VXL series slimline, column-type line array speakers are proving a very popular solution for houses of worship where large, ambient spaces need covering with tightly-controlled, high quality audio. A new installation at a 160 year-old church in London demonstrates the difference they can make.
Located a short distance south of Elephant & Castle, the church of St John The Evangelist in Walworth faces all the usual acoustic challenges of historic houses of worship. Here, solutions are also potentially more complex because it is Grade II listed. But systems integrator Flipside Soundsystem was equal to the task, assisted by Yamaha’s VXL line array loudspeakers.
“The existing sound system was about 20 years old, only partly operational and the sound it did produce was tinny and artificial,” says the church’s assistant priest Simon Askey. “We wanted a system that would amplify speech authentically, rather than sound like a PA system, and that could be used by those who wanted to use either fixed or wireless microphones.”
Flipside managing director James Cooper and his team were very taken with the aesthetic of St John’s; its tall, vaulted timber ceilings and unusual cast iron columns giving the building an air of grandeur and Victorian progress. So it was very important not to impact on that.
“Church systems need to be a number of things. They need to be visually as inconspicuous as possible, but deliver high speech intelligibility, while coping with often very lively acoustic spaces,” he says. “Control-wise,
Switzerland - Built in 1910, the rustic Alpine-style Volkshaus concert hall in Zurich provides a stark contrast to the many sleek glass and steel structures that dot the trendy western section of Switzerland’s largest city. Volkshaus offers excellent acoustics, which explains why so many internationally renowned bands representing every music genre have performed at the venerable venue.
For all its charm and other attractive qualities, though, the Volkshaus’ small stage can present a challenge for a lighting designer seeking to create big majestic looks. Massimo Tomasino overcame this issue in early May for two sold-out shows by Antonello Venditti, thanks to some help from Chauvet Professional Maverick fixtures, supplied by Fumasoli Audio & Lights Rental.
Tomasino used 14 Maverick MK2 Spots and 12 MK2 Wash units in his floor package. He arranged six of the spot fixtures across the downstage deck and positioned the remaining units on midstage and upstage risers.
Supported by the Fumasoli crew, which included technical leader Federico Seguri, as well as electricians Diego Gasbarre and Patrick Ivarone, Tomasino relied on the rig’s fixtures to perform a variety of functions. Throughout the concert, he used them to create aerial and crossing patterns of light over the stage. At other times, vividly coloured light from the Maverick MK2 Spot was shot straight in the air, creating a wall of light that accented the various songs that Venditti performed from different periods in his 50-year career.
To connect the singer/songwriter/actor to the
UK - Continuing a working relationship that stretches back nearly 20 years, Adlib is supplying full technical production - sound, lighting, video and rigging with over 100 points - to the ongoing 2019 arena tour by Brendan O’Carroll and his Mrs. Brown’s Boys phenomenon.
Presenting its first ever musical tour, Mrs Brown’s Boys D’Musical! the show has just finished the first of three one-month segments, each covering four major cities where they play for a week.
Hassane es Siahi is the FOH engineer, the Adlib systems engineer is Alan Harrison, Steph Fleming is the monitor engineer and Shona Steadman is looking after mics and RF. Lighting has been designed by Mike Summerfield. Fiona Gibney & Gareth Woods are the producers.
With up to 18 people onstage at any one time as the cast and creative elements push the envelope, as a technical solutions provider, Adlib ups the ante for this most technically complex Mrs Brown’s touring show to date.
Once again, a comprehensive CODA system was chosen to deliver sound for the tour. Alan Harrison is a big advocate of the brand, especially for theatrical style shows like this.
The cast members all use a variety of DPA headset mics which are sensitive and very transparent sounding.
The two main PA hangs were smaller than normal – with (max) 12 x CODA AiRAY a side, flown slightly further downstage than the standard positioning. The subs were 12 x CODA SCPs, positioned six a side on the floor.
The side hangs were kept as discreet as possible – both for acoustics and sig
UK - “Mark Owen came to our first meeting and before discussions had even begun proposed we use the spherically rendered Take That logo from the cover of the new Odyssey album for the stage show.” This was how the band’s long-time tour director, Chris Vaughan of CV Productions, revealed the kernel of the concept. “No idle thought, Mark’s idea was a fully formed vision, with a huge panoramic screen behind it, and video adorning the total surface of the sphere; this would come to be the defining image of the tour.”
Vaughan quickly called upon the technical prowess of Video Design, who had supported Take That’s previous outing in 2016 and the engineering skills of Brilliant. “The key is knowing how to respond to extreme conceptual design,” was Vaughan’s assessment. “That, and the willingness to do so. A 10m diameter rotating sphere covered in high definition video is not commodity based, you don’t rent it off the shelf like sound and lighting equipment.”
The final result, supervised by CV Productions engineering point man Nick Evans, is 47 tons of steel, aluminium, motion control, and a virtually seamless skin of video tiles. “It took us almost a month, working closely with Nick and the guys at Brilliant just to solve the issues of fixing two and a half thousand 12mm WinVision flat square video tiles to a spherical surface without the appearance of visually unacceptable gaps between tiles,” explained Video Design’s CEO, Alex Leinster.
“A fantastic painstaking job headed up by Jack Middlebrook who now leads our t