Italy - Powersoft, has announced two additions to its touring amplifier platform, the T Series, which will allow the company to almost entirely replace its lK Series.
Since it was introduced 18 years ago, the K Series has proven itself to be one of the most reliable and widely used amplifiers on the market, receiving high praise for its lasting audio quality, power density, efficiency, and stable and long-term power.
Building on this legacy, Powersoft introduced the T Series in 2019. Now, in 2021, the new T902 and T904 have been introduced to extend the applications of the T Series further, allowing it to cover the requirements for any system deployment, including larger scale live sound applications.
The T902 is a 2-channel amplifier specified to deliver 4000W at 2 Ohms, 3200W at 4 Ohms, or 1800W at 8 Ohms, and its high rail voltage and peak current on the outputs make it ideal for driving large 4-Ohm subwoofers (like dual 18’’) or 2- and 3-way line sources.
Thanks to the T902’s onboard DSP featuring Raised Cosine, IRR and FIR filters; and precision delay, the T902 is the perfect product for powering and controlling complex cardioid sub-woofer arrangements and complex 3-way line sources.
The other new addition to the T Series family is the 4-channel T904, which can deliver 1800W at 2 Ohms, 2000W at 4 Ohms, or 1600W at 8 Ohms. This new amplifier platform is designed to power Bi-amped systems like stage monitors, 2-way point source speakers, and 2-way line sources, as well as smaller sub woofers.
Much like the rest of the T
UK - Martin Audio has recently promoted from within to create two new director roles for its R&D department.
Phil Anthony has been promoted to associate director of design, while Ambrose Thompson is now research director, and together they will lead the R&D department.
Phil Anthony commented, “It’s a great responsibility to continue the legacy of Martin Audio products and one that I relish and look forward to. We have made great strides in recent years in the number of products we have brought to market and I’m confident that by investing in new tools, developing improved processes and pro-active communication across departments, that Ambrose and I will bring genuine customer value with our product roadmap.”
Ambrose Thompson added, “I’m looking forward to helping drive a more even balance between technical, design and marketing strands of the company into all our products. On the software front, the aim continues to be removing tedious manual operations from our users' workflows by making better tools. Equally, with Martin Audio inside the Focusrite group, there is a proactive outlook where real investment in future development success seems possible.”
Dom Harter, managing director, summed up, “Between them, Phil and Ambrose have over 35 years of experience within Martin Audio, so not only is the R&D department in safe hands, it’s a recognition of their success and commitment to the company in that time. We have a truly exciting three-year roadmap ahead, covering both software and product hardware, and I couldn
South Korea - To enhance the visitor experience at Pororo & Tayo Theme Park Jeju, TechDataPS Co recently upgraded the park’s aging sound systems with Harman Professional audio solutions.
Based on the popular characters Pororo the Little Penguin and Tayo the Little Bus, Pororo & Tayo Theme Park Jeju features numerous ‘edutainment’ attractions that encourage children to learn while having fun. However, the park’s sound system was becoming a detriment to the experience, causing auditory fatigue for park employees and visitors due to an abundance of echo and harsh frequencies.
To provide a better experience for guests, Pororo & Tayo Theme Park Jeju’s audio system required a complete overhaul. After being impressed by the performance of JBL Control 60 loudspeakers at the BSS Harman Zone in Yongin, park organisers hired TechDataPS to equip the facility and grounds with a complete Harman system featuring JBL Professional, Crown, BSS, AKG and Soundcraft solutions.
TechDataPS reported that the customer was concerned about the echo because of the high ceilings and wide-open spaces. They added that the previous sound system was installed for emergency disaster guidance without considering the echo effect.
To deliver quality sound with minimal echo in the indoor areas, TechDataPS selected JBL Control 67 P/T pendant speakers. For the outdoor stages, TechDataPS selected JBL VRX 900 Series line array loudspeakers. Since the main stage is close to the park’s parade ground, TechDataPS positioned the speakers to isolate sound within th
Germany - Cover band Lonely Hearts Club isn’t likely to achieve the fame of the British quartet that inspired their name. But the six musicians from Gescher were greeted with a level of enthusiasm worthy of the Beatles or any superstar when they appeared on the open-air stage at Freilichtbühne Coesfeld at 5pm on Saturday 15 May.
For the 160 entertainment-starved fans in attendance, the band’s show, represented a small, hopeful step back to enjoying live performances as COVID-19 lockdown rules begin to ease with safety protocols still in place. Part of a regional test to demonstrate how outdoor events could be conducted safely, the concert ended at 9 pm, so people could return home in time to comply with Germany’s 10pm curfew.
The early closing time made sense from a health and safety standpoint, but it nevertheless posed special challenges for André Entrup and his team when lighting the concert, given that the sun didn’t set at the concert site until 9:19pm, almost 20 minutes after the show concluded.
“We had to create an engaging lighting show during daylight,” said Entrup, the technical director of Freilichtbühne Coesfeld. “Aside from having to account for the COVID related protocols, our biggest challenge was lighting the open air stage with all the sunlight outside. The stage was under a truss roof. In addition to accounting for the ambient light, we had to deal with mixed weather, as we had a short but intense rain shower during the show.”
Helping Entrup meet these challenges was a collection of Chauvet Professional Maveric
UK - Shure has introduced the Axient Digital ADX5D Portable Receiver - a dual-channel, portable wireless slot receiver that ‘provides superior RF performance, spectral efficiency, and transparent audio quality’.
“We designed the ADX5D Portable Receiver to incorporate the same innovative wireless technology that Axient Digital is known for, all in a portable form factor for professionals in the field or on-the-go,” said Nick Wood, senior wireless category director, at Shure. “We took the time to ensure this new addition to the Axient Digital family exceeds the rigors of everyday use and lives up to Shure’s reputation for quality that we’ve earned over the past 96 years.”
Axient Digital has been used on some of the biggest live stages across the world. Since it was designed for professional productions that demand maximum signal stability, ADX5D is able to support the most extreme wireless needs. True digital diversity technology helps significantly mitigate the potential for signal fades or interference that can cause dropouts, says the company. Further, it also supports wide dynamic range, AES-256 encryption, and 2ms latency from the mic transducer to the analogue output. A wide tuning band ensures reliable operation in any environment.
ADX5D functions as an on-the-go wireless receiver, offering the power and performance of Axient Digital – but in a portable form factor. It can easily slot inside and connect directly to the audio inputs of a professional broadcast camera, enabling streamlined connectivity of the two devices. The
France - Amadeus has released a major software update for the company’s Holophonix spatial sound processor. The version 1.7 software update features a new web-remote user interface completely redesigned from the ground up for better performance and a faster workflow and includes a host of new features both powerful and useful for immersive creative projects.
The new version 1.7 update is free to all current Holophonix users and is included with all new Holophonix hardware system purchases.
Holophonix immersive sound processors are installed and have been used for some of the world’s most innovative venues including Paris-based The Pantheon, Chaillot National Theater, La Scala, La Comédie Française, as well as the Beijing Stadium (China), The Lee Seok Young New Media Library in South Korea, ETH Zürich in Switzerland, and many others.
“Previously, the Wave Field Synthesis algorithm was restricted to linear speaker arrays with regular spacing between the transducers. With Holophonix 1.7, Wave Field Synthesis now also supports non-linear speaker arrays, including 2D surround setups. The algorithm can now control circular, rectangular, or curved-shaped loudspeaker layouts with non-uniform spacing,” says Thibaut Carpentier, researcher at IRCAM, lead developer, and head of the SPAT project.
“The built-in reverberation engine also offers new features, such as a new ‘Room Size’ parameter which lets you adjust the reverb effect more finely. Another useful feature built into this update is a per-speaker equalizer,” adds Thibaut Carpen
Goodbye Yellow Brick Road - Sir Elton John has warned MPs that the UK music industry could lose "a generation of talent" because of post-Brexit restrictions on touring the EU. The musician accused ministers of being unwilling to fix a "gaping hole" in the current Brexit deal which means artists need costly visas to play in the bloc.
The government says the EU rejected its attempts to negotiate visa-free travel, while the EU claims the opposite. Sir Elton called the situation a "looming catastrophe" for the UK. "I want to be clear that the issues of visa-free and permit-free touring aren't about the impact on me, and artists who tour arenas and stadiums," he said. "This gravest of situations is about the damage to the next generation of musicians and emerging artists, whose careers will stall before they've even started due to this infuriating blame game.
"If I had faced the financial and logistical obstacles facing young musicians now when I started out, I'd never have had the opportunity to build the foundations of my career and I very much doubt I would be where I am today." His statement was read to MPs during a hearing by the Digital, Culture, Media (DCMS) and Sport Committee on EU visa arrangements for those in the creative industries. Sir Elton later posted the letter in full on Instagram.
Musical Notes - Boris Johnson has said he is in talks with Andrew Lloyd Webber over the planned West End opening of his new musical, Cinderella. The prime minister said he had "colossal admiration" for Lloyd Webber and the theatre sector and pr
USA - Last year, during the height of the pandemic, Martin Castañon, Victor Ortiz and the team at Darvik Productions stayed busy, while bringing music to the public by running Concerts in Your Car, a series of drive-in shows at the Ventura County Fairgrounds in San Diego.
In the process they learned quite a bit about teamwork, determination and self-reliance. They also sharpened their skills lighting an elevated 360ﹾ stage. All of these attributes came in handy over Memorial Day Weekend, when they handled the production of Ziggy Marley’s concert at Petco Park.
Although the socially-distant live audience at this show was seated in pods, rather than cars, the configuration of the performance area and the sprawl of the crowd, required the same kind of elevated open stage that the Darvik team had used for their drive-ins. Working closely with Joël Huxtable, Ziggy Marley’s programmer and operator, Castañon, Ortiz and lead light tech Miguel Ochoa delivered a warm, emotionally powerful show.
Despite having the stage situated in the middle of the field at a 42,000-seat baseball park with limited fans in attendance, their engaging blend of video, light and gobo patterns created a sense of intimacy the enveloped the entire stadium, as the eight-time Grammy winner paid tribute to his late, legendary father.
Helping them set this balanced mood was a collection of 57 Chauvet Professional Rogue fixtures from Darvik’s own inventory.
“The Concerts in Your Car design was the starting point for this show,” said Castañon when describing
USA - Meyer Sound has signed on as a platinum supporter of the Home Technology Association (HTA) as it promotes professional audio products and technologies for deployment in upscale residential settings.
“We are excited to support HTA and its mission of providing a no-compromise private cinema experience,” says Miles Rogers, Meyer Sound’s business development manager for cinema and content creation markets. “The quality of a private cinema sound is not defined solely by the loudspeakers, but by the sum of all the components coming together - from the room build through final calibration. When all these pieces fit together perfectly, you have a VIP ticket to sit shotgun with the director in Hollywood and experience the film exactly as it was intended. Today, HTA is a key to making that happen.”
“The HTA certification program does an outstanding job of vetting and qualifying integrators,” says Meyer Sound US sales manager, west Daniel Rivera. “And they took it one step further by creating a budget calculator that matches the project to a qualified integrator who is up to the task.”
The company offers a full line of cinema products and solutions for applications of all scales, from the Bluehorn System full bandwidth studio monitor, Amie Systems, and Acheron screen channel loudspeakers to the new Spacemap Go spatial sound design and live mixing tool and Constellation acoustic system.
In 2021, Meyer Sound introduced the Ultra Reflex sound solution for direct view displays. For the first time, Ultra Reflex allows viewers to experi
Spain - Flight simulator manufacturer Simloc is now using Audio-Technica BPHS1 stereo headsets and PRO70 cardioid condenser lavalier microphones for its innovative Fixed Base Simulator (FBS) flight training devices and Extended Reality (XR) simulation environments for civil and military markets.
The relationship between Audio-Technica and Simloc began following contact between Jaime Valle, software engineer and certification manager at Simloc and Audio-Technica commercial manager Yusti Blázquez, who had previously collaborated on another clinical simulation project.
Valle said of the BPHS1 headset, “It delivers very high quality audio transmission and reception for intercommunication and it’s a really robust product.
“For the simulation to be as realistic as possible, the exclusion of distracting ambient noise is crucial. In flight simulators there are many sources of audio that can disturb concentration – the constant sound of the engines, alarms and alerts from navigation equipment and so on. So we needed microphones that pick up the voice very well but reject all other noise.
“The BPHS1’s dynamic microphone is perfect for our application because it gives great vocal presence and very effective attenuation of ambient sounds. The result is a very clean, natural signal and we currently handle all regular communications between captain, first officer and instructor with the headset.”
The BPHS1 also provides a similar look and feel to conventional aircraft headsets and allows the microphone and connection cable to be oriente
UK - ETC fos/4 LED panels prove a complement to natural light for cinematographer Lily Grimes during shooting of art film Horsepolish, an artist’s response to de Sica’s neorealist 1946 release Shoeshine.
This recent art film project saw Lily re-acquainted in a professional capacity with a familiar London-based artist - her mother, Oona, who also lectures in art. It was shot in and around the The Ragged School Museum on the Regent’s Canal near Mile End in London.
Lily argued for and succeeded in her quest to film in black and white Super 16mm, feeling it was the best medium to capture the rough landscapes favoured by neorealists. Her approach to lighting combined the use of a lot of natural light with supplementary fos/4 LED panels from ETC, as she explains:
“The film was planned rather than written, leaving us many more creative decisions to take. As far as lighting was concerned, we used natural light on the canal towpath, and then as a result of a conversation with Barry Grubb at 3LR Lighting, decided to use two of ETC’s beautiful fos/4 LED panels. The fos/4 PD8 and PD16 use daylight HDR 6 chip LEDs with high output, and so could augment sunlight, provide subtle fill or act as strong directional key.
“In keeping with De Sica’s film, we wanted simple directional lighting, and often used the sun as our key back light with subtle fill from the fos/4s. When we lost December light at about 3pm, the PD16 stepped up as our ‘sun’ and the PD8 provided fill.
“The fos/4s boast a ‘deep red’ in the fixtures, al
Belgium - Kristof Van Mensel from lighting and visual design company TCF (The Creative Factory) uses Astera products extensively – particularly AX3 LightDrops – in his projects which range from live performance to festivals to television studio lighting work.
The tiny AX3s are particularly useful for ‘pop-up’ scenarios, he explains, or for shifting between mobile locations. “Two cases of eight AX3 LightDrops are always in the back of my car ‘just in case’ and are infinitely useful,” he states.
Kristof is long term lighting designer for the Scala & Kolacny Brothers women's choir, a highly visual act that has gained worldwide recognition. He regularly incorporates Astera fixtures into their live show designs and loves the fact that something as small as the AX3 can give the artist such a dynamic a tool to work with.
“I ensconce them in the set and have also used AX3s on occasions as hand-held lighting effects for the artists, which is really effective and dramatic to up-light faces,” Kristof comments. Artists like Scala & Kolacny Brothers are always up for experimentation and trying new dramatic treatments. “AX3s are simply a hugely versatile and compact light source.”
His association with Astera started about five years ago when Controllux became the Belgian distributor and contacted him to show the range of products. Now they are one of his key inexpensive and indispensable creative tools.
“It’s incredible what you can do with Astera AX3s or Titan Tubes for a band or a music artist wanting to tour on
UK - CEO and founder of ExecSpace, Edinburgh-based Emma Little, has announced the launch of her second business venture, ExecMove. The full-service search, selection and talent acquisition practice specialising in the venue, events, hospitality and tourism sector will support industry recovery through directly addressing the talent and skills gap across these sectors, in the aftermath of the pandemic.
The new operation will support the charity Springboard, with donations for every candidate successfully placed.
Commenting on the launch, Emma Little says, “Clearly our industry has suffered enormously as a result of the COVID-19 restrictions and if we as a sector are to emerge stronger and recover quickly, now more than ever, our clients must have access to the very best talent and strongest performers.
“Whilst furlough was a great initiative, as the months went on, it became unsustainable to protect all jobs and leaders are now in a position of having to rebuild teams and scale-up at pace for the recovery and beyond."
Little continues, “We believe in output and tangible results, ensuring the commercial and cultural requirements of our clients match up with the experience, talent and personal aspirations of the individual. By thoroughly understanding both and tailoring our approach, we create successful and sustainable partnerships that drive significant returns.”
ExecMove will donate £350 to Springboard for every candidate they successfully place. This fund will help a young person starting their career in hospitality with
South Africa - Although the advent of the COVID-19 pandemic brought the live events industry to a virtual standstill, the past 15 months have been busier than ever for SACIA’s Events Safety Council. The Council is an association of event safety specialists and event safety companies providing event safety solutions for the South African event sector. It is part of a global network of event safety professionals dealing with health and safety in the events industry.
The advent of the pandemic saw council members, unable to earn a living under lockdown restrictions, volunteering their time to drive the recovery of the event sector in South Africa instead. "It has been a rollercoaster ride, keeping one's wits about you, staying motivated and positive, and pressurising the government to recognise that our professional recovery plan will successfully keep people COVID-safe at the events we host," says Interim chair Mike Lord.
Previously, the Event Safety Council focused primarily on general safety risks such as erecting structures, crowd management, and fire plans. However, the arrival of COVID-19 emphasised health risk management firmly ahead of general safety. Now health risk and safety risk must be dealt with simultaneously when planning an event. The viral spread has become another risk in the event safety chain. Like any other risk within an event, one must identify the hazard, determine who will be harmed and provide prevention and control measures to eliminate, remove the risk or mitigate against its occurrence.
"COVID-19 is a complex problem, a
Europe - Wireless is meant to make things easier. It gives you freedom to perform. It makes set-up times faster. But for many musicians who are their own technician, wireless microphones can be a nuisance or even intimidating. Now Sennheiser brings simplicity to wireless with Evolution Wireless Digital.
The series introduces an ‘easy, app-based workflow while retaining all the professionality, multi-channel capability and reliability that users have come to expect of UHF and 1G8 microphones’.
“We talked with dozens of bands prior to the development of Evolution Wireless Digital,” explains Oliver Schmitz, product manager for Evolution Wireless Digital. “Many band members are in fact multitasking, driving the gig bus, setting the wireless up, performing on stage, doing the accounting, the marketing, you name it. They do not want to become experts at RF, they do not want to scan a venue for open frequencies, they do not want to battle with settings. They just want something that works right away, so all they have to do is switch on and go.”
“This is why we came up with an app that does all the planning for you and guides you through the set-up,” adds Benny Franke, responsible for the software. “An app, where all the expertise is under the hood, and where you don’t have to be a mechanic to drive the car. There were many details that we sweated over so that you can keep your cool before, during and after the show.”
The Smart Assist App guides you through the set-up in easy steps. “If you can handle an app, you can handle the
UK – Bluesound Professional has announced the addition of three distribution partners as it expands global distribution. The new distribution partners are Studiotec Oy (Finland), Gonher Proaudio (Mexico) and HED Cinema (Israel).
“We are delighted to be able to welcome these distributors to our team as they are all leaders in the industry and in their respective markets,” says Graeme Harrison, vice-president and general manager of Bluesound Professional. “To have them so readily commit to the Bluesound Professional brand with the knowledge and perspective they have of the industry validates for us that we have something special here.”
Since its launch at the Integrated Systems Europe show in February 2019, Bluesound has expanded to 23 international markets.
The Netherlands - Postponed from 2020, this year’s Eurovision Song Contest, its 65th edition, was held at the Rotterdam Ahoy in The Netherlands. Organised by the European Broadcasting Union (EBU) and host broadcaster Nederlands Publieke Omroep (NPO), Nederlandse Omroep Stichting (NOS and AVROTOS. Specialist rental and sales company, Ampco Flashlight, was the official technical supplier, providing lighting, rigging and audio requirements, which included DiGiCo Quantum 7 mixing consoles at both front of house and monitor positions.
Working on the lavish production fans have come to know and expect were Erwin Rintjema, ESC head of production, Thijs Peters, head of broadcast sound, Ampco Flashlights’ Remco Verhoek as senior project manager and Dennis van der Haagen taking up the role of operational & commercial director, along with Jeroen ten Brinke, ESC head of live sound, who specified the Quantum 7s as part of his audio design.
A competitive tender for the show had been sent out in October 2019, with Ampco Flashlight pitching alongside competitors. “We were awarded the contract in January 2020,” recalls Verhoek, who oversaw proof of concept, prepping the equipment including constructing custom racks and scheduling and taking care of his team. “We were prepped and ready to go, then the show was postponed because of the pandemic. But we had been chosen and that didn’t change for the 2021 edition. Audio-wise the stakes are always high for Eurovision, and this was a complex system, but not the most complex we’ve ever built and with all the ex
Austria - Founded in 2006, Das Werk is an alternative art and culture initiative based in Vienna. Located in the district of Spittelau, between the famous Grelle Forelle and FLEX nightclubs, Das Werk is the latest Vienna venue to upgrade to Alcons Audio pro-ribbon loudspeakers.
In 2018, Wolfgang Sauter of Vienna-based Pro Performance was asked to create an audio concept for Das Werk that fitted in with the neighbouring venues, including The Grelle Forelle, FLEX, SASS Music Club and The Loft. Pro Performance had previously equipped these venues with Alcons pro-ribbon systems, giving Alcons a stellar reputation in Vienna.
“The customer needed a new, effective sound solution that was flexible enough for both live concerts and DJ events across a large variety of genres,” says Wolfgang. “A particular problem was that the stage was in the corner of the room, presenting many acoustic challenges. We looked at all the available solutions and chose two arrays of three Alcons RR12 pro-ribbon point source array modules. They delivered highly precise, unified sound across the space, without producing unwanted sound on the stage.”
The RR12 arrays work in combination with the cornered subwoofer array. This custom custom-built 12x 15” vertical subwoofer was another design by Wolfgang, to also obtain a uniform low-frequency response across the room.
Wolfgang continues, “It’s simply all about physics and there is no feedback on the microphones or turntables, despite the live bands and DJs situated in front of the bass array. With the resulting pre
Germany - Dark Matter is a new permanent exhibition space for lighting, visual and sonic art, and technology in Berlin’s lively Lichtenberg district, currently comprising seven sculptural and kinetic visual works created by light artist Christopher Bauder of WHITEvoid.
This experience, which opened last week, is the long-term brainchild of Christopher and his quest to curate a “parallel cosmos of expansive lighting installations blurring the boundaries between real and digital worlds” capturing and stimulating emotional, spiritual, and imaginative journeys as guests embrace the artworks – some interactive, some reflective, all fascinating – engaging and experiencing a wide range of emotions.
Robe lighting is involved in this project, initially with the supply of Tetra2 and MegaPointe fixtures which will be used for special events lighting in one of the large exhibition spaces, Hall 2.
The seven pitch-black rooms making up Dark Matter – in three buildings on a one-way walkthrough route – are part of a former factory building acquired by Christopher in 2019 and extensively renovated and converted into this vibrant and thought-provoking presentation space over the last 13 months.
Achieving sufficient blackness was fundamental to encouraging guests to leave their real worlds and dive into a different dimension where abstract meets imagination in an intense and all-encapsulating psychological journey, triggered by light and sound, vision and hearing.
The art pieces range from The Tone Ladder, a playful concept original
USA - City Winery New York finally opened for ticketed live music events in early April at its new flagship location inside the redeveloped Pier 57 on the Hudson River after a hiatus of more than a year.
As with the seven other City Winery locations, this newest venue relies on Meyer Sound reinforcement systems exclusively, with the New York location the first to anchor its system with LINA line array loudspeakers. Within the first week of sold-out shows, the sound quality in the new room already had earned accolades from audiences and performers alike.
“I have some confidence in my own ears, but more confidence in the ears of musicians who have played here - and they have been ecstatic,” says City Winery founder and CEO Michael Dorf. “The combination of the room acoustic and the Meyer Sound LINA system is magic. Steve Earle said from the stage during his acoustic set that the sound in the room was the best he had heard in any venue.
“And when Willie Nile came with his four-piece classic rock band — two guitars with Marshall amps and a drummer that hit hard — the room and the system handled it beautifully. Willie even said that the bar had been raised for sound in New York and claimed that this was the city’s ‘new temple of rock.’”
The new system is anchored by twin arrays of eight each LINA line array loudspeakers, with sides, front centre and stage corner areas and balcony VIP areas covered by, respectively, UPQ-1P, UPJ‑1P loudspeakers and UPJunior loudspeakers. Controlled deep bass projects through a centre cardioid ar
Zimbabwe - Nyaradzo Group marked its 20th anniversary recently, with a livestream concert celebration that featured 21 of the region’s leading artists.
The musical extravaganza was a big hit for viewers, especially since the performances on stage were supported by dynamic displays of video and light, as LD Nicholas ‘Nicky’ Sintara served up a stream of colourful looks that flowed naturally on stage.
Sintara’s design may have looked effortless, but in reality it was anything but easy. Producing different looks for 21 different artists on a small livestream stage is a “fun challenge,” he says.
Helping Sintara solve this puzzle was a supportive group of people. “Divine Concert Sound (DCS), the Nyaradzo Group Zimbabwe, Epic Sets and my mentor Simbarashe Bapiro were all very helpful,” he said. “I am grateful to have such support.”
Also contributing to the magic worked by Sintara was a collection of Rogue and STRIKE fixtures from Chauvet Professional. As he explained: “There were things we did to give the stage a different personality for each artist, while also keeping things camera friendly. The eight Rogue R2 Beams in my rig helped me a great deal. I hung six of them on a V shaped truss, and had the other two on the floor. From these positions, they gave me a lot of options to create different shapes and gobo patterns.”
Working with the R2 Beam fixtures were four Rogue R1 Beam units. Arranged in different configurations on the stage deck, these 132-watt fixtures added extra punch to Sintara’s show with their bright
USA - A new book about the techniques and issues of lighting design for live events and productions being shot for broadcast, webcast or IMAG, has been published by Routledge and their media technology division, Focal Press.
Lighting for Televised Live Events: Making Your Live Production Look Great for the Eye and the Camera unlocks the science, art, philosophies, and language of creating lighting for live entertainment and presentations that work for the television camera as well as for the live audience. The authors, Jeff Ravitz and James L. Moody, each have extensive lighting design credits in both live and televised production and have brought their experience and insights to the book in an attempt to explain the common denominators between live and televised presentation lighting.
Ravitz explains, “The television camera has become an ever-present part of most productions, whether for live streams, TV specials, music videos, or, just as importantly, the IMAG screens that so many shows use. Over the years, I learned that a few, but significant, adjustments can make a live show look so much better for the viewer who watches on their TV, computer, tablet, or phone. They can only see what’s being shown by the camera, and for what it’s worth, there are millions of those viewers out there. The twist is that these shows can also retain all the beauty and dynamics of the live show and still look great for the audience in the venue.”
The book explains the science, art, and aesthetics of the subject and includes production case studies co
UK - ARRI has announced the opening of its new mixed reality studio in the UK. Equipped with an LED volume comprising 343sq.m of LED wall, installed in partnership with NEP Live Events production and technical specialist firm Creative Technology, the studio is one of the biggest permanent mixed reality production spaces in Europe.
Located at ARRI’s UK premises in Uxbridge, with camera, grip, and lighting packages available on site from ARRI Rental, the 708sq.m studio is being offered for hire to short and long-form productions of any kind, as well as for events, education, and R&D.
The volume consists of a main, ‘in vision’ curve that is 30m wide by 5m high; two moveable and tiltable side screens, each 3m wide by 4.2m high and a height-adjustable ceiling of 9.6m by 9.6m. A back curve measuring 18m wide by 4.2m high completes the fully encapsulated yet adaptable space, and can be programmed to display 360-degree imagery that even when not in frame, casts dynamic, fully integrated lighting effects onto the performers and the scene being shot.
The ‘in vision’ curve is constructed from ROE Visual Ruby 2.3 panels, while the side screens, ceiling, and back curve use ROE Visual Carbon CB5 panels.
Much like the modular facilities, technical support can be tailored to the requirements of each production, with the full weight of expertise from ARRI, Creative Technology, and their respective partners available in the form of pre-production advice and creative production services. For productions new to mixed reality, technical support can e
UAE - Dubai-based Levels Audio Visual was established in 2015, with a primary focus on specialised high quality AV solutions for the entertainment and leisure industry. Its work focuses almost exclusively on permanent installations in restaurants, bars, beach clubs and nightclubs, along with AV rental and production solutions for DJs, live music, festivals and wedding events. It has recently become part of the L-Acoustics certified provider install (CPi) network.
“Over the years, we have built a reputation as one of the leading providers of AV solutions for these industries, largely stemming from our strong personal passion for music and live entertainment,” says managing partner, Hassan Alwan. “This passion has and continues to drive us to be the best in all disciplines and capabilities.”
The company’s portfolio of clients and projects includes some of the leading operators in the entertainment and leisure industry, including Amazonico, Berklee College of Music, Boiler Room, Blue Marlin Ibiza UAE, Cove Beach, Industrial Avenue, Le Petite Maison, Mutek, Nammos and Zuma.
“Becoming an L-Acoustics CPi is an acknowledgment of our high standards, putting Levels in a rare group of professional organisations, each at the top of their game,” Alwan continues. “At the same time, it’s a motivator for us to continue to strive for improvement each time we approach an opportunity.
“With a global presence and an internationally regarded best-in-class reputation, the opportunity to become a part of the L-Acoustics CPi family will allow us