Spain - Lighting designer Joan ‘Teixi’ Teixidó used 30 x Astera AX3s ‘Lite Drops’ on the most recent tour for singer Alfred García, who played over 50 dates around Spain.
Emerging from popular TV talent show Operación Triunfo, this was Alfred Garcia’s first full production tour to date and the first time that Teixi had worked with the artist, who headhunted him to be part of his creative team after the series’ 2017 season. Alfred Garcia’s first studio album 1016 was released at the end of 2018 and shot straight to number 2 in the Spanish album charts, and the tour campaign to support it ran from February to November 2019.
The lighting design was initially inspired by scenographer Lluis Danes’ set, and the brief was to bring a bit of extra ‘magical touch’ to the stage with the lighting. From Earth to Mars is one of Alfred Garcia’s biggest hits, so the aesthetic took an intergalactic direction.
A textured piano and matching risers onstage were a central part of the look, ideally lending themselves to being lit. Together with an upstage set piece constructed from metal plates, a spaceship-like appearance started to evolve.
It was onto this metal surface that the 30 x AX3s were fixed each day in a six wide by five high matrix pattern.
It was the idea of working with a back wall of light that had originally made Teixi choose AX3s because the fixtures can simply be snapped on to the metal plates via their magnetic bases.
The last concert of the Alfred Garcia tour was in Barcelona’s Sant Jordi Club
Greece - Technically Creative are in the midst of completing a project in Athens. The Xplore FEC just outside of the capital, is due to have the second phase of installation completed, with the Technically Creative project spanning five months from September of last year.
The family entertainment centre is split into three sections, the Exploratorium, Adventureland and the Aquarium. Children and parents have the opportunity to play a laser harp, or a giant piano. They can design and service a car, or race each other in the racing simulator. You can even feed virtual fish.
There will also be a new product debuting from Technically Creative at Athens FEC, Virtual Village. The product design and programming for this exhibit has taken the team nearly six months of preparation, and once installed visitors will use various transport types, such as boats planes, trains and automobiles, as physical hands on models to place on the sensing internal projection table. The sensing system knows where and what transport type has been placed down on the table, and through the use of live rendering software builds the virtual village in real time
In addition to the interactive exhibits for children, Technically Creative has also provided the centre with all of its lighting, show control, electrical control system, audio and PA systems throughout.
Director Marc said, “From inception, through design and with great input from the client team I’m very proud for the company and my team to have played a major part in delivering this magnificent project. I’m su
Europe - The list of exhibitors to withdraw from the postponed Prolight+Sound tradeshow has continued to grow today, with Artistic Licence, Ayrton, Chauvet Professional, Robe Lighting, Robert Juliat, CLF Lighting, and Roe Visual among those who have cancelled their plans to attend the fair.
“The latest Covid-19 developments in Europe and the potential threat for those travelling to Frankfurt from around the world have led us to take a sensible and measured decision after considering the current facts and the dramatic spread of the virus,” commented Robe CEO, Josef Valchar. “I am sure that the industry will pull together to get through these challenging times. Prolight+Sound is the busiest and most important European trade show for us in terms of the rental and staging sectors, and an important showcase for new and emerging technology. We look forward to being back in 2021 to enjoy the dynamic mix and positive energy once again!”
Meanwhile, Chauvet Professional will focus on the European leg of its planned Force of Nature road show. The decision to skip PL+S is due to scheduling conflicts, said Michael Brooksbank, general manager of Chauvet Europe: “We will miss connecting with our friends and industry peers at PL+S, and certainly wish we could have accommodated the change in schedule, but have decided to forge ahead with ongoing commitments to more intimate and targeted outreach efforts in Europe.”
Robert Juliat said in a statement: "Robert Juliat has taken the decision to withdraw from
UK - Following the news of the postponement of Germany’s Prolight+Sound exhibition and cancellation of Italy’s Music Inside Rimini due to health concerns surrounding the spread of coronavirus (COVID-19), PLASA has revealed that it “is monitoring the situation carefully and working to provide the best support it can to its members at this difficult and uncertain time”.
With cases of the virus on the rise in the UK, there is understandable widespread concern about the spread of COVID-19. Currently, the UK government is still at the ‘Contain’ phase, but could move to the next phase, ‘Delay’, in the near future in a bid to help slow the spread of the virus. It remains unclear how this will impact large-scale events throughout the rest of the year. Already, the governments of Switzerland and France have banned public events of 1,000 people or more, including the Geneva Motor Show and various large-scale concert tours, whilst Italy entered a state of complete lockdown yesterday (9.3.20).
Organisations are rallying to ensure the needs of the industry are heard at government level. PLASA is representing members in the UK where a letter has been sent to both the Department for Digital, Culture, Media & Sport and the Department for International Trade to arrange an urgent meeting to discuss the impact on the event and entertainment industries. PLASA will make the outcomes of this publicly available. Meanwhile, in Italy, the Centro Studi Doc organisation has coordinated a support group and petition to the Italian government to support companies
UK - Solotech has expanded its global operation by extending its video department into the UK and has opened new offices in central London.
As part of Solotech’s expansion strategy in the UK, the company has appointed Ian Woodall as director of video, and Paul McCauley as video business development manager in the UK and European markets.
Ian ‘Woody’ Woodall has worked at XL Video as sales director and has also been a freelancer, designing and building AV systems in European venues and as a touring video engineer on projects including Nile Rodgers and Chic who have been with Cher for the past year.
Meanwhile, Paul ‘Macca’ McCauley has extensive experience in the both the live events and integration industries.
Woody comments: “We decided that it was important to build on the huge reputation of Solotech for video in Canada and the US and therefore necessary to start organically, building it from a clean slate so that we can maintain the same Solotech service across the UK and Europe.
“We will bring our new offering of video services to the project delivery teams and existing customer base, alongside the development of new business that Macca and myself can introduce under the banner of the new Solotech UK Video department.”
Mickey Curbishley, president live productions division at Solotech adds: “Projects across the board now increasingly call for a 360° service, where a single vendor supplies sound, lights and video. This is equally applicable in both live production touring and the sales and integration market
UK - The 40th edition of the Brit Awards, held on 18 February at London’s O2 Arena, featured the event’s most challenging audio production to date; designed and executed by long-term audio partner, Britannia Row Productions.
Brit Row delivered a multi-stage sound system with a secondary PA in tow, utilising Out Board TiMax 3D spatial audio control. This enabled performances - which included a highly anticipated appearance from Stormzy - to take place under - not in front of - the PA and allowed host Jack Whitehall’s vocal to be localised into the nearest audio system as he worked the busy room.
Delivered to both people in the venue a live television audience, “there is never a compromise on the audio,” says Britannia Row sound designer Josh Lloyd. “The high standard expected is driven by the level of performances; every artist knows this is a huge platform, and the sound has to be perfect.”
Created once again by Misty Buckley, the show design allowed for a sympathetic main PA position, while the secondary system was flown high to keep out of shot. Lloyd designed a centre sub array for both stages to provide even energy in the room.
The main stage audio system comprised mains hangs of K1 with K2 for down-fills and side-hangs, centrally, a flown end fire array of KS28s was deployed. Stage 3’s PA comprised K2 arrays with Kara down-fills and a central flown array of KS28s, designed to give even coverage whilst maintaining maximum rejection over the performance space. Delay hangs were a mixture of K2 and A15s with part of th
USA - To update his original 2008 lighting design for a modern touring production of Dreamgirls, lighting designer Ken Billington chose the LED-based VLZ fixtures from Vari-Lite. After seeing a demo of the VLZ fixtures, he was satisfied with them as the luminaire that would reproduce the look and feel of his original Vari-Lite rig.
Billington specified 32 VLZ Wash, 22 VLZ Spot and 12 VLZ Profile fixtures to form the show’s entire overhead lighting rig. “The fixtures are bright,” he says, “in fact a bit too bright! We run them at 50-70% most of the time. When you fade the LED, there is no beam degradation, which you would see if there was a shutter dimming a discharge fixture.”
A key aim for this production was recreating the original colour palette, which the VLZs matched well. “The colours are really clear, clean colours that don’t muddy the beam or hurt light output,” comments lighting programmer, Jackson Miller.
The VLZ’s four-blade framing system was also praised. “It’s impressive how much beam control you can get without compromising the soft edge of the wash or the intensity,” says associate lighting designer, Ben Travis.
“The shutters are pretty great,” agrees Miller. “They all seem to exist on the same plane, optically speaking. All four can be sharp at once, which is some sort of amazing witchcraft, considering every other full-frame shutter unit I’ve seen will only sharpen to one or two at a time.”
Overall, the fixtures have been widely welcomed by the Dreamgirls lighting team. “The qu
UK - White Light has provided the lighting equipment for the UK tour of Ghost Stories, having also supplied its recent West End run at the Ambassadors Theatre (see LSi March).
Written by Jeremy Dyson and Andy Nyman, Ghost Stories has been terrifying theatregoers for over a decade. The show invites audience members to enter a nightmarish world, full of thrilling twists and turns, where their deepest fears and most disturbing thoughts are imagined live on stage.
The lighting designer for the show is James Farncombe, who comments: “What was clear from the outset was that the design needed to be as much about the absence of light as much as anything else. I really like this idea that it’s more of a darkness design and that, due to the nature of the staging and the various tricks therein, I had to hide as much as I revealed. Ultimately it’s all about creating that atmosphere for an audience.”
Farncombe continues: “The lighting works in tandem with Nick Manning's extraordinary sound design. There is a slow, shadowy build-up of tension. then each jump moment is part release, part punchline, and all very much in the spirit of a B movie. To a large extent, Ghost Stories is about the anticipation of what might happen next, what might be lurking in the shadows.
“When the show is firing on all cylinders, it really creeps
World - Optocore will host a free New Fiber Solutions webinar on 11 March (Wednesday) at 15:00 CET.
Company representatives will discuss the latest solutions and innovations from Optocore, along with partner company, BroaMan. They will explain how to use Optocore and BroaMan devices and network solutions in installations, from basic one-device solutions to advanced fiber networks.
To take part in this webinar, follow this link.
UK - Over the last 25 years The Brook in Southampton has established itself as one of the favourite independent music venues in the south of England. The venue has developed this reputation by putting audience and artist experience as its top priorities, and this has been seen again with a completely new sound system from TW AUDiO.
Opened by founder Bryn Lewis in 1994 as a 300-capacity music venue, The Brook has a long history of supporting original music and has welcomed many artists at every stage of their career to its intimate stage. The venue had sported the same second-hand sound system since its opening, even after the capacity doubled to 600 in 2004. However, after 25 years of service this system was starting to feel the strain.
“It had become a little bit like running a car with a classic engine where you have to drive it carefully and look after it,” says Nick Lewis, director at The Brook. “It had got to a stage where you weren’t able to replace a lot of its components.”
“When we first came in it sounded great,” adds Dylan Clarke, director at The Brook. “When it moved to 600 it was still the same rig, and ever since that time, I've thought that it's been running right at the top of what it can do.”
Following a system failure that left the venue without sound for a week, the team at The Brook worked closely with the Music Venues Trust and Arts Council England to secure funding which would allow them to invest in a new, modern sound system. “Having hit 25 years, we were thinking ‘how do we make sure we’re here f
UK - Triple E has a long-established reputation for manufacturing efficient, mechanical products and gadgets to aid the movement of curtains and the assembly and construction of stage scenery. As the demands of the industry change, it is often the case that pre-existing pieces of equipment need a review and a refresh to ensure their design adapts to the demands of the applications they are used for.
The team at Triple E has developed its Rearfold accessory for their industry standard UniTrack and UniBeam carriers.
“The UniTrack system was first launched in 1988, and the Rearfold accessory has been an integral part of the system since that time. Therefore, a long overdue review of the Rearfold accessory design was implemented,” says David Edelstein, founder and managing director of Triple E. “The Rearfold carriers enable a curtain as it travels to stack offstage instead of the standard system of stacking from the centre” he continues. “The demand for these accessories has increased and so the design has been changed to ensure not only dimensional accuracy but also to allow us to run a more efficient production process and manufacture greater quantities to match this demand.”
The curtain carrier body of the UniTrack and UniBeam has in recent years changed from steel to an MRP (metal replacement polymer) moulding which is stronger than the metal it has replaced but is lighter and therefore easier to work with. To complement the re-designed runner, the new Rearfold accessory has now been updated with a moulded re-developed rope bridge with
The Netherlands - A prominent player in the world of LED displays and audio-visual productions as well as part of the NEP Worldwide Network, Faber Audiovisuals, hosted a virtual production demo at Amsterdam Studios at the end of February.
As part of the event, Brompton Technology was invited to present its HDR (High Dynamic Range) solution on LED screens set up as greenscreen replacements for film and TV. Enabled by Brompton’s Dynamic Calibration technology, HDR delivers images that appear ‘perceptibly sharper, more vivid, detailed and lifelike’.
Though the use of LED screens in film has been slowly increasing over the past decade, the advances in resolution, brightness and colour range (HDR) coupled with the growing affordability of these technologies in the last couple of years have made LED screens an increasingly attractive option for both high profile productions and more budget conscious applications alike. LED screens on camera can now provide immersive, realistic backdrops to filming. Shooting sets “live” in this way can also help to lessen the cost and time previously dedicated to post-production VFX work.
As part of their event, Faber Audiovisuals demonstrated Virtual Production (VP) as a new production process that merges physical objects, such as actors and real-world camera movements, into real-time CGI. They also showcased rendering solutions and the process of VP to create a digital world: beginning with the inception of the idea and ending with the final visual effects (VFX), centred around the real-time interaction on set.
Germany - When Circus Flic Flac rolled into town at Westfalenhalle, Dortmund for its ninth annual Christmas show, it brought with it a 1,200-capacity circus tent, an array of human-only artistes and an Ayrton lighting arrangement by lighting designer, Christopher Rostalski, from CR-Lichtdesign in Soest.
Rostalski chose to work with the latest Ayrton products to create his design in this setting, employing 20 Khamsin-S profile spots, 20 Bora-S washlights and 10 MiniBurst graphic strobe fixtures, all of which were supplied by Stefan Kniess at B + B Veranstaltungstechnik in Dortmund.
Circus Flic Flac was needing powerful lighting for the inside of this dark and dramatic performance setting and the Ayrton fixtures had features that suited this environment. “We really liked the fact that Khamsin and Bora both have the Ayrton 100% framing system which are perfect for an artistic show like this,” explains Rostalski. “We were able use these to concentrate the light with great precision onto the smaller acts, and then zoom out very wide for big gobo and atmospheric looks. Even with the gobos and colour in, I think they are one of the brightest LED fixtures on the market.”
The lack of roof and truss constructions within the tent, which is due to the constant change in position of flown equipment depending on the artists’ requirements, mean the Khamsin-S, Bora-S and MiniBurst fixtures were mostly rigged in a typical circus configuration on the towers around the stage and at the entrance on the tribune.
From here Rostalski made full use of Kha
UK - Bristol-based production technology house Enlightened has made a significant investment in its audio rental inventory, adding Nexo’s P+ Series compact point source loudspeakers, together with L15 sub bass cabinets, and new NXAMP4x2Mk2 amplifiers.
Enlightened is a one-stop shop for lighting, audio, video and staging solutions, for hire, sale, production, repair or permanent installation. Audio specialist Matt Shelbourn explains: “Enlightened has had Nexo’s popular PS series in rental stock for over 10 years. Over that time, they have proven to be reliable boxes that are popular with our clients. For these reasons, we chose to invest again in the Nexo brand.
“Nexo has a reputation for making speakers that pack high SPL into small-format boxes and that is fundamentally one of the big attractions in the new P12. The dual-concentric design means the boxes are small in size for the big sound they deliver, as well as offering improved clarity to the sound. We were blown away by the L15 subs; with 15” drivers, they gave our 18” subs a run for their money.”
The company has also opted for Nexo’s compact ID24 models. “Smaller than the P Series but just as versatile, the ID24 speakers have a compact design that belies their powerful output. Paired with Nexo’s NXAMP4X1MK2, they pack an impressive 126dB peak SPL. They can be simply used in pairs or in multiples with up to 16 units able to be powered by a single NXAMP4X1MK2 amplifier.”
Also from the ID series, Enlightened has purchased the ID S110 subs to supplement the ID24.
USA - Magmatic atmospheric effects is shipping the first snow machine in its Polar series of high-output snow effects - Polar Crisp. Crisp is a professional, high-volume snow machine with intuitive innovation that makes it easy to create scene-setting wintry settings.
Compact and lightweight, Crisp is capable of producing high volumes of naturalistic snow with the capacity to adjust snowflake size for greater versatility, says the company. Small flake or large, short throw or long, this 1250W high-volume snow machine can project snow up to 40ft with the flexibility to adjust to the occasion.
An all-in-one APF (Air Pump Fan) system together with an auto-clean feature lowers the risk of clogging and reduces the need for maintenance. An easy-to-open housing and serviceable design add to its user-friendliness.
Built to withstand travel and repeated use, Crisp features a durable aluminium housing and robust design for powerful performance that delivers on time, every time.
All Polar series snow machines introduce quieter, snow-producing technology. A noise-blocking layer of insulation reduces fan noise for quieter operation, making them suitable for more noise-sensitive environments.
Crisp uses Magmatic’s specially formulated Atmosity Premium Snow Fluid (APS-4L) to create a snowflake that mimics the look and feel of actual snow. Atmosity is Magmatic’s professional, universal fluid series formulated for use with all types of fog, haze and snow machines.
Crisp includes an onboard LCD touchscreen control panel with manual and timer
Singapore - Ctrl Fre@k’s Jeffrey Yue has drawn upon his extensive know-how plus creative AV technology including TiMax SoundHub spatial audio servers - to realise a five-act multimedia extravaganza within century-old Fort Canning, to commemorate Singapore’s 200-year milestone.
From Singapore to Singaporean: The bicentennial Experience is a one-hour immersive, multi-sensory journey that charts Singapore’s 500-year history prior to the British arrival in 1819 and onwards to the present day. As technical consultant and systems designer for audio, video, lighting and multimedia control aspects of the exhibit, Ctrl Fre@k’s remit was to integrate the work of numerous design agencies and creative consultants into a unified whole using the most sophisticated technologies, with TiMax SoundHub in the frame to facilitate a cohesive audio journey.
The temporary exhibit features LED walls, revolving stages, rain shower rooms and actors on travelators, across five separate areas or ‘acts’ serviced by 80 channels of SMPTE timecode-driven audio, served from two TiMax SoundHub frames (32 and 48 channels/tracks respectively) to individual amp racks via redundant primary and secondary Dante networks.
“This venue wasn’t built for such an ambitious exhibit,” Yue points out. “Therefore, the acoustics are very poor and we could not apply any treatment in these rooms.” The role of the TiMax SoundHub was at the least, two-fold. As well as rendering the multichannel show content stems onto the multi-speaker environment and applying the relevant d
USA - Claypaky Xtylos laser source moving lights made their Pepsi Halftime Show debut at Super Bowl LIV where they added even more impact to the dynamic performances of Shakira and Jennifer Lopez in Miami’s Hard Rock Stadium. Xtylos created a network of intense beams in varied colours as well as wave effects that served as a background for the stage.
Lighting designer Bob Barnhart of 22 Degrees, who has 21 Super Bowl halftime shows to his credit, selected 50 Xtylos for the event after seeing the fixtures at LDI 2019. “I was impressed with the beam quality, which was so pure and consistent in intensity from the outside edge to the centre,” he says. “Xtylos was incredibly crisp and clear; its really hard edge intrigued me and stayed on my mind as the halftime show took shape.”
“It takes a special breed of person to use a new product on a project like this. Bob and his team have the incredible talent to make the fixtures look amazing and also the intestinal fortitude to use a completely new technology on live television,” says George Masek, Claypaky’s strategic marketing manager for entertainment lighting solutions in the US and Canada.
“I’ve been fortunate enough to have fixtures debut on three Super Bowl halftime shows with 22 Degrees, and I can’t think of a bigger event on the world stage each year. The halftime show was the highest-profile usage of Xtylos to date and the first for a worldwide audience. Bob embraced our new Xtylos fixtures to create something exceptional.”
The Hard Rock Stadium features a permane
Germany - The Kulturzelt is an annual music festival in Kassel that has run since 1987. It began life in a former circus tent, before progressing to its current location in a temporary, self-supporting concert hall constructed in 2010.
The specially designed, circular plexiglass structure covers an area of 860sqm and accommodates 900 visitors. Kulturzelt is now a strongly established event in the German festival calendar.
Events production specialist Ambion of Kaufungen has supported Kulturzelt with a full production since 2004 and was once again asked to supply the audio for the 2019 edition. The company took the opportunity to install a brand-new Coda Audio N-Ray system. N-Ray is Coda’s latest ultra-compact line array.
Ambion were involved in pre-launch trials of N-Ray, and having experienced its power and quality, had no hesitation in deploying the beta system in their possession for this environment.
Ambion’s head of audio Michael Knauf reports, “I was the sound engineer and front of house babysitter for the festival and it was brilliant. We had no troubles. I can say it was just fantastic. You can be focused on the instruments not the system and just do your job with the sound.”
The festival’s managing director, Dr Juergen Truss adds: “Our festival hosts quality bands who deliver a fantastic experience for a very demanding audience. Engineers working with some top-class bands said that the sound in the concert hall with Coda was beautiful and the best they’d heard.”
Ambion used 10 N-Ray with two SCN-F bass exte
Japan - Barbee Boys are a five-piece Japanese rock band who were particularly popular in 1980’s. The first Japanese group to perform at the Nippon Budokan, they disbanded in 1992, much to the disappointment of their young generation of fans.
This turned to excitement when they suddenly announced a ‘comeback’ concert at the Yoyogi National Stadium 1st Gymnasium on 13 January - exactly a decade after that Budokan show - sending these same fans into raptures.
MSI Japan was asked to provide the sound production and Bun Hote, who has been supporting artistes from the Office Augasta stable (which includes Kyoko, a member of the Barbee Boys), was charged with mixing the sound. Known for his ability as a system tech as well as a FOH engineer, he chose Martin Audio’s MLA as his favoured PA.
His solution was to adopt a different approach to his system design, to achieve consistency throughout the challenging arena and unite the entire audience.
On each side of the stage, three arrays were hung from a single H-shaped truss tower, all facing in different directions. The main array consisted of 13 MLA cabinets and a single MLD Downfill cabinet. The side array was pointing 45 degrees outside of the main array and comprised nine MLA and an MLD. Another array was aiming 90 degrees outside of the main array and consisted of five MLA and two MLD Downfill boxes. A further array of six MLX subwoofers (with a pair facing backwards to create cardioid directivity) was hung from the same tower.
Bun Hote describes his design philosophy: “First of al
USA - For the 5th Avenue Theatre, a venue that seats almost 2,200 patrons, having a fully stocked arsenal of microphones to rely on for its theatrical productions is of utmost importance. The Seattle-based theatre has found that dependability with DPA Microphones, which were recently deployed for the venue’s production of Marie, Dancing Still.
The 5th Avenue Theatre’s stock of DPA microphones includes 4061 Omnidirectional Miniature Mics, 4011 Cardioid Microphones, 4099 Instrument Microphones, and the newest addition, the brand’s 6061 Omnidirectional Subminiature Microphones. “We are happy to add DPA mics to our inventory whenever we can,” says Karen Katz, head sound engineer for The 5th Avenue Theatre.
For Marie, Dancing Still, a theatrical production based on dance and ballet, it was crucial for the sound design team at The 5th Avenue Theatre to implement a microphone solution that would stay in place. “The thin diameter of the 6061 lavaliers is impressive and made it easy for us to use a toupee clip to attach the microphone to the performer’s head, knowing it would remain secured throughout the show,” adds Katz. “With other mics, we often had cables falling out of the clips, but the low-profile 6061 mic provided us with ample flexibility and mobility for the dance-based production.”
Marie, Dancing Still sound designer Kai Harada comments, “We chose the DPA 6061s knowing they would have a similar sonic signature to the existing 4061 stock, with the added advantage of being smaller in size. The sonic cons
Festival Update - Live music and media festival South by Southwest (SXSW) has been cancelled due to coronavirus fears. Organisers of the annual event in Austin, Texas, said they had no choice but to call it off for the first time in its 34-year history. The move was ordered by Austin mayor Steve Adler, who declared "a local disaster".
In a statement on Friday, SXSW said it was "devastated" by the news, but respected the decision. Event organisers said: "'The show must go on' is in our DNA, and this is the first time in 34 years that the March event will not take place. We are now working through the ramifications of this unprecedented situation." Some of the event's biggest exhibitors - including Apple, Amazon, Twitter and Facebook - had already pulled out.
Last year SXSW drew nearly 74,000 people with over 19,000 coming from outside the US. In 2018, visitors spent $350m (£270m) during the festival, according to a study commissioned by event organisers.
Several other large tech conferences have been cancelled in recent weeks including Google's Cloud Next conference, Mobile World Congress and the Game Developers conference.
Theatre Update - Andrew Lloyd Webber has delayed the West End premiere of his new musical adaptation of Cinderella until October. A statement from the composer said: “The show will go on sale next week as planned, but in the current global circumstances the creative team and I feel that this later opening date is wise.”
The postponement came as the Society of London Theatre issued a statement on the
Europe - Three further exhibitors have announced they won't be attending this year's Prolight+Sound (PL+S) tradeshow. Loudspeaker manufacturer Adamson Systems Engineering, ionage GmbH - the company behind Madrix - and LED solutions manufacturer Roe Visual have all pulled out of the Frankfurt-based event. The tradeshow, which was due to take place at the end of March, was postponed to 26-29 May due to coronavirus fears.
The three companies have joined a growing list of exhibitors who have formally withdrawn from the annual fair. As of today, these are Adam Hall, Allen & Heath, d&b audiotechnik, ETC, High End Systems, JB Lighting, L-Acoustics, Martin Audio, Nexo, Vari-Lite and Strand, and Yamaha Music Europe. "Unfortunately, we cannot participate in Prolight+Sound this year", comments Madrix sales manager, Christian Hertel. "This was not an easy decision for us at all. We have been exhibiting at the show every single year since 2005 and had really been looking forward to it. It is an absolute highlight each year for our entire team and all of our customers, partners, and distributors. Due to the show's recent postponement by Messe Frankfurt, we are running into scheduling conflicts and thus cannot attend anymore."
Marc Bertrand, CEO of Adamson Systems Engineering, comments: “We didn’t come to this decision lightly, but ultimately, we had to do what we felt was best for our Adamson Network partners and end-users, as well as our employees. We wish organizers and participants the best for 2020 and look forward to returning in 2021.”
Poland - Tommex Żebrowscy Sp. J. (Tommex) has been appointed Polish distributor for RCF’s installed sound, commercial audio and voice alarm EN54 product lines.
Tommex’ commercial director, Marcin Zimny, explains that the move resulted from changes in the ownership structure and distribution strategy of their existing long-term loudspeaker partner. “This meant we were looking for a new partner with a high-quality installation range, that could complement our portfolio; RCF provided a great opportunity and was an exact match.
“The combination of 70 years of RCF history with 30 years of Tommex provided a compelling partnership”, he adds.
RCF international sales manager, Luca Ombrati, comments: “We were one of the few brands able to fill all the missing product lines in Tommex’s product portfolio. After negotiation I accepted their proposal because until then RCF had only been successful in the ‘entertainment’ market segment thanks to our partner Arcade Audio, and they will continue as our exclusive distributor for TT+, Pro, live, mixing, recording and transducer product lines.
“But for RCF, this provided an excellent opportunity to develop the ‘installation’ market-segment in Poland, represented by a well establish distribution company in the specific field.”
One range that looked particularly attractive to Tommex, he continued, was the new business line of products. “We also see great potential in the Compact and Compact-M series, the P series, the entire commercial sound catalogue and the DXT3000,” conti
UK - Wicked, winner of multiple Tony, Drama Desk and Grammy awards, has become a Broadway staple, poised to celebrate its 17th year on the Great White Way in October at its home at the Gershwin Theatre. The show’s nearly half-dozen licensed touring versions have drawn almost as many award accolades.
The latest touring edition of the show is scheduled to hit 15 cities, from Baltimore to Vancouver. These shows put the musical’s songs through a new DiGiCo Quantum 7T console. Purchased through Milwaukee-based Clearwing Productions, the compact audio desk features DiGiCo’s sophisticated theatre software, a package designed specifically to meet the demands of theatrical workflows, with features such as an auto update system, aliases, the players tool and a VCA programming map.
“We spent the better part of two years planning the upgrade for the touring show, and the DiGiCo was the obvious winner,” says Zach Williamson, current associate sound designer for the Broadway and touring productions of Wicked. “We were looking for the console that will take us for the next 10 to 15 years on the road, and the Quantum 7T is it.”
The Broadway show continues to use the same analogue console it has since day one, nearly 7,000 performances ago, but the touring version needed the kind of power and small footprint that the DiGiCo desk affords users. “The Quantum 7T is light to travel with and load in, and its reliability is exceptional, which is critical for a touring console,” says Williamson. Both he and Wicked sound designer Tony