Israel - Israeli Opera is both the principal opera company and busiest hall in the country, producing top quality operas and playing host to some of the most prestigious artists from around the world. Located at the Tel Aviv Performing Arts Centre and owned by the municipality of Tel-Aviv, Israeli Opera is also home to regular shows by local orchestras and ensembles, delighting performing arts lovers with a multitude of first-rate productions.
Over the years, as the venue began to expand its music programme, it became clear that the existing in-house PA was not capable of covering the diverse spectrum of productions and had to be augmented with rental equipment. Recently, venue management decided to perform a significant audio upgrade, choosing to install the new L-Acoustics K3 line array.
With the building closed due to the pandemic, Eyal Levi, head of light & sound at Israeli Opera, decided to use the mandated downtime wisely and proceed with the audio upgrade. To oversee the project, the municipality employed the services of award-winning AV consultant, Harel Tabibi, who has previously worked with all major theatres in Israel and is renowned for his expertise and professional approach. Three top AV suppliers were invited to participate in the tendering process, with L-Acoustics official distributor, Lightone, being one of them.
“Having extensive experience of the Israeli sound reinforcement market, we knew L-Acoustics would tick all the boxes – sound quality, system integration and cost,” adds Lightone’s Tal Cohen Arazi. “Of course
UK - Orbital Sound has returned to work with performances with audiences, with Hairspray leading the way. The Coliseum’s Edwardian auditorium celebrated the end of quarantine, with Michael Ball reprising his Olivier Award-winning role as Edna Turnblad.
Sound designer Andrew Keister, representing original Broadway designer Steve Kennedy, flew in for the project but had to quarantine prior to arrival in the theatre. In the meantime, Hairspray’s UK sound team - Josh Richardson, Callum Wills, Simon France, Robbie Barclay and Larry Golland - were hard at work along with the Orbital team led by Henry Pierce, ensuring everything was set up in advance at the Coliseum.
Andrew has high praise for the whole team saying, “It would have been amazing to be back in any theatre again after so many months of the industry being shut down, but to be back in the Coliseum, in the heart of the West End, with this incredible team was almost too good to be true.
“The original West End production of Hairspray in 2007 was the first time I had the pleasure of working with Orbital, and I’m happy to say that 14 years later they are still defying expectations. Our first performance was a very emotional experience for all of us after so much time away from the business that we love, and the roaring ovation from the audience at the curtain call was an experience I won’t soon forget.”
For Orbital, Hairspray represents a magical moment, as a celebration of the gradual reopening of theatres and a return to something like normality. Andrew wa
USA - Taking the stage at the Coweta County Fairgrounds, Newnan, GA, Alan Jackson led a line-up of artists in the Where I Come From Tornado Benefit Concert. In addition to raising over $2m dollars to help people affected by the storm, the show was a celebration of hope in the wake of a disaster, as the country superstar performed hit after hit from his stellar career accompanied by iconic video images.
Accentuating the upbeat mood of the show and strengthening the connection of the 20,000 fans in attendance to Jackson’s performance was an immersive Mason Felps lighting design that featured 36 Rogue R2X Wash fixtures from Chauvet Professional.
Positioned on upstage ‘lighting ladders’, the high output moving fixtures, which, like the rest of the rig were supplied by Bandit Lites, were used to create a wall of light behind Jackson.
“This was a hybrid of our touring rig designed for this benefit show,” said Felps. “Aside from lighting for the live audience, we also had to light for television since the show was carried on a local station. So, we wanted to fill the stage with light with no dead space around the LED wall. The wide zoom of the Rogues was important in this respect.”
During the concert, the large LED wall was often used to show iconic images from Jackson’s legendary music videos. “Most of Alan’s music videos have a certain style or colour to them, so I tried to match that as close as possible,” said Felps, who relied on the colour-rendering capabilities of the RGBW movers to create a smooth flowing look tha
USA - After crashing onto the music scene in 2012 and gaining popularity among indie rock enthusiasts, Lord Huron recently released the group’s fourth album, Long Lost. Recorded at Whispering Pines Studios, near downtown Los Angeles, the band has also been working on a live streaming show, Alive From Whispering Pines, also produced at Whispering Pines, and has spent the last four months hyper-focused on its music.
In order to ensure its hard work and musical talent was showcased properly on the album and during its live show, the group turned to DPA Microphones.
According to Mark Barry, drummer and engineer for Lord Huron, he and other members of the group, which includes founder Ben Schneider (lead singer and guitarist); Tom Renaud (guitarist) and Miguel Briseño (bassist and keyboardist), have long been fans of the quality and performance the DPA microphones provide.
The foursome, who grew up playing music together in the central Michigan area, were eager to try DPA equipment. In 2019, the band selected a few DPA mics for the additional horns they brought in for live shows at Red Rocks and the Hollywood Bowl. Soon after, Barry was introduced to how well DPA mics worked in a studio setting.
Following those experiences, the group’s members and audio engineer Ben Tolliday were so impressed with how the mics supported their music, that they decided to bring DPA on-board for the Long Lost album recording. Barry and Tolliday chose DPA’s 4018 Supercardioid, 4011A Cardioid and 4006 Omindirectional mics to support various
USA - As the coronavirus pandemic took hold in Southern California in early 2020, spatial audio pioneer Herbert Waltl relocated his mediaHyperium operation to a disused music school, where he has outfitted a former recital room with an 18-speaker Neumann KH Line studio monitor system.
The system flexibly switches between Dolby Atmos and Sony 360 Reality Audio immersive music formats without the need to reposition any speakers by combining a 7.1 layout with nine height and three floor-level speakers.
Waltl, an award-winning producer, musician and technology evangelist who founded mediaHyperium in 1996, had been planning to build a new studio before the pandemic. For years he had mostly been working at Skywalker Sound in the Bay Area, for the last five years in partnership with Eric Schilling, a recording engineer and broadcast audio mixer with a long list of Grammy and Emmy Awards to his name. But when the new virus forced everyone into lockdown and the music school closed, “We said, the best thing, the safest thing, because of the pandemic, is to work out of here,” says Waltl.
Neumann KH 420 tri-amplified midfield mains plus a pair of Neumann KH 870 bass-managed subwoofers are deployed. Five Neumann KH 310 tri-amped near field monitors on stands – three across the front plus left and right height channels – support the overhead channels of Sony’s object-based 360 Reality Audio. Hanging from the ceiling and positioned slightly closer to the mix position per the recommendations of Dolby Laboratories, four Neumann KH 120 bi-amped near field s
USA - Birds in the Moon, a provocative new chamber opera with music by composer Mark Grey, has launched a national tour based on a revolutionary staging concept: the entire production is housed in a 20ft shipping container that can be quickly set up for outdoor performances at essentially any location.
To simplify audio production while also offering an extended horizontal soundscape, the production utilises 12 Meyer Sound self-powered loudspeakers mounted on the container and on fold-out wings. The show is mixed on an iPad with Meyer Sound’s Spacemap Go spatial sound design and live mixing software.
The “containerized” opera debuted at Domino Park in Brooklyn in early May as part of the New York Philharmonic’s free, city-wide Bandwagon 2 programme.
From the outset, Mark Grey created Birds in the Moon with flexibility and portability in mind. The idea was to reach reasonably large, open-air audiences while still providing a dynamic and panoramic soundscape - and to do so with a streamlined system that supports both automated and live workflows. An accomplished sound designer as well as a composer, Grey turned to Spacemap Go as the foundational tool for implementing his ambitious aural concepts.
“It’s been amazing working with Spacemap Go over the past year, exploring all that it can do,” says Grey. “It has really outperformed my expectations, for example, in the way you can automate sonic trajectories over time, capture that scene, and then move on to the next. And recalling everything is simple, as Spacemap Go in
France - Gaetan Byk is now the principal and majority shareholder in charge of Amadeus, the Paris-based manufacturer of high-end audio equipment. Michel Deluc, who co-founded the original Amadeus brand with Bernard Byk 30 years ago, has created many of the company’s speaker designs and remains at Amadeus to lead specific design and manufacturing projects.
“For many years, my mission has been to find a space for Amadeus, a unique place where technological innovations with arts and crafts, combine and complement each other,” states Gaetan Byk. “I think we need to go where our main competitors cannot, do not know how to, or do not want to go. Designing tailor-made solutions, responding to existing architectural, acoustic, and technical constraints have been our areas of expression for a long time. Over the past few years, some rather out-of-the-norm products were born this way."
Over the past 10 years, Gaetan Byk has guided the company and its products to new heights. Many products were created, including the hi-fi Philharmonia reference monitor, designed with world-renowned architect Jean Nouvel for the Philharmonie de Paris concert hall recording studios; the stone-clad speakers made for the Panthéon; the unique speakers designed for Krug Champagne House made of corten steel - cut and then laser welded - and today, the nearly 40m-long bespoke sound ramp designed for the Festival d’Avignon, the largest performing arts theatre festival in the world.
Collaborating with IRCAM and several other key French institutions, Amadeus also figures
Japan - Located northwest of Kyoto, which is known as the city of culture, Ritsumeikan University’s Kinugasa Campus recently installed a Martin Audio CDD system in two of its halls.
Ritsumeikan is a historical university founded in 1900 by Kojuro Nakagawa, originating from former prime minister Saionji Kinmochi's private school. Surrounded by famous temples, its quiet atmosphere makes it suited for academic and research.
It was in the Igakukan (Institute of medical learning), located within Kinugasa Campus, that the upgrade took place in the two halls. The building itself contains various classrooms, common rooms and offices, as well as a cafeteria and a multipurpose hall.
CDD12 was adopted as the main speaker due to its wide coverage and clear sound which can be heard even directly in front of the stage. Several Adorn ACS-55T ceiling speakers were installed under the balcony on the second floor to cover the depth, adopting advanced FIR filter tuning.
The overall aim of this renovation was to expand the user base by providing a professional infrastructure, and Dante was selected for the main signal routing within a Symetrix DSP environment. Touch panel control which is provided at the side of the stage for users who are not familiar with sound system technology, facilitating easy adjustment of levels and playback of microphones and presentation materials. Even for larger events that require a more advanced approach, Dante signals are distributed to the control room, allowing professional operation via the mixer.
Since Halls 101 and 10
USA - Stryke Percussion ensemble has often taken things a step further. In 2018, for example, the ensemble used an actual airplane in its show, its members weaving their way around wings and fuselage as they executed their precise beats.
Unfortunately, as a result of protocols that restricted crew sizes in the wake of COVID, it became impossible for Stryke Percussion to incorporate any props into the group’s latest show, When No One Is In The Room, an apt title, given that they had to perform in an empty gymnasium as a safety precaution.
Nevertheless, the group was still able to deliver a beautifully textured performance rich in narrative quality thanks in large measure to a Clifford Michael Spulock lighting design that featured a collection of Chauvet Professional Maverick, Rogue and COLORado fixtures.
“These indoor percussion shows usually don’t go hand-in-hand with lighting, as they have big sets and other objects to tell their stories,” said Spulock. “Since that wasn’t possible in this case, they turned to lighting. I really drew on my background in theatre to advance the narrative in light.”
Just as he’s often done in theatre, Spulock used shadows and dark space as a storytelling device in the group’s video, turning the vast empty gymnasium into an advantage. He deliberately lit up the room’s empty bleachers to create a haunting aura around the percussive performance. During some solo performances, the film crew did 360-shots around the individual percussionist to accentuate this feeling.
USA - Transformation Church (TC), a multi-ethnic, multi-generational, mission-shaped community outside Charlotte in Indian Land, South Carolina, has added Ayrton Levante fixtures to its inventory of equipment used in producing worship services.
TC acquired the Levante fixtures from SES Integration, a division of Special Event Services located in North Carolina. Levante fixtures are a dramatically miniaturized version of Ayrton’s Bora wash light offering outstanding performance capabilities in an ultra-compact format. Levante’s optics produce an extremely uniform flat beam with no hot spot, ensuring a perfect colour mix regardless of the colour combination selected.
Jeff Cranfill, owner and lighting designer at Special Event Services, recommended the Levante to TC. "The entire line of Ayrton fixtures is very well constructed with high output and great features,” he says. “I have had great results using the Levante wash fixtures in concert and video settings. The beam is very smooth edge to edge, and the framing shutters make it easy to create a video-friendly wash across the entire stage down to a single spot.
“Colour temperature adjustments are very consistent fixture to fixture, and the range of colour temperature is large. This makes the fixture very usable in many environments. All of the Ayrton fixtures have very good optics along with even colour mixing and a great variety of gobos. They are some of the best LED source fixtures I have worked with, and I highly recommend them for touring and installs.”
Zach McCrorey, lighting
Canada - The Laura C. Muir Performing Arts Theatre at Douglas College has undergone a significant upgrade, which includes a Christie Crimson 3DLP laser projector, and most recently, the installation of a Christie D4K40-RGB pure laser projector.
Douglas College educates close to 25,000 students a year, with two major campuses in Metro Vancouver. The Muir Theatre, located on the New Westminster Campus, is a fully equipped 350-seat facility used by students from the Theatre and Stagecraft programs who produce a production each semester in the theatre, as well as the Music Department for performances and classes, and by other departments for lectures and conferences. The College also rents the theatre for dance and music performances, as well as conferences.
The upgrade to Muir Theatre was completed in two phases and began in 2016 with lighting, video distribution and projection. Working with Scott Miller, Ryley Pynn and George Davidson of DWD Theatre Design and Sapphire Sound, the first phase included the installation of a Christie Crimson 3DLP laser projector for rear projection on the stage, which is used for conferences and events that require a smaller screen. The second phase, which began in 2019, saw the installation of a Christie D4K40-RGB pure laser projector.
“The primary objective of this second phase was to provide the Muir Theatre with the capability of showing cinema-grade movies and to be used during performing arts events and classes to provide dynamic backdrop images on the existing cyclorama or on our new screen,” says Brian Pratt,
UK - LED lighting manufacturer, Chroma-Q is supporting Version 2 Lights with their low energy Space Force fixtures.
Developed as an energy efficient alternative to the traditional space light, Chroma-Q Space Force is continuing to raise the bar with its blend of versatility, bi-colour functionality and output. Having been welcomed by crews, both on location and in studios around the world, the Space Force has established itself as a ‘workhorse’ for some of the industry’s leading rental houses.
Investment in the fixture by television lighting rental specialists, Version 2 Lights (V2), has allowed the company to expand its inventory of low energy solutions.
Version 2’s managing director, Nick Edwards says, “We chose the Chroma-Q Space Force as part of our investment in power efficient technology. Our commitment to providing production with access to effective, reliable low energy solutions has been ongoing since we first launched the company - our Chroma-Q products have proven themselves to be a worthwhile part of the V2 inventory, and are included in lighting packages with crews working on all manner of productions.”
One such recent application saw the fixtures being put to highly effective use, with lighting director Mark Gardiner, for an infomercial style product launch for a major international electronics manufacturer.
Featuring a crisp, bright look, the Space Force was used to add a naturally soft, balanced ambient illumination to the production. The result was a smooth, even light which highlighted the bold colouring of
Spain - Creative Technology (CT) returned to support GSMA with delivery of the 24-hour news channel, Mobile World Live TV (MWLTV), providing continuous coverage to local and remote delegates from a central news and information hub for the entirety of the event.
This year marked the fifth of CT UK delivering this event for GSMA. However, the 2021 event was postponed from February to June due to the pandemic but still went ahead as an in-person exhibition in Barcelona. Due to restrictions on UK travel, CT Spain assisted in delivering the local requirements while the UK team provided a remote production system and support.
CT’s UK team worked closely with CT Spain in Barcelona to provide onsite cameras and audio for a small studio space, as well as two roving 4G/LTE cameras gathering beauty shots and interviews across the site. These signals were all beamed back to the UK to be brought together with the production team in CT UK’s permanent remote production facility The Bridge based in the company’s offices near Gatwick. The Bridge, along with multiple-ISP redundancy offered by the dual office locations of CT UK, provided the sort of facilities and backup usually seen in full-size OB trucks and broadcast facilities but with the added comfort of CT’s experience in both live events and broadcast.
Mediabank, a cloud-based media asset management tool developed by NEP, was used to distribute content to and from remote staff and editors as part of CT’s ongoing contract with the GSMA. The workflow involved uploading all recorded and
UK - As the official technology supplier-sound for Ascot Racecourse, Bose Professional technology was part of this year’s Royal Ascot meeting. The audio solution is bespoke, consisting of almost 1,000 surface-mount and in-ceiling loudspeakers throughout the racecourse, promenade and other public areas, including 250 private boxes.
Founded on a bedrock of tradition more than 300 years in the making, racing first took place in 1711 at the behest of Queen Anne in the Berkshire countryside approximately six miles from Windsor Castle. With more than 600,000 visitors each year during the usual 26 days of racing, Ascot Racecourse reimagined what a world-class race day experience should be.
“Bose innovation has allowed us to take people on a journey,” stated Craig Staddon, head of sales at Ascot. “Since we began working with Bose, our guests repeatedly tell us the audio has added another dimension to the races - it simply brings the racing experience alive more.”
Consisting of ArenaMatch AM10, AM20 and AM40 loudspeakers as the basis for the system, the audio solution integrates Panaray MA12EX modular columnar array loudspeakers, ArenaMatch Utility AMU108 and AMU208, and a variety of FreeSpace loudspeakers all throughout the entire venue. The solution is powered by a network of PowerMatch PM8500N power amplifiers containing specific Dante cards.
“Ascot has very specific needs. The core of the Ascot experience culminates in 11-12 minutes, yet guests are here for upwards of six hours or more,” shared George Vaughan, head of technology at As
Dominican Republic - The Voice Dominicana, a singing national competition and part of the international TV series, has begun airing on the island’s Telesistema 11 with a large roster of Claypaky fixtures lighting the show.
The series features a panel of four coaches who critique and guide the artists' performances throughout the season. As part of a worldwide franchise, The Voice Dominicana was tasked with maintaining the high broadcast standards of the series while showcasing the Dominican Republic’s unique musical style.
AV equipment supplier and Claypaky distributor BM Eventos (BME), which also designed the stage set, provided 24 Mythos 2 spots, 36 A.leda B-EYE K20s, 20 Stormy CC strobes, 60 Glow Up battery-operated luminaires, 24 Show Batten 100 LED moving bars, and two Axcor Spot 300s.
“When I was invited by Edwin Belliard of BME to participate he suggested doing the show with 90 percent Claypaky fixtures,” says lighting designer Paulinho Lebrao. “I was very happy about that because I know the quality and versatility of Claypaky fixtures.”
Versatility is a must on the set where Lebrao says the B-EYE K20s are employed for lighting effects, strong beams and all the TV lights. The hybrid nature of the Mythos 2 fixtures, with their spot and beam modes, also comes in handy.
“Although we only have two Axcor Spot 300s, they work beautifully, too,” Lebrao adds. “We use them like a back followspot and love the quality of the beam, the colors and the fact that, at 300w, they are small and perfect.
Europe - Robe has introduced Cuete, a moving head spot light fixture designed for use in small- to medium-sized productions, performance spaces or installations.
Cuete’s features include fast pan and tilt movement that is so essential for lighting all genres of electronic music, for highlighting the creative work of DJs and enhancing club environments.
“Creating dynamic effects and projections is quick and simple with the Cuete, which offers a quality CMY colour mixing system and an impressive 4,200-lumen output of sharp, clear white light, making it stand out on any lighting rig,” says Robe.
To achieve this output and maintain the light quality and consistency across any lighting rig or inventory, Cuete utilises Robe’s patented TE 120W White LED Engine which is at the core of the manufacturer’s Transferable Engine technology.
The Cuete’s 16° fixed beam lens has remote control focus and can be swapped to the optional 24° lenses for shorter throw and low ceiling scenarios.
Also included is CPulse flicker-free management system for setups using HD and UHD cameras, for live streams / broadcasts; the L3 Low Light Linearity dimming software for smooth fades to black and the AirLOC (Less Optical Cleaning) technology which keeps the optical elements in condition over long time periods.
The fixture’s effects package includes a colour wheel with 13 dichroic filters; a gobo wheel with nine fully indexable, rotating, replaceable gobos; a static gobo wheel with 10 fixed gobos including four beam reducers: there is an eight-fac
USA - LEA Professional has announced new 802.1X security protocol for the company’s range of Connect Series amplifiers.
802.1X is an IEEE Standard for Port-Based Network Access Control that provides protected authentication for devices on the network and provides secure network access. 802.1X is the gold standard of network authentication security and defines authentication controls for any user or device trying to access a LAN or WLAN.
This new feature further protects data and equipment from a cyberattack, while also preventing rogue devices from connecting to the local network and releasing viruses, malware, or allowing man-in-the-middle attacks.
According to Bradley Drummond, director of application engineering & consultant relations at LEA Professional, the new protocol ensures that the Connect Series amplifiers are more secure than ever.
“Security has been central to our work at LEA from the beginning,” said Drummond. “We have always set out to design and produce products that are built with reliability and certainty in mind. 802.1X takes our product security to the next level which, is particularly important for financial institutions, tech companies, governments and other organizations with stringent network security policies.
“Now, when our customers win jobs that require 802.1X authentication, they can continue to depend on LEA products for amplification and they won’t have to look for alternative products.”
USA - Dallas Theatre Centre has selected the CO-8WD waterproof headset microphones from Point Source Audio for its challenging outdoor production of Working: A Musical, based on Studs Terkel’s bestselling book and with original songs by Stephen Schwartz (Wicked!), Lin-Manuel Miranda (Hamilton, In the Heights), James Taylor and others. Staged at the start of July, the production was Dallas Theatre Centre’s first to a live audience since March 2020.
Working showcases the voices of teachers, waiters, truck drivers, and other essential workers, so the production sound quality needed to be befitting in recognition of their vital service day in and day out.
Away from the sound quality, one of the main considerations behind the choice for the CO-8WD was the setting for the production. “This show is outdoors, in Texas, in the middle of summer! The weather is a really important factor to consider, so the fact that Point Source Audio mics were waterproof was a big selling point to me,” explains Kyle Jensen, assistant head of audio and video for the Dallas Theatre Centre and sound designer for the production. “We anticipated really hot temperatures, really high humidity levels, so being able to have something that stands up to that sort of abuse was very important.”
This said, the CO-8WD proved itself to be the right choice with its sound quality too. “In the pre-prep process we were able to play around with [the mics], and they sounded fantastic,” recalls Jensen. “One of the things that stood out to me as
UK - The Kingshakes, an old-school neo rockabilly band has kicked off its post-pandemic gig calendar. Van Damme cables have been at the core of every performance, most recently at the Hot Rod and Custom Car Show in Peterborough.
Formed in 2013 The Kingshakes are a three-piece ensemble, consisting of guitarist Andy Kandil, drummer Steve Clark and double bass player Dan Clark. Prior to the global COVID-19 outbreak, they played all over the world and across the UK.
Dan Clark explains: “I’ve been using Van Damme cables since I was in my teens. I was trying out lots of different equipment and found that all Van Damme leads and jacks were exceptional. Ever since that day, all of the wiring inside my double bass has been Van Damme. I’ve never used anything else because the brand has never let me down - the leads have never broken, and none of the ends have come loose. It’s been a great journey. I look forward to continuing that relationship well into the future and particularly when we’re properly back on the road.”
Over the last 18 months, the team of singer-songwriters have been focusing on writing their first album which is due to be released later this year. There are a wide range of performances scheduled in the UK for the rest of 2021 and the band hopes to start touring internationally again in 2022, with gigs in Italy, Holland, Spain, Germany and the USA on the agenda.
USA - Clear-Com has announced the Arcadia Central Station, a scalable IP platform which integrates all wired and wireless partyline systems, including the FreeSpeak family of digital wireless solutions and HelixNet Digital Partyline. The system can license up to 96 IP ports in a single RU device, with further licensing add-ons anticipated in the future, making Arcadia the intercom centre-piece for a wide range of applications best served by partyline workflows.
Designed with input from Clear-Com’s extensive global live sound user base, Arcadia represents the next evolution in partyline workflows, combining digital, analogue and AoIP intercom technologies into a single integrated system. From the Broadway stage to a growing community congregation to the largest and most complex live events, Arcadia is suited for a wide variety of applications, in part due to its flexible licensing-based model that allows future expansion, says Clear-Com.
Arcadia provides general connectivity to a wide range of Clear-Com endpoints through a mixture of 2-wire and 4-wire audio ports, together with third-party Dante and AES67 AoIP devices. Additionally, it supports the full range of FreeSpeak digital wireless products, encompassing the 1.9 GHz, 2.4 GHz and 5 GHz bands, and the upcoming integration with HelixNet.
The need for simple and quick adjustments to the system is reflected in Arcadia’s two large front panel touchscreens, with four rotary encoders to quickly scroll through menus or for use as a four-way key station. The system is configured and monitored throug
South Africa - Founded in 1998 in Witbank, Heritage of Faith Ministries International (HOFMI) started out as a slab of concrete, four walls and a tin roof. The intervening years have seen the church grow and develop into an auditorium that can seat up to 500 people, and more recently implement technology solutions to enable broadcast capture and playout.
Stage Audio Works has been a key partner in the technological development of HOFMI for the last several years, the most recent being the implementation of a StreamWorks end-to-end streaming solution to allow direct communication with HOFMI’s associate church in Fort Worth, TX, USA. The experience was completed with a 5760mm x 3360mm Pixel Plus Xcell-i LED wall which forms an impressive backdrop to the stage.
HOFMI technical director Matt Ratcliffe reports, “Our first engagement with Stage Audio Works was when we upgraded our consoles at our Johannesburg and Witbank locations to Yamaha CLs. Over the years our relationship with SAW has developed beyond basic equipment supply to utilising their immense technical expertise to design and build custom solutions to help us achieve our goals.
“Nathan and I have worked fairly closely over the last couple of years talking through our specific needs and how we could cater to them. One of our main goals is to use the Witbank building - principally the auditorium - as a broadcast campus facilitating the capture and broadcast to several campuses simultaneously via web or TV broadcasts, with either live or post playout.”
A major part of this project
UK - The Association of Lighting Designers (ALD) has voted to change its name to the ALPD - the Association for Lighting Production and Design.
The new title “demonstrates both the association’s breadth of membership and its appreciation of every lighting role in the design and production process”. The change is effective immediately and comes after ALD members voted in favour of it during a general meeting held on 17 July.
Johanna Town, chair of the organisation, explains: “While the ALD, which was founded 60 years ago for lighting designers, has for some time included production electricians, programmers, lighting managers, assistant electricians, associate designers, lighting educators and students, hire companies and manufacturers, we never acknowledged it in our name. It’s a real celebration of the association’s 60th year that our name now fully respects those we represent.
“Recent years have shown us the strength we can pull on as an association. Whilst Saving Stage Lighting or working to offer support to the whole lighting industry through the COVID-19 pandemic, we have played an integral role in mobilising everyone. We know we are stronger together as an association to support everyone in the lighting team and now we have a name that says that.”
Richard Pilbrow, the association president and Founder member no. 1, adds: “The ALD has had an amazingly successful run, in large part thanks to some brilliant leadership and passionate support. When we started the Association 60 years ago, we had no idea what it wo
Spain - An ancient olive oil factory near Seville was brought to life by lighting designer Yaron Abulafia in May, as contemporary Flamenco piece Agua was performed with a specially rigged array of fixtures from Vari-Lite.
Billed as a ‘visual piece that drifts between dance, visual theatre, and art installation’, Agua was performed at the ‘La Aceitera’ space by Israeli artist Adva Yer in collaboration with Andrés Marín. As the title suggests, it is a water-inspired piece that explores movement, colour, texture and sound – with a nod to the famous Matisse painting The Swimming Pool.
Leading the Vari-Lite luminaires was the VL5LED Wash, which beamed rich colour combinations across the derelict space, complemented by VL2600 Wash fixtures. A team of VLZ Profileand VL2600 Profile luminaires added front light and effects, with sidelight from the SL Bar 720ZT.
“I was very curious to try the VL5LED Wash for this production due to its retro look, which was very suitable for the site,” says LD Yaron Abulafia, who has designed productions around the world including at Deutsche Oper Berlin, London’s Royal Opera House and the Shanghai International Dance Centre.
“The rich colours - both saturated and subtle - and the colour mixing calibration were a pleasure to work with, and the accurate optics were outstanding. The exterior design is so appealing to the eye and the versatility of its light with blades open or closed had a very interesting impact on the look of the space.”
Abulafia says he used eight VL5LED Wash un
Portugal - The Teatro Nacional de São João (TNSJ) in Oporto, has increased its inventory of Robert Juliat Dalis Access 863 cyclorama lighting with the addition of a further 20 units after a comprehensive tender process which saw the Dalis Access fixtures hold their winning position against a number of alternative options.
The purchase brings TNSJ’s total complement of Dalis Access 863 units to 34. This is more than sufficient to cover the theatre’s 12m x 9m cyclorama cloth and back wall from floor- and grid-mounted positions, plus fill in as ‘ribalta’ lighting when required.
“Dalis Access is a very versatile tool which can be used as both cyclorama and footlight,” explains TNSJ’s lighting department coordinator, Filipe Pinheiro. “This is a real advantage for multi-purpose theatres with an eclectic programme of shows, conferences, debates and dance, and at a price that makes it accessible to all budgets.”
The Dalis Access 863 were supplied by NAN AudioVisuals, Robert Juliat’s exclusive distributor for Portugal and the project supplier for TNSJ. The fixtures were chosen by TNSJ’s tender jury - lighting department coordinator Filipe Pinheiro, stage director Emanuel Pina, and stage director assistant Filipe Silva - following several demo sessions with similar products organised by NAN AudioVisuals. “The lighting team was unanimous in its decision that Dalis was by far the best product,” says NAN’s Jorge Santos.
“Our decision was based on the dimensions, brightness and colour mixing of Dalis Access,” explains Pi