UK - Audiotonix has promoted general manager Austin Freshwater to managing director of DiGiCo, signalling a new era for long-serving MD James Gordon, who remains Audiotonix CEO.
Audiotonix oversees entertainment technology brands Allen & Heath, Calrec, DiGiGrid, Group One Limited, KLANG:technologies, Solid State Logic, and newly acquired Sound Devices LLC, as well as DiGiCo.
“We were talking about Austin moving into the MD position just before COVID-19 hit, by which time it didn’t feel right for me to run off into the hills,” comments Gordon. “I don't think it would have sent the right message to our customers and teams.”
“In March 2020, everyone went into ‘serious concern’ mode,” he adds. “We’ve basically spent this time reassuring people within the company who aren’t used to not hitting their numbers that we’re all in it together.
“We’ve also spent a lot of time helping our end users, the DiGiCo sound engineers, because they’ve been miles away from their ‘on the road’ family and their usual support groups haven’t been there in person. Seeing how well Austin has led the team during this time has been exceptional. It’s really shown everyone that he’s more than capable.”
It was the first six months of ‘going dark’ that presented the toughest test says Freshwater. “We were in the office most days trying to keep in touch with everybody and keep them genuinely motivated,” he says. “Just checking in on everyone regularly and letting them know we were still around was vital. It’s been
Denmark - DPA Microphones is promoting its latest microphone solutions, designed to meet the growing live production needs of the broadcast and AV markets.
As the rapid adoption of live streaming continues to grow in broadcast applications, speech intelligibility remains at the forefront of all productions. In recognition of the changes in the media landscape, DPA recently released broadcast mic solutions, the 4466 Core Omnidirectional and 4488 Core Directional Headset Microphones, and the 4097 Micro Shotgun Microphone and Interview Kit.
“The pandemic has shown us the true importance of being quickly and easily adaptable to a rapidly changing media landscape,” says Anne Berggrein, vice president, marketing, DPA Microphones A/S. “These new offerings are a direct result of the innovation and forward-thinking response to the industry, and we are excited to call attention to the benefits they provide to the broadcast market.”
Based on the design of the company’s 6066 Subminiature Headsets, the new 4466 Core Omnidirectional and 4488 CORE Directional Headset Microphones feature the brand’s popular 5mm round microphone capsule. With a one-size-fits-all design and adjustable boom height and length, the 4466 and 4488 headsets accommodate all head shapes and sizes.
In addition, the new headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets. This includes the 90-degree cable management guide at the neck.
The 4097 Core Micro Shotgun Microphone has been optimised to pick up speech from a distanc
USA/Europe - Solotech, a long-time L-Acoustics partner, has extended its inventory. The company’s already substantial stock of L-Acoustics products now boasts a total of 56 of the newest L-Acoustics K3 compact line array cabinets, split equally across its North American and European operations. This investment will help the company to fulfil its ever-increasing 2022 commitments.
The new K3 is L-Acoustics smallest, full-range line source system to date and is designed for mid-size events. Its light weight and long-throw capability and extensive bandwidth make it an appropriate addition to Solotech’s inventory, allowing the company to propose new approaches, especially for theatre productions and for deployments using L-ISA Immersive Hyperreal technology, providing a cost-effective solution for projects requiring increased cabinet counts in smaller spaces.
“The global Solotech teams consistently create outstanding entertainment experiences for an incredible range of audiences and artists,” expressed Alan Macpherson, chief executive officer of L-Acoustics Americas. “I’m pleased that Solotech saw the new K3 as a strategic investment that will help them to continue offering optimised sound reinforcement for their exciting and growing line-up of projects.”
In Europe, SSE has already deployed its K3 with Post Malone on the Wireless Stage at Reading and Leeds Festival this summer, whilst Solotech’s North American stock is gracing American rapper, singer and songwriter NF’s 20-date, month-long Clouds Tour, where it is being used as out-fill
USA - Offering 360° views over the Hudson River and Manhattan skyline, The Glasshouse is a new multi-function, interconnectable event space in New York City.
Able to accommodate almost 2,000 people, and with multiple outdoor terraces set within the 75,000sq.ft footprint, the venue required a cutting-edge production infrastructure, including transparent audio transmission, video and lighting and broadcast-ready cabling.
The work went out to tender, and the successful bidder was Martin Audio partner, Audible Difference (ADI). “We were offered the contract based on our design, and the fact that Martin Audio system offered a robust and adaptable Dante platform,” believes ADI principal, Erich Bechtel.
Consequently, the stage area pop-up space, taking advantage of the extra ceiling height on the 7th floor, comprises two hangs of eight MLA Compact, while LF extension is provided by eight DSX-F subs, four per side, which can be deployed as necessary.
Bechtel’s colleague, Ian Ruben-Schnirman, ADI’s director of technical services, was responsible for overseeing the fit-out of this former warehouse building. The Glasshouse itself occupies the 5th floor and the 6th (the event space, VIP rooms and kitchen), which are entirely new additions to the building.
He noted that the high ceilings, concrete base construction and heavily glazed superstructure were likely to generate reflections. To deliver an adaptable space suitable for private hire, live events, party planners, weddings and so on ADI needed to create an environment which could be rec
Italy - Designed in collaboration with the Department Of Mechanical And Industrial Engineering at the Brescia University and engineered in Italy by Outline, the new GSR (Globe Source Radiator) provides a tool for acoustic analysis.
Optimised acoustics are a prerequisite of many modern buildings and for some (classrooms, offices, theatres, and concert halls for example), their acoustic properties determine how well they are able to perform their core purpose.
Accurate and reliable test data is essential for those engaged in the design and construction of these spaces: a powerful omnidirectional sound source is vital to assist in the testing of acoustic insulation of internal walls, floor slabs, and insulation from the external environment, plus the acoustic properties of any internal space where sonic performance is important.
GSR’s design combines a robust spherical enclosure with an Ergal aluminium inner structure that houses twelve 5” neodymium-magnet transducers and is the first such device to include a bass reflex design to extend its frequency response.
Its ‘globe’ design eliminates diffractions, reflections and other anomalies caused by non-spherical radiators, which can compromise the accuracy of data measurement. The GSR is capable of producing a maximum SPL of over 130.3dB.
The GSR is also available as a part of a complete user-ready kit, comprising a GSR, an NG01 Noise Generator, a compact amplifier (Outline’s L3000) plus the necessary cables, a transportation bag and a set of mounting accessories, providing a port
Romania - Aware that their students needed a way to understand signal flow more easily, course leader Áron Fazakas, associate professor and József ‘Yogi’ Lénárd, sound master instructor at Sapientia Hungarian University of Transylvania “decided to teach a more solid, analogue-based hybrid studio process.” After much research, they chose the Audient ASP4816 mixing console to facilitate this, saying the desk “perfectly met our educational and production needs”.
Áron and Yogi make up two-fifths of the teaching staff on the Sound Master course. Yogi continues, “In the all-digital beginnings of our sound engineer training, the problem was that our students were always staring at the computer screen. Reading the various values and admiring the beautifully crafted audio plug-ins on-screen, slowly began to eclipse their confidence in their musical hearing.”
He explains how they went about choosing the console: “As our adult education course did not have a limitless budget, our aim was to find an analogue mixer with the best price-quality ratio. With very high-quality microphone preamps, excellent EQ and noise-free signal processing, this console is perfectly suited to the sound system we have set up in our studio, thanks to its versatile connectivity.”
The Media Department’s teaching studio in Cluj-Napoca was built in 2013, and the sound equipment here was primarily used for degree-level, practical training in TV broadcasting. “Launched in 2016, the adult training course for Sound Mastery is based in the same space, in a 200 squ
Europe - Yamaha has partnered with Entourage Pro, the new free-to-join global networking platform for sourcing accredited production industry personnel.
Covering 140 professional freelance roles in a wide range of technical disciplines - including sound, lighting, video, staging, production management, logistics, catering, artist services and more - the platform has been designed to be a quick and easy way to connect personnel to productions (and vice-versa) for anything from a one-off show to a world tour.
Its directors, Joel Perry and James Stanbridge, approached Yamaha, “knowing that the company’s reputation for high standards, reliability, future-proofed technology and global reach mirrors the Entourage Pro ethos. Seeing the advantages that Entourage Pro offered, and keen to support the re-emergence of live entertainment, Yamaha was happy to become an official partner”.
“The moment we were introduced to the concept of Entourage Pro, the team at Yamaha immediately recognised the opportunities that it could bring to both crew and production companies,” says Karl Christmas, European product manager at Yamaha Music Europe.
“In supporting the development of this platform, Yamaha is confident that it will be a significant resource for our friends and colleagues in the industry as it gets back on its feet.”
“We are very pleased that Yamaha is an official partner of Entourage Pro,” adds Joel Perry. “As with all of our partners, the company is a world leader in live entertainment technology which has firmly embraced the E
China - Part of the Aochi Production Resource Platform, Moto Group is one of China’s largest commercial advertising resource platforms. It has offices and service teams in Beijing, Shanghai, Guangzhou, Hong Kong and Vancouver, as well as three large-scale production studios and a Fortune 500 clientelle and has recently announced its first Moto Stage XR in Shanghai. Brompton Technology is one of the partners that has invested its technology and technical expertise into developing this new facility.
The studio focuses on the research, development and application of XR visual effects technology, creating seamless connection and a perfect immersion into physical and virtual reality across film, broadcast, TV, advertising and other areas.
The studio’s opening ceremony, held on 16 October, attracted many industry leaders including TVCBOOK, Wunderman Thompson, Havas, Publicis, Hakuhodo, Ogilvy, neone, Advertising ‘godfather’ Tomaz Mo, Infiled, and Base FX among others.
“The opening ceremony offered us a perfect platform to re-connect with our clients and offer them the opportunity to experience the power and multitude of creative possibilities of XR technology,” says Moto founder, Phil Cui. “We also had the Brompton Technology team and other key partners participating in an open discussion about the future of XR and the effect of this reality-blending technology on the creative industry.”
Moto Stage XR comprises a large 14m x 4.4m LED volume made up of INFiLED DB2.6 S8 panels and driven by Brompton Tessera SX40 4K LED processors. A t
UAE - As many as 25 Italian-made Powersoft amplifiers are handling the audio demands of the award-nominated Italy Pavilion at Expo 2020 at the recently opened world fair in Dubai.
Over 28,000 people a day are expected to visit the Italy Pavilion, which centres on a spectacular 3D-printed, 1:1-scale reproduction of Michelangelo’s David created in Powersoft’s home city of Florence, over the next six months.
The pavilion, based on the theme Beauty Connects People, is one of the 192 stands competing for visitors at Expo 2020, which comes to a close on 31 March 2022. The Italy Pavilion is already proving to be one of the most popular attractions, with more than 200,000 visits in October alone, including the thousands who attended concerts by celebrated pianist Ludovico Einaudi and the Maggio Musicale Fiorentino orchestra conducted by Zubin Mehta.
Key to that popularity is the audio experience created by the pavilion’s all-Italian sound system, which complements a striking, sustainable visual design featuring two million recycled plastic bottles. Powering the system are 25 Powersoft amplifiers supplied by Pro Lab, the company’s exclusive distributor in the GCC countries and Lebanon, and installed by local systems integrator SIBCA.
Two of the five Quattrocanali 2404 DSP+D amplifiers are used in the main auditorium and restaurant areas, while another three are equipped in the first hull, the white space, and the skywalk (which offers visitors a panoramic view of the pavilion from an 11m skybridge). Two Quattrocanali 1204 DSP+D, the 2404’s 1
Japan - A classic concert took place recently at the Tokyo Metropolitan Theatre Concert Hall, featuring Nobuaki Fukukawa. One of the world's most active horn players, he is also principal player in the NHK Symphony Orchestra and a major name in the orchestral world.
At this recent recital, Mr. Fukukawa had the clear desire to emulate his recordings from King Records and play the songs on it in the form of an eight-horn ensemble, by overdubbing himself.
Mr. Fukukawa and King Records consulted with Koichi Ishimaru, sound master at Tokyo Metropolitan Theatre, and he suggested “treating the loudspeakers as musical instruments”. His idea was that Mr. Fukukawa should perform live on stage to create the one part while the seven remaining parts should be played back one by one through the surround speakers, with the recorded source created in Pro Tools.
However, this was no easy task. The system had to be able to reproduce the accurate horn tone and unique localisation with natural sound. To solve this challenge, Mr. Ishimaru selected Martin Audio LE100.
He explains, “I was particular about coaxial speakers because they can accurately express the sound source of musical instruments. I was convinced it was going to be successful.”
Mr. Fukukawa stood in the centre of the stage surrounded by seven chairs, each of which supported an LE100, arranged facing in different directions.
“The bell of the horn is usually facing backwards when being played and so instead of pointing the speaker directly to the audience seats, I tried a similar
USA - San Francisco’s Outside Lands Music and Arts Festival now in its 13th year, returned to Golden Gate Park for a special Halloween weekend edition. For three days, more than 74,000 concertgoers flooded into the park’s vast lawns to experience sets by headliners The Strokes, Lizzo, and Tame Impala, along with more than 80 additional acts performing on four stages and in two tents.
Since the event’s inception, festival producer Another Planet Entertainment, Bay Area rental company UltraSound, and Meyer Sound have worked in close collaboration to provide a world-class audio experience.
Since the inaugural festival in 2008, Meyer Sound systems have supported the annual festival’s main stage, with strategic system designs meeting the duelling goals of providing clear, consistent sound and keeping the sound contained within the sprawling urban park, which is surrounded on three sides by residential neighbourhoods.
“In 2019 we did a system redesign, which really helped out with noise mitigation, which is something each year that we really work hard on to try and improve upon,” says Josh Osmond, director of operations at UltraSound. “This year we did a repeat of the same design, which includes a combination of Leo and Lyon main-hangs left and right and Lyon side-hangs. 1100‑LFC subwoofers are flown left and right, and we have a sub arc of 1100-LFCs in the pit and Leopard front-fills.”
The distributed system incorporates five delay towers. The front three employ Leo and Lyon loudspeakers, with the back row of two towers consisting
Spain - Used for everything from indoor rock shows to open-air flamenco events, Zero Dbs’s APG inventory demonstrated its flexibility over the course of an 80-event summer calendar in southern Spain.
Cabra-based Zero Dbs boasts one of the biggest APG inventories in the region, having worked with the French manufacturer since 2012. For the 80+ live events it helped produce this summer (20 June to 20 September), the company leaned heavily on its APG equipment, which includes 20 Uniline Compact line-array speakers, four SB118 subwoofers, two Unitrack flightcase racks, and ten compact DX (Dispersion series) multipurpose speakers and stage monitors.
Spain saw “an explosion of events” in the summer months, and businesses like Zero Dbs had to be ready to respond to the unprecedented post-lockdown demand for live shows, according to the company’s owner, Juan Antonio Cuevas. “The public reacted with a great desire to go back to attending outdoor events,” he explains. “We must have catered for 35,000 people in just three months”.
As a result, it was an extremely busy three-month period for Zero Dbs, which worked on everything from concerts and festivals to corporate events and theatre shows, and with performers in a dizzying array of genres, including jazz, folk, flamenco and classical music stars such as Dorantes, María José Llergo, Israel Fernández, Kiko Veneno, Fuel Fandango, León Benavente and María Peláe.
To meet the demands of this diverse array of live events, the company made frequent use of the SMX15, APG’s high-performa
The Netherlands - This year’s in-person edition of the broadcast and electronic media industry tradeshow IBC has been cancelled. The event was set to go ahead on 3-6 December at RAI Amsterdam, but a sharp rise in COVID-19 cases in the Netherlands has forced the organisers to change their plans.
The decision was made following visitor and exhibitor feedback and with the view to prevent people from travelling to the country in these uncertain ttimes. Instead of the in-person event, the organisers are set to use IBC’s online platform IBC Digital to bring the community together.
Peter White, CEO of the international trade association for broadcast and media technology (IABM), comments: “IBC exists for the industry only. Unlike other events, it is entirely owned by the industry and, thanks to its success over the years, has contributed a great deal through this structure to keeping the broadcast and media sector vibrant and moving forward; there is no substitute for the good work it enables or the sense of community it engenders. It is therefore particularly important that we all get behind IBC now to ensure it can bring back a fantastic show in 2022 and beyond.”
USA - Ohio-based McFadden Sales is now the Midwest representative for Danley Sound Labs loudspeakers, subwoofers and amplifiers.
“Danley has a great reputation in providing high-quality audio in large venues,” says Andy Kerr, principal of operations for McFadden Sales. “Danley’s product line fits well with our sensibilities in the marketplace and among the other products we represent. Danley Sound Labs provides a technology niche we needed in our portfolio of products and is a great solution for big distributed audio and larger venues we serve.”
“We’re always excited to bring on new partners,” said Mike Hedden, chief steward in charge at Danley Sound Labs. “The McFadden Sales team is well known throughout our industry and we’re excited about the future of this relationship.”
As a Danley partner, McFadden Sales now represents Danley Sound Labs in Michigan, Indiana, Ohio, West Virginia, Western Pennsylvania and Kentucky.
About the new partnership, Kerr notes: “We’ve already received positive feedback regarding this new partnership and we’re excited about the future.”
South Africa - Faith Broadcasting Network has consolidated a vast following of approximately 264m viewers worldwide since its inception two decades ago, with satellite, terrestrial and digital broadcasts reaching worshippers all around the world. With headquarters in South Africa, and studios in the USA and the UK, MyFaithTV is the largest religious broadcaster on the African continent.
To accommodate such growth, the Faith Dome - the ministry’s base in East London, South Africa - has been undergoing renovations for many years. Parts of the premises have been refurbished to house different aspects of the ministry’s work: including a number of television studios, humanitarian aid warehouses, activity spaces as well as their main broadcasting studio.
In 2015, work commenced on the ceiling to replace it with the dome we see today. Stage Audio Works were called upon to design and integrate a sophisticated audio, lighting and rigging solution for the main arena based on d&b’s A-Series loudspeakers, Cameo and Hog4 lighting with Stage Plus truss.
In early 2021, the ultimate round of renovations to the main broadcast studio was concluded, and the Faith Dome was officially completed. At maximum capacity, the indoor arena holds a staggering 10,500 live attendees, making it the largest in the Eastern Cape.
SAW’s brief was to provide the Faith Dome with audio and lighting solutions to support their existing broadcasting channels, as well as live events. Dr Andre Robert, founder and CEO of the River Group, comments: “It was important for us
UK - Bristol based experiential company Pytch has added to its stock of Martin Audio loudspeakers, used in both their rental stock and virtual studio.
They have purchased a further 24 of the ultra-compact, DD6, utilising Coaxial Differential Dispersion technology. At the same time, they have ordered five SXP118 subwoofers for low frequency extension.
The reason for this latest purchase - which brings Pytch’s stock of DD6’s up to 48 - is to fulfil a contract to provide a full AV package for one of the country’s largest arenas, including an exhibition space. “We have been appointed sole in-house provider to the arena,” confirms Pytch founder, Johnny Palmer.
DD6 has been chosen for its versatility. “Most of our installations are not defined by volume but intelligibility and DD6 has become an essential tool to deliver the customer experience - whether for parties, jazz nights or any genre.”
Popular as near-fills on major concert touring and festival deployment, the DD6 provides an advanced solution to the requirements of even coverage over wide angles and medium throw distances (the short throw horizontal dispersion of 120°, narrowing to 90° as the distance increases).
Palmer sees the DD6 less as simply a loudspeaker but rather as a scientific solution in which the critical element is audibility. “Sound design is all about delivering messages acoustically in a consistently coherent pattern. We focus on the individual audience experience, whether it be from delays or lip fills, and Martin Audio has that capability.
USA - World Harvest Church is a major operation. The 122,000sq.ft main building is home to a sanctuary that seats over 5,200 people and contains an auditorium, a television studio, a children's ministry that includes Sunday school for children newborn to sixth grade, the Harvest Preparatory School, the ministry’s administrative offices and more, all on a 57-acre campus in Columbus, Ohio. The church even incorporates Valor Christian College, a co-educational institution located on the property.
The church’s most recent acquisition - a new DiGiCo Quantum338 console, serving as its monitor mixer - is an addition to its existing DiGiCo infrastructure, which includes an SD8 console mixing front of house and an SD-Rack that has now been upgraded to include 32-bit ‘Ultimate Stadius’ microphone pre-amps.
The audio system infrastructure update further involved moving all of the DiGiCo platforms to an Optocore fibre network, handled by Orlando-based Owens Audio Video Design, which also sold the DiGiCo systems, as well as a Nexo PA, when they were installed earlier this year.
“World Harvest Church tends to hang onto their systems and get the most ROI from them as possible, which isn’t unusual,” observes Bob Owens, owner of Owens Audio Video Design. “They’re a long-time customer and a long-time DiGiCo user - we sold and installed the DiGiCo D5 console that they had in the sanctuary for monitors before we sold and installed the SD8 there in 2010. The Q338 is a great choice for them - it takes them light years beyond where the D5 was, with more
USA - When The Fennec, Birmingham’s new music venue opened for business, ownership called upon long time audio engineer Michael Panepento, owner of Alabama Music & Audio Supervision, to create and install “an unrivalled sound experience” at the new Parkside District hot spot. Panepento found the solution The Fennec management was looking for with a PA system featuring various loudspeakers, subwoofers and stage monitors from Eastern Acoustic Works (EAW).
The Fennec is a two-story venue, with the main restaurant and event space on the first floor and a dedicated private event space that can be rented out on the second. The design of the building did present some challenges to Panepento that were solved with the combination of products from EAW, including the RSX Series, RS Series, RL Series and VF Series PA components.
“We needed to use point source speakers because the space has 13ft ceilings,” says Panepento. “Having used EAW before, I knew they would have a speaker that could overcome that issue. The team at EAW sent us RSX series demo speakers that we tried out in the space, and they sounded great. The demo really helped solidify EAW as the right choice for the venue.”
Since the first floor/main level is all open and there is no divider between the restaurant and the live space, Panepento needed to be able to deliver powerful sound that could be contained within about 50ft so as not to adversely affect the diners. The EAW PA system Panepento installed on the first floor included three RSX129 boxes in a LCR set-up along with two R
UK - Last month, Sonosphere started the next chapter in its journey to bring all areas of immersive audio to the live, studio and broadcast markets by completing a management buyout which sees existing director, Jamie Gosney, joined by Duncan Bell, a familiar name in the audio industry.
Sonosphere’s mission has always been to make immersive audio accessible to the industry at large. Over the past 18 months it has been part of the 5G Festival (part of the DCMS 5G Testbeds and Trials Programme (5GTT). This project aims to utilise the 5G network to revolutionise the live music industry, creating new commercial opportunities for arts and entertainment, and giving artists and audiences new ways to interact with each other.
“I became a shareholder and director of Sonosphere last year and I could see the huge potential the company had,” says Gosney. “When the opportunity to take over the ownership was presented, I knew that it was too good to miss. But I needed to have the right team in place to take it forward and make the most of all the opportunities that are presenting themselves.”
Gosney and Bell have decades of experience in the audio industry, and first met when Gosney was working as front of house engineer on a show for Autograph in the mid 80s. Whilst Gosney left the show and went on to forge a successful career as a studio owner, mix engineer and audio systems designer, Bell stayed with Autograph, working his way up the ranks to the position of group financial director, a position he held for over 20 years.
Having been an instrume
USA - Lectrosonics has announced that their Wireless Designer frequency coordination and RF system management software for Mac or PC is now updated for use with the DCR822 dual-channel portable digital receiver.
This will allow DCR822 users to monitor all channels in operation, change settings, initiate infrared data transfers, manage frequency groups, scan the local RF spectrum, and calculate system operating frequencies using the Frequency Coordination Engine. Wireless Designer Versions 2.0.30 for macOS and 2.0.34 for Windows are now available with these features for the 822.
The DCR822 receiver offers a versatile feature set in a compact, dual-channel design for field and location production. This receiver is compatible with Lectrosonics mono and stereo digital transmitters and is backward compatible with Digital Hybrid Wireless transmitters.
The unit tunes across six standard Lectrosonics blocks and offers over 6000 frequency choices. SmartTune and 2-way IR sync makes quick work of choosing clean channels and setting up transmitters. A new RF front end design provides low noise amplification, excellent sensitivity and extremely low intermod susceptibility with an IP3 (3rd-order Intercept Point). Vector Diversity smoothly combines RF signals from two receiver front ends per channel and combines them in phase to obtain maximum signal integrity. In addition, the DCR822 can record receiver audio directly onto a microSD card in the industry standard .wav (BWF) file format at 24 bits/48 kHz. A USB jack allows connection to Wireless Designer software.<
USA - A Martin Audio MLA Compact loudspeaker array system was chosen by partners, North Carolina-based RMB Audio, when locally based Duke University’s Spring and Fall 2020 graduation was postponed until a time of greater health safety. That time was determined to be 26 September 2021 - when undergraduates, graduates and professional school class members (and their families) were invited to participate in the delayed celebration.
The stage was set up with the imposing Duke Chapel - an English Gothic 210ft-tall structure in the centre of campus - as the backdrop. Student seating started downstage and extended back 300 ft. Large trees, with low branches 13ft above the ground, occupied the corners of the audience seating, making it necessary to project sound in a slice to pass beneath the foliage to focus on the audience. “MLA Compact is capable of providing focused sound to avoid reflective surfaces and that technology was needed,” says RMB Audio founder, Cooper Cannady.
Six MLA Compact cabinets were placed on decks, far off stage right and left, and separated by 170ft. Coverage started with the first row of seating and covered a slice out to 120ft. The delays, 100 ft from the stage, consisted of six WPS cabinets placed on decks, far left and right. These were driven by Martin Audio iK42 amplifiers in one-box resolution to provide even coverage of the remaining 200 ft of seated and standing audience.
A far shade tent was fitted with Martin Audio DD6 loudspeakers on stands. Ten of these enclosures were placed unobtrusively on stage, out of camera,
Spain - Artists touring to Spain will no longer need visas for short-term engagements in a dramatic change to the current onerous rules. The change follows months of work from LIVE and the Association for British Orchestras (ABO), working alongside Spanish counterparts Asociación Promotores Musicales.
The development represents a significant boost for the sector which has, as a result of Brexit and the Trade and Cooperation Agreement, seen European touring become more expensive, more complicated, and more difficult to execute.
Visas have been a significant issue for Spain which, despite representing the fifth largest live music market in the world, posed the most costly and complicated visa application process across the bloc for artists looking to travel for short-term work.
Until now, artists and their promoters have had to make applications for short-term visas entirely in Spanish, provide a host of itinerary details before having even been given the green light for the tour to go ahead - including accommodation and flight allocations - and give proof of applicant earnings of up to nearly £1,000 before ever having left the country. Costs were also prohibitive, amounting to over £10,000 for an orchestra to visit Spain for up to five days.
Touring artists and their production teams were also required to wait for over a month for a decision, making long term scheduling – vital for successful international touring - impossible.
The development comes following months of dedicated work from LIVE, ABO and their Spanish counterpart APM
UK - Ministry of Sound Classical (MoS Classical) is a celebration of 30 years of Ministry of Sound’s favourite dance classics performed by the London Concert Orchestra. As this spectacular show prepared to take to the stage for a highly anticipated return to the live arena, its audio team turned their attention to giving the 50-piece orchestra a new and different kind of in-ear monitoring by choosing KLANG’s 3D personal monitor mixing system.
KLANG was not unfamiliar to the head of sound and sound designer for the show since 2018, Phil Wright, as he has become increasingly familiar with it in recent months.
“I’m involved with the 5G Festival, an R&D project that’s working on finding ways to allow musicians to play together with insignificant latency over the 5G network,” explains Wright. “We’ve been using KLANG on that to great effect, finding that working in a 3D environment brought significant advantages to the project.”
This positive experience meant that when the series of MoS Classical dates landed in his diary, Wright suggested to RG Jones, who were supplying the show’s audio equipment, that KLANG was the ideal monitor system to use and would be a great investment for them.
“They immediately saw the benefit and purchased two KLANG:vokal processors and 12 KLANG:kontrollers from HD Pro Audio,” says Wright, the latter allowing members of the orchestra to control their own mixes, sent by Wright from his DiGiCo SD12 96 at front of house, with associate head of sound, Leigh Davies, in charge of the stage, spatialisi
UK - A month after collaborating on the Team GB Olympics Homecoming, Transition Video was back at London’s SSE Wembley Arena to help deliver another hybrid event, using Green Hippo’s Boreal+ Media Server for The National Lottery's Paralympics GB Homecoming (see more on the homecoming concerts in LSi November 2021).
Great Britain’s Paralympic stars claimed a total of 124 podium places and were welcomed home from Tokyo with a line-up of artists that included Jamie Cullum, Birdy and Raymond Antrobus. In the live audience, NHS workers gathered for the spectacular, which ran video highlights of the Paralympians’ performances as part of a Channel 4 broadcast.
Transition Video’s Kate Perring worked as server support to screens producer to Louise Segal, who helped to create the production’s visual identity.
“The Boreal+ has great processing power with a 4K signal,” comments Perring. “This kind of strength is needed when using many different visual layers and blended content. It comes with very powerful processing. Hippotizer can do so much in the moment and one can build show looks from multiple elements on the fly.
Transition deployed an Upstage LED screen 12.6m W x 6m H with 1.2m returns either side, and two 7.2m x 4.2m IMAG screens of Roe Visual CB5 tiles, together with two Boreal+ Media Servers with DP Outputs with DUAL SDI Capture. The servers fed the onsta