TPi April 2015 - Issue 188 by Mondiale Media

TOTAL PRODUCTION INTERNATIONAL

WWW.TPiMAGAZINE.COM APRIL 2015

ISSUE 188

LIVE EVENT DESIGN & TECHNOLOGY • APRIL 2015 • ISSUE 188

SAM SMITH

THE MAN. THE VOICE. THE PRODUCTION. I LOVE YOUR DEMONS...

PALOMA FAITH • ENTER SHIKARI • IN THE SPOTLIGHT: CHRISTIE SPANDAU BALLET • IN PROFILE: STAGECO • TUPAC MARTIR INTERVIEW • PSA

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ALL IN A MONTH’S WORK Well hello again! It doesn’t seem like five minutes since the last time we were on a deadline. Sounds familiar, right? Alas, we’ve done it again and are proud to deliver another issue of TPi, thanks to your input. First of all, we have a very interesting interview subject this month. Above you can see (office fashionista) Charlotte and I travelling to London to see Thomas Tait’s latest collection, which was shown during London Fashion Week. The designer we wanted to speak to however, was Tupac Martir, the man implementing technology behind many of the fashion world’s most watched catwalk shows. If you don’t already know this interesting character, you can learn about his style and cretaive ethos on Pg. 62. There’s also some great tour coverage in this issue, ranging from the ever so delightful Paloma Faith - who was casually flicking through our magazine during dinner service in Leeds - to our cover star, Sam Smith, who was beautifully lit by Production Designer Will Potts. There is also an article on English post-hardcore band Enter Shikari’s live “There’s some great tour shows. They might be DIY when it comes to record labels, but thanks to the likes of Midas coverage in this issue, ranging and Allen & Heath, the quartet enjoy pro audio from the ever so delightful expertise on stage. And, as if we’ve not thrown Paloma Faith - who was enough genres at you already, Underworld enjoy casually flicking through a rave with Funktion One and we even go back in time with nu romantic favourites Spandau our magazine during dinner Ballet, who put a modern twist on the classics service in Leeds - to our cover for their loyal fanbase with the help of SSE Audio. star, Sam Smith, who was Something for everyone, I’m sure. We’re also lucky enough to tell the story of beautifully lit by Production Stageco’s 30 years in business. Someone literally Designer Will Potts...” wrote a book on it! Check out the staging giant’s accomplishments on Pg. 68. Tech wise, there’s news of Christie’s new Boxer 4K30 projector, which is ideal for the live market. Launched at ISE in Amsterdam, we uncover the design process and reveal what it will offer to the touring / live concert visuals sector. Now, a column I absolutely love reading, a column which you write and we publish, is Clocking Off, the page dedicated to raising awareness for your chosen charities. This month, Shure Distribution UK’s Kirsty Lamport explains why she’s running the London Marathon despite not being an avid runner. Kirsty, you’re doing a great job - good luck on the day! And last but not least, if you want to have a giggle while on your next tea break, head over to Vital Stats on Pg. 82. Sound Moves UK’s Simon Jackson reminisces about his youth, his obsession with metal masters Dream Theater (that makes two of us, at least) and passion for all things tour. That’s all for now as we’re sending our April edition to print just before we catch our flight to Germany. Prolight + Sound, we’re coming for you; Frankfurt chill your beers. Kelly Murray Editor

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Editor Kelly Murray Tel: +44 (0)161 476 8371 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk

CONTENTS 04/2015 EVENT FOCUS 08

Editorial Assistant Jamie Medwell Tel: +44 (0)161 476 8360 Mobile: +44 (0)7966 664116 e-mail: j.medwell@mondiale.co.uk International Advertising & Sponsorship Hannah Eakins Tel: +44 (0)161 476 8363 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Advertising Sales Charlotte Goodlass Tel: +44 (0)161 476 9126 Mobile: +44 (0)788 0208 226 e-mail: c.goodlass@mondiale.co.uk

Perfect Storm Perfect Storm takes preventative measures to improve the future of live event safety.

The Youth Production Network The YPN celebrates the launch of its comprehensive new website.

14 Underworld British electronica veterens Underworld undertake anniversary tour for their 1991 album dubnobasswithmyheadman.

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Manufactu High Quality For Decades

PRODUCTION PROFILE 20 Sam Smith Sarah Rushton-Read sees one of the most talked about male solo artists of the moment.

30 Paloma Faith Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Mel Robinson: m.robinson@mondiale.co.uk

TPi goes behind the scenes on BRIT Award winner Paloma Faith’s first headline arena tour.

pacity

tion Ca Large Produc In E.U.

44 Spandau Ballet General Manager Justin Gawne

Simon Duff meets the team behind Spandau Ballet’s comeback tour.

Mondiale Group Chairman Damian Walsh

54 Enter Shikari www.tpimagazine.com • www.tpiawards.com Cover Photography Sam Smith by Sarah RushtonRead

British post-hardcore band Enter Shikari combine eclectic style with impressive production values on their latest UK tour.

INTERVIEW

Contributors Sarah Rushton-Read, Simon Duff & Kirsty Lamport

62 Tupac Martir lends minimalist style to Thomas

Printed by Buxton Press Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW). Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK; Tel: +44 (0)161 476 5580; Fax: +44 (0)161 476 0456; e-mail: subscriptions@mondiale.co.uk

COMPANY PROFILE

Issue 188 / April 2015 TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2015 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2015 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

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Tait’s show at London Fashion Week.

Stageco celebrates its 30th anniversary with the publication of its own book - Stageco 30 Years - From Werchter To The World.

CLOCKING OFF 72 Shure’s Kirsty Lamport prepares to run the London Marathon for Haven House Childrens Hospice.

IN THE SPOTLIGHT 74 Christie new 3DL quality, lightweight, rugged design is found in its Boxer 4K30 projector.

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VITAL STATS 82 Simon Jackson of Sound Moves UK talks about Dream Theater, big dreams and getting his start in global freight orchestration.

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EVENT FOCUS: Perfect Storm

BETTER ENTERTAINMENT WEATHER AROUND THE WORLD THE STORY IS ALL TOO COMMON. IT BEGINS WITH AN AVERAGE FESTIVAL MORNING; STAGES ARE PREPPED AND THE CREW LOADS IN THEIR EQUIPMENT. TRUCKS ROLL IN AND OUT BACKSTAGE, WHILE FOOD CARTS, BEER STATIONS, AND MERCHANDISE STANDS BEGIN TO ASSEMBLE AROUND THE FIELD. IT’S SUMMER AND THOUSANDS OF EXCITED FANS ARRIVE IN DROVES FOR A WEEKEND OF FUN AND LIVE MUSIC - THE MOST ENTHUSIASTIC HAVE BEEN CAMPING OUT NEARBY, SO AS NOT TO MISS A MINUTE OF THE FESTIVAL... This was the scene at the 2011 Pukkelpop Festival, held just outside of Hasselt in Belgium. European summers are typically filled with outdoor shows and festivals, with some lasting for a weeks at a time, and Pukkelpop is one of the largest in the area. In 2011, an estimated 60,000 people were in attendance every day, mostly young adults, ready to immerse themselves in the day’s varied and exciting and lineup - a standard festival day. Typically overcast, the weather on the day was warm and the forecast didn’t suggest rain. Trees, trucks, and metal fences were scattered around the field to map out barriers between the town and the festival. Massive video screens made it easy to catch a glimpse of the different acts as festival-goers made their way from one stage to the next… or at least that was the plan. The opening day of Pukkelpop 2011 saw tragedy strike. In the early evening, the sky 08

grew dark, as heavy winds rolled off the North Sea. The storm was unexpected. In less than 10 minutes, rain was pelting the audience in strong, horizontal sheets. People began to panic and sought shelter anywhere they could, with many crawling under trucks to keep safe. The trees and metal fencing, welcomed at first, soon gave into the wind, falling onto paths, stages and tents. Dirt quickly transformed into thick mud, preventing any vehicles from being moved. The video screens soon transformed into huge kites, which were carried off into the air. Striking fast and without warning, Mother Nature tore through the festival grounds and almost as quickly as it began, the storm passed. From start to finish, the unexpected summer storm came and went in less than half an hour. The damage was done, however. Stages and structural elements had fallen. The gear was scattered around the grounds and destroyed. Worst of all, without shelter, five people were

left dead, killed by overturned debris. At least another 70 were injured. Everyone was stunned, unsure of how to process the catastrophe that had occurred. Only a few days early, in the United States, another sudden storm had claimed the lives of seven people at the Indiana State Fair. Audience and crew alike were being reminded just how little control they have in the face of severe weather. Anyone who has worked on an outdoor event has their own story of disastrous weather, or at the very least, a few close calls. Even the most prepared individuals have felt vulnerable in the face of the elements. “The responsibility of protecting audiences, crew and gear falls to the production,” said Rich Barr, Production Manager and Co-Founder of Perfect Storm. “Keeping everyone safe has to be a priority. Unfortunately, there is very little support in place to help large, outdoor events do this efficiently.”

EVENT FOCUS: Perfect Storm

Opposite: Perfect Storm was established with the aim of educating festival and live event organisers about the importance of weather management. Below: Perfect Storm Co-Founders Mike Chapmann and Rich Barr; The team works together to optimise safety and productivity during the most challenging of weather conditions.

Having built his career touring the world, Barr hates hearing stories like Pukkelpop, the Indiana State Fair, and the countless other senseless disasters that have occurred. “It is especially awful, because there are tools in place to help prevent natural tragedies like these. Promoting a more widespread understanding of how to implement these tools at live events can help everyone have a better, safer experience.” To learn more, Barr turned to long time friend and renowned meteorologist at the National Centre for Atmospheric Research, Mike Chapman: “I am always surprised by these large productions. Everything element in these performances are so elaborate and intricate, it’s truly impressive. But, there seems to be little to no preparation for the power of the elements. Without a plan, these big, expensive shows can be completely shut down by a little rain, snow or wind at the wrong moment. It doesn’t have to be that way.” “Slowly, it is becoming mandatory for Show Managers to have emergency strategies,” offered Barr. “The industry is beginning to understand what is at stake. It’s not only the gear and performance that are at risk - it’s the safety of every individual at the show. It’s an important responsibility that should not be

underestimated.” Barr, with his intricate understanding of production, along with Chapman and his expertise in understanding weather, plan to help with that transition. Together, they have formed Perfect Storm, an innovative approach to weather management in the entertainment industry. The company is designed to educate, advise, and implement weather safety procedures for live-events. Unlike other generic weather services, such as local forecasts, airport reports, or phone apps, Perfect Storm offers a direct approach to the needs of each client. With radar coverage around the world, a tactical weather strategy is created for accurate, up to the minute weather warnings. Providing summarised user-friendly details every twelve hours, tours can customise what they are looking for in the service. Perfect Storm can even provide onsite personal. Instead of relying on weather predictions for an entire town or county, Chapman and his team of trained meteorologists, look at how storms approach each specific event location. More than a simple weather notification system, Barr and Chapman have added a personal touch unmatched by other services. Along with a twice-daily forecasts, the team

works together to optimise productivity during the most challenging conditions. Because of the organisation’s mobile weather stations, this applies to the venue sites, as well as the transportation. Coordinating with drivers, allows trucks and buses to avoid dangerous conditions, such as possible tornados, blizzards, or hurricanes. Sometimes, detouring only a few miles around the heart of a storm can insure a smoother, safer ride for all. Since its launch in the summer of 2014, Perfect Storm has had the opportunity to work with artists such as Drake, the Susan G. Komen Foundation and high profile tours like One Direction’s Where We Are, and Beyonce and Jay Z’s joint On the Run tour, as well as several other events. Highly invested in its client’s success, each situation is addressed with a fresh approach, in order to attend to each individual requirement. “It’s not enough to simply react to weather emergencies,” concluded Barr. “It is time for our industry to start preparing in advance. It’s important to adopt strategic plans that will keep the crew and the audience safe, dry and happy.” TPi www.perfectstorm.tv

EVENT FOCUS: YPN

YPN - A BRIGHT FUTURE YOUTH PRODUCTION NETWORK - YPN - LAUNCH NEW WEBSITE AND KICK OFF SUMMER SEASON WITH LAST EVER SHOW AT BRITANNIA ROW TRAINING ACADEMY’S OSSIERS ROAD PREMISES. TPi REPORTS.

After an incredibly successful 2014, which saw them take on Rock Royalty at Sonisphere Festival, Toni&Guy Mainstage at the Copper Box and The Acoustic Stage at Looe Music Festival, the Youth Production Network (YPN) is setting its sights on even bigger projects, beginning with the launch of a brand new website. Set up in 2010, the YPN has the simple goal of helping young people to gain invaluable experience and onsite training in live event production. YPN’s unique and innovative Crew Chief System, means that all onsite work experience places are managed by YPN trained crew chiefs, who have successfully placed young people on to event sites of the highest level, including the London Olympic Big 4 Torch Relay Concerts and the Hyde Park finale, Queen’s Jubilee Family Festival, Chime For Change concert in London UK, World Cup Brazuca Launch in Rio Brazil and the Rock Royalty area at last year’s Sonisphere Festival, the first full YPN 10

managed area on a festival site. YPN has spent the last five years building connections with production and youth organisations around the world, and now has links to over 45 countries and counting. YPN’s Founder Rachel Haughey said: “YPN is available for all young people, no matter where they come from or what resources they may have. YPN’s worldwide network is a meeting place for like-minded individuals and groups, and every day we are truly inspired by the incredible, innovative projects that young people are pioneering all over the world.” After perfecting its crew systems and proving assistance on event sites around the world, the YPN are launching its exciting new website at www.ypn.international. The website will help paint a picture of all the hard work that the YPN has done over the last few years, as well as providing all of the information needed to book a YPN crew for your event. YPN UK Director Liam West said: “The YPN Website has

been a tough project to finish, given the sheer volume of information and all of previous work that we’ve already done. We are all incredibly happy with how the website has turned out, but this is only the beginning and we have big plans for the future, so watch this space.” As well as launching the website, the YPN hs also been hard at work, putting together some unique and innovative projects which are set to be launched later in the year. The YPN Training Services will see the YPN Crew Chiefs putting together a unique live learning experience,

EVENT FOCUS: YPN

Opposite: YPN crew chiefs at the YPN Launch Event 2015. Below; Young people listening to the YPN speakers at the 2015 Launch Event; YPN crew on stage at the Olympic Torch Relay Hyde Park Finale Concert.

Director), Barrie Knight (BK40 Productions), Aisling O’Connor (Cato Academy Graduate and YPN Crew Chief), Mike Lowe (Britannia Row Productions), Ipojucan Icaro & Rogerio de Souza (Spectaculu, Rio de Janeiro, Brazil) and for the first time, a panel of the YPN Crew Chiefs were on hand to answer all of the audience’s questions. Young people from all over the country were in attendance, and took full advantage of this rare opportunity to pick some of the industry’s top brains. The evening saw the audience get a firsthand look at what the YPN can achieve, with a live show produced and engineered by the YPN crew chiefs. Performing were a host of exciting new artists including post-hardcore five-piece from Plymouth LASTONEOUT, blues / rock duo Mickey and the Milkshakes and acoustic duo, originally from Lithuania now living in London, Double Aces. This year’s YPN launch was sponsored by Britannia Row Productions, White Light, RES, Creative Draping and The National Skills Academy: Creative and Cultural Skills. YPN’s UK Director and the producer of the event Liam West said: “This year’s launch

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alongside the YPN Live Stages, which are designed as a cost effective stage solution for events and festivals, all managed by YPN crews. More information about the projects will be launched in the coming months, so be sure to keep your eyes on the website. To kick off this year’s YPN Summer Season, the YPN held its annual launch event on 19 March 2015, at Britannia Row Productions Training Wandsworth site. Mike Lowe (Britannia Row Productions) said: “We were pleased to be able to again open our doors for the event and to support YPN’s endeavours to help young people at the beginning of their careers in the world of production. Endeavours that are symbiotic with our own live sound training. Celebrating the end of an era for Britannia Row and the Launch of the YPN’s 2015 Summer Season, the event was an exciting combination of top industry speakers and great live music. The afternoon saw a host of top industry mentors delivering inspirational talks to a group of eager young people. The speakers included Rachel Haughey (YPN International

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EVENT FOCUS: YPN

Below: Mickey and the Milkshakes live at the YPN Launch Event 2015; YPN training at the World Cup Kick Off Concert in Soweto, SA; The YPN South Africa Crew at Soccer City, Soweto, SA.

event has been our biggest to date. We’re all incredibly proud of what the team has achieved, and the turn out we’ve had has been fantastic, with a number of potential future crew already having been spotted today” For the YPN, the event kicked off this year’s Summer Season Tour of onsite crew and live stage projects. Up and coming production talent will be travelling across the country to enjoy valuable on-site crew positions, supported by YPN production mentors and the new generation of YPN crew chiefs, who will be leading the teams on-site this summer. Hosting the event was the Osiers Road building in Wandsworth, South London, which has been home to the renowned audio company for 24 years, the last two years as the base for Britannia Row Productions Training, following the move to a new company headquarters at Twickenham. Britannia Row Productions Training will

continue its operations from Twickenham starting in April, with the announcement of significant new developments expected soon. Britannia Row’s Mike Lowe said these developments included a new range of short courses to be delivered from the company’s central office in Twickenham. Barry Bartlett, Course Director for Britannia Row Productions Training said that the short courses would provide better accessibility for those who could not commit to the solid 12week block of time required for the intensive course. The short and part-time courses, announced earlier this month, include a twoday Basic PA course, 15 one-day Live Sound Fundamentals courses and 15 one-day Live Sound Intermediate courses. The intensive 12-week Live Sound Technology Course, which covers over 440 hours of training and hands-on practice, has so far been successfully completed by a total of 61 students.

Bartlett said: “With the 12-week intensive courses, we have found that the different levels of knowledge and experience at the beginning of the course were evened out by the end: in effect, the more experienced students raise the others up to their level, so that everyone finishes at the same high standard. When we thought about offering training in shorter or parttime courses, we realised we would lose that beneficial effect, so it made sense to be able to offer training at different levels - for beginners, intermediates and so on.” The full-time 12-week course will return later this year, and you can expect further announcements from the company in the near future. Any young people wishing to apply for these summer positions, should contact the YPN at: info@ypn.international TPi www.ypn.international

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EVENT FOCUS: Underworld

FUNKTION-ONE DELIVERS ON UNDERWORLD’S DUBNOBASSWITHMYHEADMAN TOUR ANNIVERSARY TOURS AREN’T NECESSARILY EVERYONE’S CUP OF TEA. ON PAPER, YOU WOULDN’T EXPECT SUCH A CONVENTION TO QUENCH THE THIRST OF A BAND LIKE UNDERWORLD, FORMED BY ELECTRONIC PIONEERS KARL HYDE AND RICK SMITH, WHO HAVE FLOWN IN THE FACE OF NORMALITY FOR MORE THAN 30 YEARS... TPi SOUNDS OUT THEIR COMEBACK. “We never wanted to be ordinary,” admitted Smith. Yet here we are, 35 years later, in Manchester’s Albert Hall, preparing for show four of the band’s 13-date European tour. The subject of which is 1991’s dubnobasswithmyheadman album - viewed by many as a period of shifting boundaries in the duo’s musical output. While the album will be played in its entirety, this is anything but a re-hash. Yet again, the tour sees Underworld subverting convention, with Smith suffering from a hospitalising eye condition and having only recently joined the tour. Unable to take to the stage, he joined FOH Engineer John Newsham, at Glasgow’s Royal Concert Hall the night before, for what Newsham describes as: “The best show so far,” leaving Hyde and Darren Price - who has toured with the band since 2005 - onstage. Something new happened in Glasgow - an awakening, of sorts. This is Underworld, after all. 14

For creativity to thrive, there has to be consistency. Newsham is one such example of this, as is his company, Funktion-One. Underworld’s relationship with the company has roots in the early ‘80s and the synergy is clear: “Rick and I have grown up with FunktionOne, both as a PA and as a monitoring system,” said Hyde. “They’re a very important part of the Underworld sound. When the two come together it’s very special.” Essex-based Audio Plus are taking care of the tour’s audio requirements, which include the Funktion-One speakers and Lab.gruppen PLM Series amplifiers, plus two SSL L500 mixing consoles, supplied by SSL’s UK distributor, HD Pro Audio. Coloursound Experiment is on lights and video, Fly By Nite is handling trucking and Phoenix Bussing is looking after the band and crew. Each venue on the tour has different demands and requires a different audio solution explained Newsham: “We’ve been running a

main left and right, which is either stacked or flown, plus in-fills to cover the area in front of the balcony. We’ve also been using F55s for lipfill - we’ve got some of those at the front of the stage, so people who are leaning over have got something that’s directly in their line of sight. You don’t really hear them until you turn them off but they just pull the image down - like you get in theatre.” Tonight, the system is ground stacked - eight Funktion-One Resolution 5s on top of four F221 double 21-inch bass enclosures on either side. Two F55s, as described by Newsham, provide lip-fill, while a Resolution 4 and F218 are positioned on both sides of the upper balcony: “for the corners you can’t reach with a stacked system.” Onstage, Hyde’s monitor system looks magnificent. Newsham explained: “A pair of Funktion-One F1201’s for stereo, a single PSM12 for his voice and a Minibass212 sub so he’s got some bass.”

EVENT FOCUS: Underworld

Below: The band’s FOH Engineer John Newsham on his SSL desk; Underworld have been working with Funktion-One speakers since the early ‘80s; Underworld performed live at Manchester’s Albert Hall as part of their dubnobasswithmyheadman anniversary tour. .

available to FOH were quite limited. Yesterday, Hyde loved it: “For something like this with Rick there, we increased the feeds that I this album, in this kind of environment - it’s was getting. He was feeling better but not up to imperative that I’m able to hear as much of my being on stage, so he sat with me, we did the voice as is humanly possible, while at the same sound check together and then he stayed for time hearing the space of the room. This new the gig. system that Funktion-One has created for me is “He got a unique opportunity to hear what fantastic. It’s the best I’ve ever heard my voice was going on in the room - for him that was sound. I’ve never ever had such control over the an amazing thing. For him to hear it like that image of my voice - it’s like I’ve been given a and try and get his head round what actually new lease on life.” happens when you’re out in the room, live, The SSL L500’s - one on stage and the other when it’s full of people. He’s been at FOH at FOH - have gone down well too. In this new before, during a sound check, but never for configuration, with Smith joining Newsham at an entire show. He could actually feel what FOH, they have been especially important. happens on the fader when you change the “For the first three shows, Rick wasn’t well, PH_Qtr_Strip_Events:Layout 1 sound14:58 of some Page of the parts of the music.” so he wasn’t with us and the channels1that11/04/2013 were

Smith added: “It was a new experience for me last night - it was fascinating. It’s difficult to talk about, it’s not even just the sound. Seeing and feeling the show, observing and watching my partner perform from a different perspective. It’s amazing. “On a personal level, it’s a new experience. I was saying to John, I felt a little bit melancholy last night, I was thinking ‘I should have done this 20 years ago’. But having said that, I don’t know where thinking that leads. It is what it is. It’s just looking backwards and regretting having a great time over the last 20 years and not being something else. I could’ve been an architect - I didn’t do that either. But it’s great. I’m a happy man.

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EVENT FOCUS: Underworld

Below: Rick Smith, a founding member of Underworld, joined Newsham at FOH to better appreciate the band’s sound; The system at The Albert Hall was ground stacked, with eight Funktion-One Resolution 5’s on top of four F221 double 21-inch bass enclosures on either side; Newsham specified Lab.gruppen PLM Series amplifiers for the tour.

“It was interesting watching John. In that way, it was surprising similar to being on stage. There’s a dynamic, a level of energy that’s there in a sound check, where people feel engaged and are working hard, but when the gig is on things really sharpen up. It was amazing seeing John in that mode.” “Everything about his body language and the electricity - it was like he’d dropped 20 years,” he joked. The way that Underworld perform, surrounded by trusted technicians and technology, allows them to explore new things. Though this was an album recital, each

performance has the freedom to move along to the flow of the moment, with well-known tracks being played and remixed live. This was a brilliant gig, driven by no-holds-barred sound. And the crowd weren’t bad either there was barely a camera-phone in sight. TPi www.underworldlive.com www.funktion-one.com www.audio-plus.co.uk hdproaudio.co.uk www.coloursound.co.uk www.flybynite.co.uk www.phoenix-bussing.co.uk

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07/04/2015 09:20

PRODUCTION PROFILE: Sam Smith

SAM SMITH IN LESS THAN A YEAR SAM SMITH’S DISTINCTIVE STYLE AND HONEST, PERSONABLE APPROACH TO POP STARDOM HAS SEEN HIM ROCKET TO FAME. SINGLES FROM HIS DEBUT ALBUM, IN THE LONELY HOUR, REGULARLY TOP THE CHARTS AND, AS HIS POPULARITY HAS ESCALATED, SO TOO HAS THE SIZE OF THE VENUES THAT HE CAN FILL. IN JUST SIX SHORT MONTHS SMITH HAS COLLECTED FOUR GRAMMYS AND TWO BRIT AWARDS. THIS PUBLIC RECOGNITION HAS SEEN HIS TOUR VISIT A DIVERSE MIX OF VENUES. TO FACILITATE THIS, HIS CREATIVE TEAM HAVE HAD TO RESPOND QUICKLY, ADAPTING THE STAGE DESIGN AND SCALE OF THE SHOW AS THEY GO. SARAH RUSHTON-READ SPENT A NIGHT WITH THE INCURABLY ROMANTIC AT O2 ACADEMY BRIXTON... The great thing about touring with an artist on the fast track to fame is that when that artist takes off, it is an opportunity shared by all. Of course, it can bring its own set of challenges. For example, busy Tour Manager Paul Allen finds himself with an artist that now needs a great deal more protection from the media, Lighting and Production Designer Will Potts has a stage design that has to be up-scaled and downscaled on a daily basis, and Stage Manager James Gould has to find new ways to get an arena kabuki drop effect to work in a small theatre or bring a piano - that would normally come up on a lift - on and off stage, without looking clumsy. While all of this can be exciting, challenging 20

and creatively inspiring, it can also be daunting. Luckily then, for Smith, the artist is accompanied by a seasoned team of touring professionals. SHOW DESIGN Potts’ design is classic and simple. His vibrant and sophisticated, tightly choreographed precision lighting resonates with Busby Berkeleystyle geometric patterns, once fashioned from dancers to grand pianos! Part of Potts’ distinctive style is that he can programme lights to behave as if they have a mind of their own. On this occasion he delivers an extensive palette of richly-coloured, kaleidoscopic looks that, transition with subtle ease from calm and simple to fast-moving and lavish.

The set comprises a number of risers that accommodate the band, backed by a curvaceous, variable height truss packed with Clay Paky Sharpy Wash 330’s. An overhead a rig of Philips Vari-Lite VL3000 Spots help to sculpt and give form to the various looks, while Clay Paky B-EYE K20’s project rich washes across the stage and provide an element of eye candy in the rig. Clad with a diffusing surface, the riser fasciae provide a subtly changing backdrop to Smith’s centre position with subtle, pulsing colour wipes across the LED via a Catalyst media server, triggered by Potts’ MA Lighting grandMA Console. Potts used XL Video’s ROE MC-18T Hybrid LED, mounted into XL’s own touring

PRODUCTION PROFILE: Sam Smith

Opposite: Sam Smith took home the British Breakthrough Act and Global Success titles at this years BRIT Awards, before his headline tour began. Below: Smith performed at a diverse range of theatres and arenas across the UK for his latest tour.

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frames. “We wanted to make the musicians’ environment a bit more special,” explained Potts. “So we faced them with video.” The original show was designed for the US arena circuit: “For the arena design we spread things out and filled in as much space as possible with lighting. We needed to achieve a number of looks as Sam’s tracks can be both delicate and intimate, and full-on and bold. We wanted to transition quickly from a fully lit stage to simple back lighting, where nothing else can be seen. I built plenty of flexibility at a variety of scales, but deployed relatively few different types of fixture, as I wanted the overall look and feel to be consistent from venue to venue. The Sharpy Wash 330’s have been really good addition to the rig because they’re so fast, light and robust and we can get a lot of them on the truss.” Effects-wise, Potts keeps it simple: “With the Clay Paky B-EYEs we don’t use any of the on board effects. I use them more as wash lights. For some of the looks it’s quite nice having the big disc up there looking like a huge moon.” A row of Philips ColourForce strips light a half moon cycle and the Sharpy Wash truss carries a number of single cell Molefays to pick up the audience. For control Potts uses an grandMA console: “Pre-programming everything into the MA takes a lot of work but it’s so solid. This show is programmed cue to cue, primarily because the set doesn’t change and Sam notices when things aren’t consistent. We were originally going to run it on timecode but it’s easier for me to operate it and of course

there are loads of bumps and cues I do on top.” Lighting is supplied by PRG. AUDIO Lighting works in synchronicity with an equally classy, carefully crafted FOH mix that combines the excitement of the live with the polish of the studio. FOH Engineer Simon Thomas ensured that Smith’s searing tales of love, self-discovery and heartbreak have maximum impact. “I took care of Sam’s first ever US show back in August 2013 at the Mercury Lounge, which was an acoustic show,” said Thomas. Fundamentally most of my work is done at the front end of the tour. Sam the band and his MD Donavan Hepburn both input into the overall feel and we wanted to have a composition that combines live and studio styles. We’re all working toward a common goal but once it’s settled my job is to deliver that to the audience through the PA.” Thomas has elected to use a Solid State Logic Live 500 console for the first time: “I introduced the SSL in Brussels at the Forest National a couple of weeks ago. Prior to that we did some A / B testing in the studio with the band and it was like wow - that’s good.” Thomas broke away from his usual console to try it out: “Don’t get me wrong I loved my last console but for what we’re doing here the SSL L500 is more suitable. The pre-amp is rich and warm and it has excellent clarity. I like the fact that there is a clear view of every control element I need. The functions I use the most are within easy reach and the access to visual

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PRODUCTION PROFILE: Sam Smith

Below: Production Designer Will Potts delivers an extensive palette of richly-coloured, kaleidoscopic looks that, transitioned with ease from calm to fast-moving; Production Manager Cyril Thomas; Smith performing with his 10-piece band and three backing singers.

feedback is an intuitive combination of touch screen and hard control, which has helped streamline my workflow. Most of the sound is taken care of digitally. For the band I use the on-board dynamics and gates, compressors and reverbs along with all the pre-amps.” With 10 people in the band, plus three backing vocalists, Thomas has a lot to contend with. “We have silent electroacoustic strings from Yamaha and they’re brilliant. For a show like this they’re perfect because they don’t need mics.” Beyond the direct inputs, Thomas has 15 channels of drum mics including Shure 91s in the kick drum together with Audix D6. For the snare drums he uses a mixture of Shure SM57s and Sennheiser e604s, with some Lewitt MTP 440

DMs on snare two. “The Lewitt mics have got real character and bring considerable weight to the sound,” he pointed out. “Basically it makes it sound really low-fi, which is what we wanted from a second snare. We have AKG 451’s on the high hats and we’re using the unusual combination of ATM 35 / 350’s on toms. This only came about because Audio Technica helped us sort an issue I was having. I’ve used the ATM 35 for years, but then it got discontinued and they brought out an ATM 350, which never sounded the same. Myself and the guys at Audio-Technica discovered that the power supply had helped to generate that distinctive sound so they kindly sent me the old power supplies along with the new 350 capsules and now they sound

fabulous.” For the rest Thomas said he used a Lewitt LCT 550, which has 0 dBA self noise, and the Shure KSM137s as under heads rather than overheads: “This can make quite a difference in terms of instrument separation. For me it’s cleaner, more direct. I can pigeonhole pockets of cymbals especially when we’re playing in venues where there’s a lot happening on a small stage.” Britannia Row has supplied 20 boxes of K1 and 20 K2 elements from L-Acoustics. “For Brixton we deployed a split two-tier L’Accoustics ‘K’ system using K1s augmented by K2 for downfill,” explained System Tech Adam Smith. “The main stalls system comprises five K1 and two K2 elements per side. Arc II’s were used L-R to provide fill while a series of ‘low-profile’

PRODUCTION PROFILE: Sam Smith

Below: Potts aimed to fill in as much space as possible with lighting, in order to achieve the various different looks that Smith’s electic setlist required.

Kiva elements across the lip of stage cover the first few rows. A total of 12 SB28 ground subs running 60Hz_C mode completed the picture downstairs.” In addition two separate flown arrays cover the balcony level comprising four K1 and two K2 per side. An additional fifth hang of five K1-SB’s are flown in the centre for additional sub and low frequency reinforcement upstairs. Smith said that by configuring a true split with enough separation between the two flown systems he can model, focus and apply greater directional control both horizontally

and vertically reducing ‘build’ of frequencies off the balcony, sides and other surfaces. “Treating the room as two independent listening areas provides the audience with a direct source upstairs and down,” added Smith. “With a solo artist like Sam Smith, where the vocal is so important, this proved invaluable.” To accommodate Smith’s huge and dynamic vocal range, Thomas used Sennheiser e965’s with the 3732 Mark II receivers and the 2000 Series sticks. With such a diverse range of venues on the tour circuit Thomas relies on System Tech Adam

Smith’s ability to adapt the PA configuration: “It’s all about putting the right amount of PA into the space you’ve been provided with. I don’t mind where we play. Arenas are easier because you can get enough of the right boxes in the right places. In venues like Brixton it’s still a compromise, albeit in this case a very good one.” MONITOR WORLD At the other end of the snake is Monitor Engineer Brian Evans, who joined the Sam Smith team back in September, just as Smith really

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03.03.15 08:58

PRODUCTION PROFILE: Sam Smith

Below: Production Designer Will Potts; FOH Engineer Simon Thomas; Monitor Engineer Brian Evans.

started to take off. The only American on the team, Evans is modest in his appraisal of his role, especially considering he has 10 band members and Smith to keep happy: “This tour is fairly straightforward for me,” he explained. “They are all very talented young musicians and they all know what they need and want. Everyone is on in-ears and all together I am doing around 17 separate mixes. Sam’s pretty laid back and they all are articulate individuals, so they make it easy for me.” Evans switched to a DiGiCo SD5 desk when he joined the tour: “I love it, it’s become one of my favourite mixing consoles. The great thing about DiGiCo is I can get a console and good tech support anywhere in the world. In terms of keeping everyone happy, they all have their own

mix and it is pretty much what you’d expect full band mixes with them at the top. Sam likes a mix that makes it feel as though the in-ears aren’t there at all, so getting a good balance of audience mics in his mix is crucial.” Evans uses a mixture of JH Audio IEMs: “Sam’s on JH16’s, there’s guys on Roxanne’s and there’s some Ultimate Ears. The great thing about taking care of monitors is that I’m taking care of individuals one to one, and what each wants to hear is personal to them. We’ve established a routine so there are not very many changes from show to show. My biggest focus is Sam. Other than that I’m pretty much on autopilot,” Evans laughed. “I have a good tech, Jamie Tingsley, who stands and watches everyone else.”

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PRODUCTION For Production Manager Cyril Thomas, the range of venue sizes is his biggest challenge: “Having come from an arena tour I find myself consistently trying to squeeze a pint into a halfpint glass. I spend most of my days looking at the next couple of venues on the schedule and working out how we’re going to tackle them.” The venues in the UK have been an eclectic mix and ensuring that the tour’s production values are maintained from venue to venue can be challenging. “Not wanting to sound too cliché but some of the challenges can also be the fun aspects of touring. You have to adapt every day. It’s the thinking on your feet and the problem solving that makes it all worthwhile.” Cyril said everything they do is focused on

PRODUCTION PROFILE: Sam Smith

Below: Smith’s distinctive style and honest, personable approach to stardom, has seen him rocket to fame.

Smith being able to give the best show that he can: “The best comment that I’ve heard was from Lionel Richie who said he likes Sam because he writes songs that other people will sing for years to come - I don’t think there is any greater compliment. “Every once in a while you get the opportunity to work with a team or put together a team of people who are on the same page. That’s what I hold out for. You don’t have to like someone to do your job well

and sometimes respect is easier to achieve than personal warmth. We’ve all been on tours where departments bicker. With this team it’s not like that, it’s not to say that there aren’t difficult days, but I can honestly say there’s more laughter.” Backing Cyril up and making sure the stage runs like clockwork is Stage Manager James Gould, who oversees all crew deployments, loading the truck and unloading the trucks: “As Cyril says we are shoe horning this show into a fair few venues, four trucks is not a lot but coming into a venue like Brixton from an arena is a bit like playing a game of Tetris.” Trucks are via Fly By Nite. And Gould is busy during the show as well: “We have a lot to take care of during the show; the piano and stairs move on and off stage, the kabooki drops which I fire plus getting musicians on and off stage. CATERING Catering is the backbone of any tour. In this case it is provided by Popcorn. Chef Dagmar Hewell explained: “We started working on this tour in Europe and came back to the UK. I’m part of a bigger team here, in this instance I’ve been doing the FOH and dressing rooms. But I also take care of the shopping and some of the

puddings and starters. The chef is called Anis Darragi, and the cooking is shared by the whole team. “The menu is decided by the team, we talk to production and sit down at the end of the night and put our heads together. As the tour rolls on we try to assess where people’s tastes lie. In this instance we don’t have any particularly fussy eaters, they’re all quite experimental and they have a sweet tooth - we like that!” The team try to buy locally sourced organic produce wherever possible. “We try and use local markets, for example the fish and fruit market in Brixton is great. The budget is quite generous, so we don’t struggle to get what we need.” And the feedback from the crew at dinnertime: “Absolutely delicious, we get something fabulous every night,” said FOH Engineer Simon Thomas, a sentiment that is echoed throughout the tour by everyone’s empty plates! TPi Photos: Sarah Rushton-Read www.samsmithworld.com www.prg.com, www.xlvideo.com www.britanniarow.com www.flybynite.co.uk www.popcorncatering.com

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17/02/2015 4:25:16 PM

PRODUCTION PROFILE: Paloma Faith

PALOMA FAITH: THE THEATRE OF LIVE MUSIC IN 2009, BRITISH SINGER PALOMA FAITH RELEASED HER DEBUT ALBUM DO YOU WANT THE TRUTH OR SOMETHING BEAUTIFUL? AND BECAME A MAINSTAY ON UK AIRWAVES. HER INFECTIOUSLY BUBBLY PERSONALITY SOON GAINED HER AN ARMY OF FANS, AND HER LIVE PERFORMANCES HAVE BECOME A HUGE SELLING POINT FOR THE ARTIST. THE RECENT RECIPIENT OF A BRIT AWARD, FAITH IS GOING FROM STRENGTH TO STRENGTH AS SHE EMBARKS ON HER FIRST FULL PRODUCTION ARENA TOUR. TPi TALKS RETRO GLAM AND CUSTOMISATION AT LEEDS FIRST DIRECT ARENA. There’s a distinctly chipper atmosphere inside the Leeds First Direct Arena - it’s only a couple of weeks since Paloma Faith took home a Tracy Emin designed BRIT Award for Best British Female, and she’s part way through her debut UK arena tour in support of her third album A Perfect Contradiction. Steering the tour forward is Production Manager Derek Fudge, who explained how her popularity had impacted on this tour: “This run has sold out very quickly - we’ve been releasing as many seats as we can. We’ve not had any site-line issues, so we’ve been able to release seats on the corners and put in extra rows too. We’ve been selling over 100 extra tickets on show day, which is just fantastic.” 30

PRODUCTION For the singer’s first full production run, supplier relationships have largely remained the same as on previous tours. Fudge is himself fairly new to the camp, but works on the principle that suppliers shouldn’t change if he’s talking over a job. “Of course I have my personal favourites, but in general, a supplier will have been with an artist for a while and will have done lots of favours on the way up. The reward is that they get to the big gigs when they finally come around. All of our companies are on top of their game, and they’re doing a fantastic job,” he said. For rehearsals, Fudge took the team into London’s Brixton Academy, a unusual move for an arena tour. “I had to persuade them not to take a

PRODUCTION PROFILE: Paloma Faith

Opposite: The tour is Paloma Faith’s biggest production to date. Below: The singer was named as Best British Female at this year’s BRIT Awards, thanks to her likable persona and engaging performances.

couple of gigs on so that we could have a clear nine day rehearsal. I chose Brixton Academy because their stage is massive; you can mark out a 60ft by 40ft footprint, which is the size of a standard stage. It was absolutely ideal and the people who work there are lovely too, they really looked after us,” he continued. SHOW DESIGN The design brief for the tour itself was to look Escheresque, with staircases going in different directions. To bring Faith’s ideas into a practical reality, she turned once again to Set Designer, Joshua Grace. “Paloma was a guest mentor on the first series of The Voice, where I had designed the rehearsal spaces for the coaches. We spent a long time chatting about all things design and off the back of that encounter, I ended up designing a set piece for one of her live performances. Paloma then asked me to be involved in her touring productions, which was a very exciting prospect!” he explained. That was just over three years ago, in which time Grace has designed several tours and numerous television promo appearances. “It’s always a pleasure working with Paloma. She has a very strong visual identity for each album campaign, performance and tour, and she references all sorts of visually rich worlds,” he continued. “This album has upbeat and retro disco-style songs, and Paloma wanted to create a stage which would allow us to reference Motown, disco and ‘80s aesthetics, whilst also having a touch of ‘30s cinema glamour, with a nod to Escher style surrealism.” The amalgamation of these references made for an interesting outcomes as to how the tour would eventually look. “She showed me clips from some 30s dance extravaganzas and images of art and photography. We would also meet regularly

with LD Tony Austin and brainstorm together. Working with them is very creatively fulfilling; we all swapped images and clips that had inspired us, and I’d sketch up the ideas.” The design was made with the intention that it would grow to fit into the larger venues. The smaller version of the set toured in the autumn of 2014 in theatres, and the idea was later expanded for the arena tour. “The layout of the band, and being able to interact with them all is very important to Paloma and so I am always mindful to make sure that she is able to access each band member, and the Escher reference allowed us to incorporate staircases and stage levels in to the design, which is exciting for a dynamic performer like Paloma. Both her and the band incorporated choreography into the performances this year, which was inspiration for the new set additions.” The white high gloss stage and the set pieces were built by LS-Live, and draping came via Back2Front. “The drapes for Paloma were quite tricky to produce as they are an unusual swag shape, being more ‘droopy’ than usual. They were made in white treveira and we used over 100-metres of fabric. The end result however was well worth it, they looked great with the beautiful white stage set. At rehearsals in Brixton there was a round of applause as the truss went up for the first time….so that was pleasing!” said Back2Front’s Jayne Barratt. Having worked together with Fudge over the summer period, the PM returned to LS-Live and tasked them with designing a bigger, tour-friendly version of the star’s previous set design. LS-Live’s Adam ‘Bullet’ Bettley and Jess Woodward worked closely with Fudge to come up with a master plan on how to incorporate the old design into a brand new tourable design. “We looked at the previous 31

PRODUCTION PROFILE: Paloma Faith

Below: The white set and swirling staircases lent an Escheresque feel to the show.

design and made amendments to achieve this. Manufacturing began two weeks beforehand, all the curved steps, handrails and fascias were custom made, and this incorporated staging from the rental warehouse, all marleyed with high shine white gloss,” explained Bullet. “We did a pre-build onsite at the LS-Live studio, which myself and Callum Short put together. We then packed it all down and squeezed it into 35ft of space on the truck. We went to rehearsals at Brixton Academy to do the first initial build after which we passed it on to the touring Set Manager, Tim Allcock.” LIGHTING “Paloma has very clear visual direction and she planted the seeds in my mind… it’s a highly collaborative process, but it’s very much led by Paloma’s strong sense of aesthetics,” continued Grace. “Once Paloma approved a concept drawing, I work closely with the lighting and production team to work out all of the practical requirements. The result is a beautiful set that is suitable for touring and I was very happy indeed, Tony Austin did a great job of lighting it and bringing it all to life. I love seeing all the fan and press photos on social media of Paloma and the band in her playground.” “It’s back to the old school with us, the way it used to be,” enthused Programmer / Operator Phil White of his duel operating duties with 32

Lighting Designer Tony Austin. “We used to have two lighting desks out front, both running the same system, but that’s changed a lot now.” Austin is a key part of the crew for Paloma Faith, having been with her for three years, he knows her lighting requirements inside out. “There always used to be a Lighting Designer, a Generics Operator and an Artisan Programmer, so a tour would have three people putting the lighting together. Now, because of budget limitations in TV and concert touring, the role often goes to one person. Paloma likes to have Tony here all the time so it’s back to how it should be; the designer still has an input in the live show, rather than it just being handed over. It’s enjoyable to bounce off each other,” he added. Austin’s relationship with Faith began due to her admiration for his work. “I was doing lighting for Portishead for years and Paloma came to watch a show. I then got a call out of the blue and she asked me if I would meet her to chat about her shows - it doesn’t happen often these days. We got on really well, and the next thing I knew, I was at her house having a cup of tea,” he smiled. “She’s really great to work with. There’s a lot of theatre influence in the lighting design. She even talks about it during the show, ‘the theatre of live music’, as she calls it.” Faith likes her band to be totally involved, so they’re very well lit most of the

time. “It’s her theatre background, she’s very keen on having everybody being visible to the audience.” White agreed: “There are moments when we pick her out on her own, but that will normally be at the beginning or end of a song. Tony’s always got key lights on everyone because she’s also influenced by late 70s Motown shows. It’s crucial to consider, with a white, high gloss stage, how the lighting will create the kind of ambience she wants. “If she’s wearing white, the camera operators have nothing to accent, so the idea is that we try and tame that background as much as possible, except for the songs where she wants it mainly white. You have to be careful with the intensity, because one can just bleach out the other. We spend a lot of time getting it right,” he said. Entech Sound & Light supplied the lighting kit for the tour, which included an MA Lighting grandMA2 Light console for both Austin and White, a desk chosen for its robust touring capabilities and mass storage. “It’s easy to operate and it’s a very powerful desk,” continued White. The lighting rig comprises three trusses; the mid, front and side. The fixtures are heavily based around a Clay Paky Sharpy Wash and Martin Professional MAC Viper combination, of which there are 40 of each fixture. Four of

PRODUCTION PROFILE: Paloma Faith

Below: The 11-piece band brought a Motown vibe to the stage; Faith sang on a white customised DPA / Senhheiser SKM 5200-II handheld microphone.

the Vipers have been customised by Rob Stokes of Board Repairs, and finsihed in white. Entec has also supplied six Robe 600 LED Washes, 12 Chroma Q Color Force LED Battens, three Lycian followspots, 12 ETC Source Fours and 12 generic molelfays. For the lighting effects, 10 SGM X5 LED Strobes and five Martin Professional Atomic Strobes are utilised alongisde eight 10-metre festoon strobes. “It’s all very punchy, which is a must for the white set design,” concluded White. VIDEO Video Director, Robin Haddow and Video Engineer, Gerry Corry are using a straightforward IMAG package, a set up they describe as a ‘grass roots’ part of the production. “It’s great because we can concentrate on getting the IMAG looking as good as possible,” said Haddow of the simplistic visual elements. “But we’re very fortunate with this because the lighting design is superb, it’s

Panasonic AV-HS450 mixing desk, running 16 HD channels, three Sony HXC cameras and two J17’s in the pit, on track. At FOH there is a Cannon 70x long lens camera and two of XL Video’s TW-80 HD mini cams are placed on stage. Two Barco FLM HD20 projectors (either side of the stage) and 16ft by 9ft fast fold side screens are deployed for IMAG. Video Tech, Mattie Jobson is manning the projection. “It’s a very good setup at XL,” commented Haddow of the tour’s video supplier. “That’s definitely a benefit of XL Video being so large; they’ll get you anything if you need it!”

very bright so we’re not struggling,” he added. “Normally we need more light for the cameras, but with this show, we haven’t had to cross that bridge because it’s a very bright, white set. Whatever look we want to do, we’ve got the room to do with this lighting setup. So that’s fun for us!” Corry added: “Believe it or not, that’s how we base the whole lighting look. We’re trying to make her lips stand out, because that’s what people focus on when she’s singing, we’re just trying to make them look over saturated and put a lot of emphasis on them. “Then we balance the rest of the colours and skin tones around that, so we have to do a lot of tweaking, it’s not just the standard colour matrix, we are constantly changing things. There’s a couple of numbers where we stay with one shot. Sometimes the camera is out of focus, but that’s on purpose, it’s deliberate, it’s deliberate focus softness.” The package from XL Video comprises a

FOH AUDIO FOH Engineer, Huw Richards has been working with Paloma for some years, and described her as “a very, very meticulous performer, who loves attention to detail.” As the star wanted a white set design, audio supplier SSE took it upon itself to create white microphone stands and leads, to go that extra mile for the finished design. “That

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CDC six Features

CDC six is the latest in the digital console line up from Cadac, featuring 64 inputs and 48 configurable busses all accessed via a 23.5” 16:9 optically bonded touch screen.

S Features Cadac’s unique “high agility” control surface S Highly acclaimed Cadac mic-preamps S Less than 400μs from stage through the console to outputs on stage S 32/40-bit floating point SHARC processors S 64 input channels S 48 configurable output busses plus LCR S 16 VCA groups and 8 Mute groups S Monitor Mode for unprecident speed of access to mulitple mixes S Waves integration S Multilingual user definable labelling S Optional MegaCOMMS Router gives up to 3072 channels in one network including multi console gain compensation

The screen displays the innovative and widely acclaimed “high agility” user interface developed from the CDC eight, which provides a workflow that is fast and logical without the restrictions imposed by hardware-centric designs. With a unique combination of an exceptional user interface, legendary Cadac micpre’s, state-of-the art DSP and FPGA processing with incredibly low latency, the CDC six makes an exceptional proposition for those who do not want to be limited by either audio or creative compromises.

Cadac Holdings Ltd. One New Street, Luton. Bedfordshire. LU1 5DX. England. UK Office Tel: +44 1582 404 202 US Office Tel: +1 805 451 5445 www.cadac-sound.com

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PRODUCTION PROFILE: Paloma Faith

Below: Lighting Programmer, Phil White with his MA Lighting grandMA2 Light desk; FOH Engineer, Huw Richards and System Tech, Perttu Korteniemi with the DiGiCo SD5 console; Production Manager, Derek Fudge; Lighting Designer, Tony Austin; Monitor Engineer, James Neale.

was kind of a thank you from SSE to Paloma for using them as a service company,” noted Richards, who uses a DiGiCo SD5 desk. “It’s a great desk, all of the DiGiCo desks are. I scale them up and down depending on what I need. I first used the SD5 a few years ago with UB40, so I’m used to the surface. The channel count is pretty high too so it’s quite powerful desk. What I like about the DiGiCo range is that whether you’re using an SD11 or an SD7, it has the same built-in preamp and the same quality - they never cheapen the product. The finish is good and the support backup is good.” Paloma Faith likes her mix to sound quite ‘big’, Richards pointed out. “She’s likes both a theatre and a pop sound, and likes it to be quite powerful within that so it’s dancey in the lowend; she doesn’t want to sound light and fluffy,” he continued. The singer also opts for reverb as she dislikes her voice sounding too dry. “She’s got quite a challenging voice to mix because it’s very powerful. She looks after her voice well and has a vocal coach, as there are a lot of gospel style tracks in the set, with her three backing singers, and Paloma hits some very high notes. It’s all very demanding on the voice.” MONITORS PM Derek Fudge brought Montor Engineer 36

James Neale on board for Paloma’s UK tour in September 2014 and this is his third tour with Paloma. He handles monitors for everyone on stage and the current line consists of 11 musicians plus Paloma. Like Richards, Neale has opted for a DIGiCo desk, this time an SD7. “The DiGiCo SD range of consoles are great, one of the best on the market, their customer support is superb. They also sound really good and are very intuitive in their operation. I had been touring a SD10, however the SD7 has much more infomation available for view on the surface,” he told TPi. “The musicians on stage are all on stereo mixes, plus various effects so there is a lot going on with outputs. Paloma is a great artist to work with, as she has a good idea of what she wants to hear,” he added. “We are using Sennhesier SR2050 IEMs and no wedges on stage. I prefer the sound of Sennheiser IEMs, and I keep everyone on in-ears in order to keep stage noise to a minimum.” Paloma has three customised Sennheiser SKM 5200-II handheld microphones with the DPA d:facto II microphone capsules. There is a white one to match the current set design, manufactured by the SSE audio group. We also have two others, a black and a gold crystal version which were customised for us by Crystal

Rocked. “I’m very happy with everything this tour is going very well; we’ve had some great shows and overall it’s been a big success,” he concluded. THE PA SYSTEM Systems Engineer, Perttu Korteniemi of SSE is using the company’s go-to PA manufacturer, L-Acoustics with a combination of K1, K2 and KARA. “We have 12 boxes of K1 on the main hang, and six KARA underneath to cover the first 15 metres of the room. K1 got topped up to 14 per side for some bigger rooms like O2 arena. For side hangs, we have 12 K2’s per side and 12 SB28’s per side too. There are six KARA for lipfill and nine KARA for rear hangs, which isn’t that common these days,” he said. Additionally, three delay hangs are added for the shows in London. Korteniemi is a fan of the smaller K2 unit, which have assistied many of SSE’s shows since it was welcomed into the sound rental supplier’s inventory. “It is a very versatile, lightweight box. It’s tonal characteristics are pretty much the same as K1, so it’s easy to employ a K1 as the main hang and the K2 as the side. It looks good and it’s easy to rig. It fits nicely into our trucks too! I was actually quite heavily involved before

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PRODUCTION PROFILE: Paloma Faith

Below: SSE Audio provided an L-Acoustics PA system.

it got released, so I used it during its beta testing phase. “I come in early and design the system, I don’t rely on tour riggers to mark my points because I don’t believe in keeping the same rigging points for a UK tour like this, all of these rooms are very different. Here in Leeds for example, the mixing position is high up, so you can’t use the same design you’ve used the night before! It’s somewhat easier in mainland Europe, where the venues are very similar.” For processing, there are two Lake LM44’s at FOH and two at stage left and right running on Dante between FOH and the stage. Then AES from the LM44’s go into the L-Acoustics LA8 amplifiers. “The LM44’s are very reliable, we’ve never had any issues with the Dante, and we’ve used them in countless muddy fields on all the big UK festivals which is key for us,” he added. The audio team at FOH also utilise a Real Time Rack comprising a UAD powered quality plug-in connected via MADI to the DiGiCo SD5, controlled through a touchscreen and Apple Mac Mini. “Huw is using it mainly for vintage compressors that would be a bit too fragile to carry

on tour and hard to maintain. Also this way there is no added analogue to digital conversions needed. Some generic reverbs were used from the Real Time Rack as well but the main Paloma reverb is still Lexicon PCM 96 or TC System 6000. Depending what is available from country to country,” he explained. The mutual respect between Korteniemi and Richards is clear; they come as a unit. “It’s really important to build that family vibe to get consistent results every night,” continued Korteniemi. “Many companies own very similar gear now, but for each artist and tour you have to match the crew and build relationships in order to keep the tour running smoothly. I don’t want to be the best systems tech in the world any more - I want to be the nicest!” The SSE audio crew is completed by Sound Crew Chief Paul Keeble and PA SR Tech Miles Barton. TRANSPORT Keeping it all moving from venue to venue, PM Fudge welcomed back Phoenix Bussing. Andy Gray has worked with Fudge for many years, and this year saw a welcome reunion. “It was great to

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PRODUCTION PROFILE: Paloma Faith

Below: XL Video’s touring team; Gerry Corry, Mattie Jobson and Robin Haddow; LS-Live built the white set for the tour, designed in part by Show Designer, Joshua Grace.

be working with him again on Paloma Faith’s tour. For the UK leg we supplied three 14-metre double decker buses - two for the crew and one for Paloma and her band which was configured with a separate ‘star’ bedroom for her. Dealing with a professional like Derek made for very efficient logistical planning in regard to the driver’s hours and stop breaks, which meant that no one was inconvenienced in any way when the drivers took the required rest periods,” said Gray. “It was a very smooth tour for us and everyone involved. It was great to play a part in it after Paloma’s well deserved BRIT Award win.” For production logistics, McGuinness supplied five trucks (six for the London date) led by Lead Driver Bobbie Worgan. CATERING Eat to the Beat has catered for Paloma Faith on a number of occasions and were delighted to be asked back by Fudge to supply her

biggest tour to date. The catering team was led by Rachel Collins who worked closely with Sally Cureton and Sarah Money. Meals included a mixture of healthy dishes and hearty comfort food; the Leeds show offered options such as vegetarian dahl, baked salmon and oreo cheesecake. “It’s the best dessert ever, and the main reason I use EETB!” smiled Fudge. “We are always happy to cater for everyone’s needs whether meals need to be gluten free, dairy free or wheat free. No diet is ever a problem for us and we create a tasty meal. The catering team really enjoyed working on this tour!” explained ETTB’s Lauren Joyce. SHOWSEC SECURITY AND APPRECIATION During Faith’s hilarious, poinient and often adorable on-stage ramblings - “I know I’m in the North because I went to Asda today and they had a pie aisle!” she also gave a speech about the importance of voting (rightly

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3/12/15

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PRODUCTION PROFILE: Paloma Faith

Below: Faith with her old dance teacher turned Showsec staff member, Edward Lynch; The ETTB catering team kept the troops fed.

so) and seized the opportunity to show her appreciation for the inspirational part Showsec steward Edward Lynch played in her rise to stardom when she appeared at the First Direct Arena in Leeds. Lynch decided to drop the singersongwriter a note to make her aware that he would be on duty at the Arena for her sell-out concert there, but he was overwhelmed by the response as he enjoyed an emotional reunion with one of his star pupils. Not only did she tell the audience all about her old dance teacher, turned security guard, but she invited him backstage after the concert for a catch-up and then made him a special guest for a night out at the O2 Academy to see Chic featuring Nile Rodgers. “It was pretty amazing; she is still very much the same Paloma I worked with many years ago,” said Lynch, a professional dance teacher instrumental in forming RJC Dance in 1993 which established The Northern School of Contemporary Dance. “Although we have stayed in touch, it had been a long, long time since we last met up. So I thought it might be worth making her aware that I would be there on this occasion, never expecting to get such a fantastic response from her. “I’ve always gained a lot of satisfaction from seeing what she has achieved. The warmth of her words on stage, her reception when I went to meet her backstage and her insistence that we go out the following night were a measure of her appreciation of the support and guidance in the early stages of what has been a long journey to the top. “She may have been crowned the Best British Female at The BRIT Awards recently, but she is still incredibly humble and very honest.” Lynch recalled when he first came into contact with Faith in her early teens as RJC Dance undertook a project at a school in London. “It was clear she had a lot of talent, not only as a dancer, but also as a singer and an actress,” he said. “Our work was all about inspiring young people to express themselves, to be creative and to make the most of their talent. After that initial work with Paloma, she then came to The Northern 42

School of Contemporary Dance in Chapeltown to study for a degree in contemporary dance, so that was another important stage of her development into a top performer.” SPECIAL EFFECTS ENDING With a successful run of her biggest headline shows to date well underway and winning tabloid approval throughout the UK, Paloma Faith has certainly proved herself to be a singer with some real star power. Upon returning to her native London, the tour’s production values were upped again, this time with the added glamour of special effects courtesy Quantum Special Effects. Keeping the clean, white theme strong throughout, the company released 72kg of white confetti over the audience during her heartbreak anthem, Only Love Can Hurt Like This, at The O2, London. In order to create the ‘paper rain’, 24 swirl fans were rigged above the audience, allowing a continuous stream of confetti to flutter down over the excited crowd for the duration of the song. As the crowd of the tour finale could confirm, Paloma Faith’s foray into arena touring has been a dazzling, theatrical accomplishment. She’s a well accomplished performer, having had success in the theatre world, and even in Hollywood films, yet the charm of this talented artist still continues to dazzle in her concert touring career, as her trophy for the nation’s favourite female pop persona explains. TPi

Photos: Kelly Murray and Sarah Womack www.palomafaith.com www.joshuagrace.co.uk www.lh2studios.co.uk www.sseaudiogroup.com www.entec-soundandlight.com www.ls-live.com www.back-2-front.co.uk www.eattothebeat.com www.xlvideo.com/uk www.q-sfx.com www.phoenix-bussing.co.uk www.mcguinness.eu www.showsec.co.uk

PRODUCTION PROFILE: Spandau Ballet

SOUL BOYS OF THE WESTERN WORLD TOURING FOR THE FIRST TIME SINCE 2009, SPANDAU BALLET ARE UNDERTAKING A SIX-MONTH ARENATOUR ACROSS EUROPE, FOLLOWED BY DATES IN THE US, NEW ZEALAND AND ASIA, BEFORE FINALLY ROUNDING OFF THE SUMMER WITH A SERIES OF FESTIVAL PERFORMANCES. INTRIGUINGLY TITLED SOUL BOYS OF THE WESTERN WORLD, THIS LATEST TOUR FINDS THE BAND ON ECLECTIC FORM, PERFORMING AN ARRAY OF CLASSICS AND TRACKS FROM THEIR 2014 GREATEST HITS ALBUM THE STORY - THE VERY BEST OF SPANDAU BALLET. SIMON DUFF GOES BEHIND THE SCENES AT THE O2, LONDON TO FIND OUT MORE... Tour Manager for the Soul Boys of the Western World tour, John Martin, (The Boomtown Rats, The Clash, Echo & the Bunnymen, PIL) has worked with Spandau Ballet since 1984. Martin began preparing for the tour with Band Manager Steve Dagger in early 2014, while Spandau Ballet travelled to SXSW to premiere the Soul Boys of the Western World film, before returning home to rave reviews at the Royal Albert Hall in London. Not a bad start to their comeback! “I have pretty much put all the crew together from scratch and the band are playing phenomenally well,” Martin commented. “We have an incredibly hard working, friendly and relaxed crew, who have a great relationship with the band, it was really the best atmosphere I have ever known on tour. Artistically speaking, 44

the band has really stepped up considerably since the Reformation tour in 2009. This new show has much more of a narrative feel to it and every aspect of the production has really gone up a gear.” THE SET UP Production Manager Phelim McMahon began his career in Dublin in the 1970s, driving trucks and doing lighting for The Boomtown Rats. In 1980 he made a move to the Def Leppard camp, working as the band’s Lighting Designer alongside Production Manager Jake Berry. McMahon, who came on board with Spandau Ballet in December 2014, explained: “We were in LH2 for five days in February before the start of the tour, two days with the band and then three days of production rehearsals. In total, with crew and band, we have 50 people and

it’s a very pleasant and relaxed tour, the band are fantastic to work with. On a normal day we mark the floor at 7am and load in at 8am. We roll the stage at about 12.30pm and we are ready for the band at 4pm, with a sound check at 5pm. Danny Spratt is our Stage Manger, Chief Rigger is Ian Bracewell and Stage Carpenter is Andrew Pearson. For The O2, London local crew was provided by Stage Miracles, EST provided nine trucks and Phoenix Bussing provided three busses.” All Access Staging provided its new Touring Wall System for the European arena run. McMahon requested this new fast deploy rolling stage system to allow the lighting and video departments to work from floor height before the stage is rolled into position. Under stage access is excellent, with a 360° walkthrough capability. The touring wall deploys a

PRODUCTION PROFILE: Spandau Ballet

Opposite: Spandau Ballet performed live at The O2, London. Below: The band combined classic hits with new tracks included on their 2014 greatest hits album; Terry Cook, Design Associate at Woodroffe Bassett Design, the company responsible for the show’s creative direction and lighting design.

drop down leg to enhance the lateral and live loadings. The stage was looked after by Mike Humeniuk and Andrew Pearson, who who had both used All Access equipment in the past and were very pleased with the ease of use of the new touring wall system. McMahon worked alongside Creative Director, Lighting Designer and Spandau Ballet veteran Patrick Woodroffe to deliver on the tour’s striking visual design, while Manchester’s Kennedy Street Enterprises were on hand to promote the show. SSE were tasked with furnishing the production’s audio requirements. Lighting was provided by PRG, video by PRG Nocturne, with Eat To The Beat catering the tour. SOUND WORLD Robbie McGrath, who has previously worked with AC/DC, The Rolling Stones, Stone Roses, Echo & The Bunnymen, was on hand to deliver the FOH mix and got the call asking him to do the tour in August 2014. McGrath had done a couple of one off shows with Spandau Ballet

during their early days and Martin thought it would be a good idea to get him back on board. For the tour, McGrath has opted for an Avid Venue console, a desk which he believes combines analogue quality with all the advantages of digital control. McGrath commented: “I have been with Midas consoles for years but I thought it might be time to move on and try something new. Miles Hillyard, Senior Project Manager at SSE, very kindly let me A/B a few desks. There is something about the Avid sound that I really like. Its character and warmth inspires me to dig in and achieve everything that’s necessary for Spandau’s sound. In some respects the EQ reminds me of the Midas XL3, while the onboard compressors have a dbx 160A feel to them and the gates remind me of the BSS Quads. All these familiar characteristics seduced me into giving it a go, so I did a couple of shows last year with no plugins and it felt really good.” McGrath, who is using the Waves Gold plug-ins supplied by SSE, said: “I have fallen in love with them and the quality of sound they

bring to the table. As usual with my set up, I put all the drums into a sub group, then into a VCA. From the Waves package I insert across the groups the ultra maximiser which gives me an amazingly powerful and hard-hitting sound, which then goes into the Waves C4 multi band compressor, introducing incredibly dynamic control across the softer sounding numbers, up to the rockier, R&B tracks. I’m not pushing the drums around all night, the processing looks after a lot of that movement. “I round it all off with an onboard graphic, using a V-EQ4 analogue EQ on all the drums, vocals and saxophones, they are amazing I can’t recommend them highly enough. As soon as I heard them I was back in the studio in Dublin, EQing drums. It was like meeting an old friend for a pint! For the lead vocal I also use the onboard EQ on a heavy cut around 1K and by shifting the cut either up towards 3K or down towards 800Hz, it enables me to soften or harden the vocal depending on the song. It’s an old trick I managed to keep up while falling head long into digital. For vocal reverbs I either

PRODUCTION PROFILE: Spandau Ballet

Below: The band performed their 1989 single Raw.

use halls or rooms with a few different delays just tucked in for colour.” For microphones McGrath uses a Sennheiser 5000 Series SKM5235 handheld for Tony Hadley’s lead vocal. On the drums there’s a pair of AKG 414’s for overheads, Sennheiser 604’s on toms 1 and 2 and 609’s on 3 and 4, with Sennheiser 42’s1 on both floor toms. For the kicks, the E901, snare Beta SM56A and Neumann KSM 104’s are placed on the ride and hi-hat. For percussion, AKG 414’s and Shure Beta SM56’s. The bass guitar is DI’d and for guitar cabinets the Sennheiser E906’s and DI’s for all the acoustics. For saxophones he uses a Shure Beta 98H and for backing vocals Shure SM58’s. At FOH the Avid picks up 53 inputs from stage. McGrath has scenes on the desk for each song, but prefers to mix the whole show on the fly, adding tap delays and moving manually around the mix. Commenting on the mix he said: “A lot of it is about space and all of it is about attack. The drums are either big and reverby or tight and funky, the band have a great groove so it’s important to get on the groove train!” Nick Lythgoe is the System Tech from SSE, looking after the L-Acoustics rig and has worked with McGrath on a number of occasions, most recently on Spandau Ballet’s Royal Albert Hall film show last September. The K1 PA system for The O2, London consisted of a main hang 46

comprising three K subs at the top of the array and 12 K1’s hung underneath six boxes of KARA. A notable feature of main array was that it was hung 4.5 metres from the front - in line with the drum kit - which enabled more side seats to be sold. Side hangs comprised three K subs at the top and 12 K2’s. For subs on the floor, 30 L-Acoustics SB28 sub bass cabinets were spread out across the front of the stage. On top of the subs, a row of five L-Acoustics KARA were used for front fill. On the very outside three L-Acoustics ARC II’s were used. The outer hangs above FOH control used a rig of eight V-DOSC cabinets for delay. All running off L-Acoustics LA8 amplifiers and Lake LM26 processors. Lythgoe uses L-Acoustics Sound Vision prediction software prior to arrival on site at each venue. He commented on his work flow on show day: “I get in at the venue 7am each morning with the riggers to mark out the floor and work out our final tech positions, then I tailor our work around that infromation. We unload the trucks at 9am and by 3pm I am in position to hand over to Robbie.” MONITOR WORLD Mixing at monitors is Richard John from ESS, who has been working with Tony Hadley since 2000, he also toured with the whole band on their Reformation tour in 2009. His FOH clients include John Martin, Judy Tzuke, Go West

and Nils Lofgren. John mixes 68 channels on a Yamaha CL5 console, a desk that he favours very highly, partly due to its 32 output busses as well as its rock solid reliability. John who, like McGrath, mixes manually with no scene recalls, explained: “This show would never work doing scene recalls. Day by day things change and there is so much work done on the fly. The big move for the band on this run is that most of the band are using IEMs for the first time, although there are plenty of wedges still used on stage, including d&b audiotechnik V8 side fills for Hadley and d&b audiotechnik Q7 and Q subs for the drummer John Keeble.” John creates 18 stereo mixes for band, techs and side fill. All IEMs are Sennehieser 2000 Series. LIGHTING AND VIDEO DESIGN Creative Direction and Lighting Design for the tour is delivered by Patrick Woodroffe of Woodroffe Basset Design (WBD). Terry Cook, Design Associate at WBD explained the thinking behind the lighting design and work flow: “Design work started about four months prior to the tour. A first concept involved a number of circular trusses, including some fabric in an inner circle and a number of coloured drapes. As discussions between Patrick and the band progressed we developed more rectangles and straight line edges, so that we could really build in the impact of the three LED frames

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PRODUCTION PROFILE: Spandau Ballet

Below: Spandau Ballet frontman Tony Hadley; Lighting Director Roland Greil; Production Manager Phelim McMahon; Alain Demey from PRG Nocturne, who provided video for the tour.

which surround all three LED screens, which are supplied by PRG Nocturne.” Cook’s role was central to the realisation of Woodroffe’s vision for the tour’s video, lighting and scenic elements. The truss layout for the tour comprises three rectangles that size in on a pyramid concept. The largest rectangle is 60ft wide by 25ft deep, the outer and mid are two 50ft by 50ft box trusses and then the inner is a 30ft by 30ft box truss, which runs on five Kinesys motors, enabling height angle adjustment during the show. Four on the inner rectangle, and one on a 1.5 metre mirror ball, which also flies with the rectangle. Cook continued to explain the thinking behind Woodroffe’s vision: “We wanted to be bold with our looks so we decided to really take the rig down to two fixture choices, a wash and a multi-functional light. That was the start process and then we worked with our lighting vendor PRG, to ultimately decide what those fixtures might be. WBD likes working closely with our vendors, we see it as a partnership more than just a vendor supplying us with equipment.” The rig fixtures include 60 Philips Vari-Lite VL3500 washes, with a standard lens setup split between all of the rectangle trusses above 48

the stage, two side outer trusses sit above the exterior LED screens, and six units on the floor. 18 Clay Paky Stormy LED strobes were deployed, with 44 Mythos hybrids sat across the flown positions, and a further six units sat behind the band riser, lending impact to some of the band’s drum and sax solos. A total of 36 light linear molefay, 12 Philips ColorBlast TRXs, 12 Light Projects MR16 Birdie, four Robert Juliat Lancelot 4K follow spots and three Canto MK2 medium-throw follow spots overigged with chairs as rear spots, as well as eight GLP X4Ss to light the scenic drapes. Cook explained the scenic element of the lighting design: “We have 315 LED panels, which we built custom frames for, these sit around the three video screens and along the front edge of the band riser. The frames were manufactured by PRG. The LED is a panel called Elidy and is a tungsten coloured LED product that comes in a one sq ft panel. The beauty of it for us was that we wanted something that was high impact and which would gave us a layer of effect that wasn’t just video. It is bit-mapped with chases and sequences that really coincide with the video screens. Another element in the show that I would like to flag up is the curtain, which is used across the main LED screen and was made by Jane Barrett of Back2Front, a

draping and staging specialist.” The Lighting Director for the tour is Roland Greil, who has worked his way up through the ranks, and is now a regular associate at WBD since 2008. He joined the tour at LH2 working on Woodroffe’s overall looks and ideas for each song, learning tempos and music. Greil employs a grandMA Full Size from MA Lighting with a grandMA2 Light as back up. Greil, who mixes manually, with a total of around 750 cues, added: “The show and music has a great energy and is really fun to work on. I have got an amazing lighting crew from PRG led by Crew Chief, Ollie James.” Video Director Chris Hilson, who has previously worked with Bruce Springsteen, is working with a combination of IMAG footage of Spandau Ballet’s early career and commissioned graphics from a Catalyst media server and a 48 input / 24 output GVG Kayak 2ME HD switcher. Four Thomson Grass Valley LDK 6000 standard high definition cameras are used for IMAG, two positioned at FOH, one in the pit and one on stage with a wide angled lens. Two Panasonic AW-HE120 robocams and one Panasonic AG-HCK10 HD robocam are also used. Hilson explained: “The video and lighting work beautifully together. Our Video Engineer, Mel Von Der Decken, has worked very hard to

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PRODUCTION PROFILE: Spandau Ballet

Below: The crew of the Spandau Ballet tour; SSE Systems Tech, Nick Lythgoe used an L-Acoustics K1 PA system.

create a unity between the two.” Alain Demey from PRG Nocturne is the LED Tech looking after the three LED screens; a main screen at centre stage (nine metres wide by five metres high), then two LED screens either side of the stage, (three metres wide by 12 metres high). All running the ROE MC-7H 7mm LED tile, 80 by 80 pixels.

FED BY THE FANTASTIC FOUR Feeding the crew came down to Eat to The Beat, who catered the tour across the UK and EU. Its team of four caterers - Susan Power, Pauline Austin, Jamie Morris and Lulu Foster Young prepared innovative menus which were a hit with the crew, serving up delicious cakes and desserts, along with a handmade sushi

bar. The band are big fans of cheese too, a daily selection was placed within their dressing rooms and in the catering areas, courtesy of the company’s cheese supplier, Pong. THE POWER OF SUBTLETY On the show night, Spandau Ballet and their production crew prove that they still have a

PRODUCTION PROFILE: Spandau Ballet

Below: Spandau Ballet guitarist Gary Kemp performing live at The O2, London; The tour’s Video Director Chris Hilson.

great deal to offer, combining fan favourites with exciting new tracks. McGrath’s mix is full of power and subtlety, a drum sound worthy of the band’s 70s heyday, iconic guitar sounds from both Kemp brothers’, signature sax from Steve Norman and Hadley’s iconic voice. Woodroffe’s creative design, along with Greil’s spot on timing, is sharp and bold, with plenty of bright colours. The LED screens lend a distinctively Las Vegas-style glamour to proceedings. The band’s heritage is pushed to

the fore with plenty of video clips included in the show, reminders of the band’s The New Romantic Blitz Club days and a very kind tribute from Hadley to Steve Strange, who sadly passed away in February. Proof of just what a loyal band and crew this is. TPi Photos: Simon Duff & Harley Moon Kemp www.spandauballet.com www.woodroffebassett.com

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PRODUCTION PROFILE: Enter Shikari

ENTER SHIKARI FOLLOWING THE RELEASE OF THEIR CRITICALLY ACCLAIMED 2014 ALBUM THE MINDSWEEP, BRITISH POST-HARDCORE TROUBADOURS ENTER SHIKARI RETURNED TO UK STAGES THIS FEBRUARY, TO DELIVER AN ECLECTIC MIX OF PUNK ROCK, DUBSTEP AND DRUM & BASS, ALL TIED TOGETHER BY THE BAND’S FAMOUSLY ENERGETIC SHOW DESIGN. TPi GOT ACQUAINTED WITH THE TEAM BEHIND THE TOUR... Having emerged from the emo furor of the early noughties, Enter Shikari quickly distinguished themselves as a band with staying power. Determined to show they were capable of more than just teen angst and hairspray, the band has spent the last eight years garnering an impressive list of plaudits, including Best Live Band and Hero Of The Year wins at the 2012 Kerrang Awards, as well as forming their own independent record label - Ambush Reality - in 2007. Today the Hertfordshire four-piece are still going strong, combining rabble-rousing pop music with darker and more diverse influences, drawn from the cacophonous mathcore stylings of Converge and The Dillinger Escape Plan, and tinged with The Prodigy’s belligerent electronica. Enter Shikari’s Manager Ian Johnsen, 54

described his first encounter with the band back in 2007: “I saw them at the Barfly in Camden, they were supporting a band whose name escapes me, but it soon became apparent that 90% of the kids were in attendance to see them. I dropped them a line after the show, we went for a pint… and here we are, nine years later. They still haven’t found me out!” Commenting on the show’s production design, Johnsen said: “I think this tour offers the fans something different in terms of a look. A lot of the bands that operate in the same world as Enter Shikari don’t seem to push the limits in terms of production. But I think it’s really important to put across a strong visual style. “I’m nowhere near technically-minded enough to take on a production manager’s role,” he continued. “The band had a few rough ideas and we talked them through. I made some sketches in my notebook, but that’s about as

much input as I’m able to have on production. Andy Russell, who has been the band’s FOH Engineer since 2006, has recently taken on the PM role, and the Lighting Designer, Steve Bewley, is able to refine the band’s ideas into what you see on stage.” LIGHTING The inspiration behind the tour’s meticulous lighting design came from Enter Shikari’s most recent album artwork, which features images of the electrical pulses within the brain, and allowed Bewley to use huge colour bursts and elaborate strobe effects to generate an immersive visual environment around the band’s idea. Bewley, who has worked with the band since 2007, explained: “The initial concept for the tour’s design was all about the concept of ‘the mindsweep’. The head that forms the basis of

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PRODUCTION PROFILE: Enter Shikari

Opposite: British post-hardcore band Enter Shikari performed live at London’s Roundhouse, offering various looks throughout the show. Below: The band’s guitarist Liam ‘Rory’ Clewlow used Kemper Profiler amplifier heads to augment his guitar tone.

the band’s album artwork became the backdrop for the tour, and the brain, which is Enter Shikari’s logo, was incorporated as a subliminal element of the design. “As with every Enter Shikari show I’ve ever worked on, the aim was to create a big, in-yourface, fast-paced lighting design that could keep up with the band’s energy,” Bewley continued. “I used a variety of different techniques to create a hybrid that would reflect the band’s music, with their diverse mixture of genres.” To achieve this, Bewley specified 44 Ayrton Magic Blades, which were positioned on a horseshoe-style frame, surrounding the band from the rear to the downstage line of the backline, which doubled as support for 30 of the six metre Light Initiative Intelliflex LED strips: “What really clinched IntelliFlex for us was that you can video-map it,” Bewley explained. “This meant we could create content that would look like the neural pulses - it was fantastic to see my idea so well realised. We created 12 metre strips and weaved them in-between the blades and metal frame,” continued Bewley, “to create the ‘organised chaos’ the band required.” Bewley also specified six moving-head Alpha Spot QWO 800’s from Clay Paky, which were positioned at the rear to back light the band and create depth: “I used the Alpha Spots to light the band from the back of the stage,” he explained, “which also leant an industrial look to the metalwork. I positioned six Solaris LED Flares way back in the back and used them to create strobe effects with huge colour bursts.” The LD also used six PATT2013 tungsten fixtures from James Thomas Engineering, which 56

helped to provide parts of the show with a softly lit, washed out feel, which was a nice contrast with the new technology in Bewley’s rig. For control he used two MA Lighting grandMA2 Light consoles for the tour and commented: “I love these desks! They’re so versatile and easy to use. They’re rock solid. All of the features on these desks have been engineered perfectly, from Art-Net to timecode, both of which came in handy during this tour.” Bewley programmed the grandMA2 Lite to trigger a Green Hippo HippoPortamus media

a flight and met them in Cardiff for the next show, the rest is history!” Russell has also recently taken a production management role with the band. “The band merge so many genres of music to create their sound, from drum & bass to punk, with acoustic guitars and pianos thrown in, which means my FOH mix is very diverse throughout the set.” In order to cover such a broad range of styles, Russell needed a desk that could deliver on both functionality and sound: “I chose the Midas PRO2 and have the Midas DL251 fixed

“As with every Enter Shikari show I’ve ever worked on, the aim was to create a big, in-your-face, fast-paced lighting design that could keep up with the band’s energy.” - Lighting Designer, Steve Bewley

server to deliver the content via Light Initiative’s LED control to the LED neural pathways. FOH SOUND FOH Engineer Andy Russell first met the band nine years ago, whilst working as the in-house Sound Engineer at Glasgow’s indie hotspot King Tuts Wah Wah Hut. “The guys were headlining a show on their 2006 tour and they weren’t touring with a Sound Engineer,” Russell said. “So I offered to mix the show and the next day I got a phone call asking if I was available to do the rest of the tour with them. I jumped on

format unit for any I / O at the stage end. In my opinion the Midas PRO Series desks are the best sounding digital boards on the market and the PRO2’s functionality and size made it the perfect option for me on this tour.” The Midas PRO2 desks were provided by Patchwork London: “Patchwork London is the audio company that our Monitor Engineer, AJ Sutherland, is a director of, so he was able to put together a nice touring control package for us, which came in on budget.” For microphones, Russell deployed Sennheiser e604s on the snare bottom, second

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PRODUCTION PROFILE: Enter Shikari

Below: Monitor Engineer AJ Sutherland selected a GLD-80 console from Allen & Heath for the tour; Enter Shikari frontman Roughton ‘Rou’ Reynolds live at the Roundhouse, London.

snare, rack and floor toms, with two Shure 91As inside the kick-drum and Sennheiser E945’s for all of the band’s vocals: “The Sennheiser e945’s sound great, they’re nice and clear and have a tight pickup pattern which helps with spill from the cymbals,” he said. “Liam ‘Rory’ Clewlow (guitar) and Roughton ‘Rou’ Reynolds (lead vocals and guitar), have recently moved over to using Kemper Profiler amplifier heads for their guitar tones, which sounds incredible,” Russell enthused. “They have

great cab emulation options, so I’ve been taking the stereo DI out from both Kempers, which sounds amazing and creates a really ‘in your face’ sound.” Russell used the in-house PA for Enter Shikari’s London Roundhouse shows, which was supplied by London’s Britannia Row. The rig consisted of 14 L-Acoustics V-DOSCs with four dV-DOSCs for down fills on the main hangs, and 12 SB218 subs on floor. Additionally, dV-DOSCs and ARCS were used for in fills and out fills. “The

PA sounded great and the crew were as friendly and helpful as ever,” Russell concluded. “I always have a good show at the Roundhouse!” MONITOR WORLD Russell was also responsible for bringing AJ Sutherland, the band’s Monitor Engineer, onboard: “Andy and I knew each other through some mutual friends and some touring crew groups on Facebook,” Sutherland explained. “We had an email thread going

PRODUCTION PROFILE: Enter Shikari

about something completely different and this came about as a side note. I had a meeting with Tour Manager Keith Reynolds and my predecessor in November 2014 and did my first show in December.” Sutherland selected a GLD-80 console from Allen & Heath, after working with it on various projects prior to the tour: “Allen & Heath have nailed the midscale console market,” Sutherland said. “The I / O, the functionality and the audio quality are perfectly suited to the demands of high level productions and it’s small enough to fly around the world and fit on cramped stages.” As well as using custom fader layers and iPad control, Sutherland was keen to explore some of the GLD-80’s more unusual features: “I used a Dante expansion card to capture a multi-track recording of every show and a couple of GoPro cameras for the video. Enter Shikari’s shows are different everyday so it’s great to have a record rolling all the time,” he said. “I’ve also been sending MIDI commands from the playback laptop to the GLD to automate certain functions, which happen at the same time every

day. This allowed me to do things like go on stage and unplug the acoustic guitar the moment Rou is finished playing, and still be confident the desk will mute that channel without banging in the Sennheiser G3 IEMs.” “Allen & Heath is always my first choice of console to tour with. They are so fast and easy to use, which is vital on such a high-energy show. Manufacturer support is really important to me and Allen & Heath are some of the best around.” With a 15-date US tour on the horizon, Enter Shikari are showing no sign of slowing down, and as the UK leg of the tour has been met rave reviews, Manager Ian Johnsen has reason to be pleased: “Without sounding too much like American Airlines,” he said, “We know that people have a lot of choice when it comes to entertainment. It’s our duty to give them as much value as possible. So I’m glad they chose to keep returning to fly Air Shikari, for all of their business and pleasure needs! TPi Photos: Tom Martin www.entershikari.com www.lightinitiative.co.uk www.patchworklondon.co.uk www.britanniarow.com

Below: Guitarist Rory Clewlow on stage; FOH Engineer Andy Russell with Rou Reynolds during pre-production.

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INTERVIEW: Tupac Martir

TUPAC MARTIR

KELLY MURRAY SPEAKS TO THE LIGHTING VISIONARY

INTERVIEW: Tupac Martir

Opposite: Tupac Martir. Below: The Thomas Tait 2015 collection.

“WHEN I GO TO SLEEP, I DO SO AS A PAINTER...” “I am a painter. I was trained as one, and although I have developed into a conceptual / visual designer, when I go to sleep, I do so as a painter. I believe that everything I was taught during that period has shaped what I do and how I do it,” explained Tupac Martir, a London resident of global appeal. UK born, from humble Mexican heritage, Tupac Martir is an emerging internationally acclaimed multi-media artist, visual designer and creative director, specialising in light. London based under brands Satore Studio and TM™ - launching later this year - Martir leads a globally recognised multidisciplinary art, design and creative production group. In the last few years, Martir’s artisan approach to design has enabled him to become a key player in the scrutinised world of the catwalk; he is in fact, the man responsible for how some of the most watched catwalk shows

ever look and sound, bar the clothes of course. It’s fitting then, that when TPi meets Martir at London Fashion Week, he was once again creating a unique ambience for womenswear designer, Thomas Tait’s latest collection. It’s a working relationship which has gone from strength to strength, a union which Martir is clearly very fond of. “I never thought I would be involved in fashion,” continued Martir. “But by chance in 2008 I got asked to do a fashion show as a programmer and met Italian Lighting Designer, Manolo. I speak Italian and we got along really well; he took me under his wing. I did six or seven shows in London for him and then went to Paris with him to do my first Givenchy, Alexander McQueen and Stella McCartney shows. From there on out I became massively involved with the fashion world. I designed McQueen’s last show before he

passed away - which was a huge, saddening shock. Working with fashion royalty such as Givenchy, Alexander McQueen and Stella McCartney has been a great pleasure.” It was a few weeks after Martir returned from Paris, that his collaboration with Montreal native Thomas Tait would begin. “I was asked by the wife of the High Commissioner of Canada if I could work with this new, young designer. He had just graduated and everyone in the fashion industry had high hopes for him. I looked at Thomas’s work and thought to myself, people have helped me; I’m going to help him. We went to work on his first catwalk design, and I’ve been doing his shows ever since.” Tait had completed a three-year technical diploma at Collège LaSalle and gone on to study the womenswear MA programme at London’s Central Saint Martins College of Art and Design. At just 22 years of age, he was the youngest student to have completed the course. Four years after his prestigious graduation, he won the inaugural LVMH Young Designer Prize, which saw him receive a hefty cash prize. The result was that the self-funded designer could stay in business. “Our shows are normally very minimalistic,” explained Martir. “Needless to say, we try to keep things to the bare minimum because we simply don’t have the production budget for all sorts of technical kit. We have to 63

INTERVIEW: Tupac Martir

Below: A selection of the ‘sci-fi spaghetti western’ style clothes.

make simple, yet very effective designs.” When we arrived at the show venue - the underground carpark of Westminster University - there was already a flurry of eager fashion students, bloggers, and photographers causing

quite a fuss outside. Once the carefully crafted guest list was navigated (gulp!), we were led into a bleak, concrete room, with nothing but the hum of curious whispers to guide us into our stance. The swarms of on-lookers sat,

bemused at the lack of actual catwalk. The setting immediately spawns intense speculation - not just from the fashion journalists, but from us, the tech heads too. There was a very simple rig of lighting fixtures in the air, not perhaps

INTERVIEW: Tupac Martir

Below: The catwalk was projected with the use of High End Systems DL3’s; The venue pre-show.

what we were expecting. Yet expectations, it seems can immediately fly out of the window. Described by Tait himself as “sci-fi spaghetti western”, the audience sat in the depths of the makeshift venue when an almighty thud radiated throughout the room and began to sound track the event. The pitch-black view suddenly turned into a sea of strobe lighting,

something a bit weird… so this time we created a catwalk which at first you thought didn’t exist.” The pair also took an untraditional approach to how the collection would be captured, this time putting the photographers in a different room. “As much as they’re my friends, sometimes they completely destroy

“Working with fashion royalty such as Givenchy, Alexander McQueen and Stella McCartney has been a great pleasure...” - Tupac Martir.

flickering through a pit of suspension. As the first model appear, so did a thick block panel of the catwalk - a rectangular projection which lit up with each step the models took. The oversized cowboy shirts and angular collared dresses showed Tait’s accurate description upon Martir’s space age catwalk design. “I really like Thomas as a designer, he does some amazing things,” Martir continued. “He’s become a very good friend and we always try to look for something different to do, 66

the ambience, and in this case, having them in a different room and giving them the light that they needed, I didn’t have to worry. It’s all about giving people an experience and letting them understand why the show and the collection exist, without interuption,” he added. To create the projection, Martir used High End Systems DL3’s - a digital light which integrates the brain of a media server. “I’ve used them ever since the DL1 came out. I grew up using a lot of High End Systems equipment

when I was living in Mexico. As Thomas is self-funded, we chose to rely on the piece of equipment we knew would work for this design.” Martir also utilised 12 ETC Source Fours and in the back room for the photographers, eight Galaxias LEDs were in place. All equipment was supplied by White Light. In just 15 minutes the show was over, and the crowd seemed happy with the results, as was Tait. “Thomas was very happy,” explained Martir. “He was very nervous; he won the LVMH Young Designers Award and some LVMH buyers were here.” As if that wasn’t pressure enough, Tait has also gained the attention of one of music’s most controversial fashionistas, Kanye West. “Kanye went backstage to tell him he loved it, so I think Thomas realised at that point that he’d had another successful show.” If recent events are anything to go by, Tait’s collaborations with Martir should continue to gain notoriety as some of the fashion world’s most interesting conceptual catwalk creations. TPi Photos: Gio Staiano http://tupacmartir.com www.thomastait.com www.londonfashionweek.co.uk www.whitelight.ltd.uk

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IN PROFILE: Stageco

STAGECO: 30 YEARS AT THE TOP FEW COMPANIES CAN CLAIM TO HAVE DIRECTLY INFLUENCED THE EVOLUTION OF LIVE EVENT PRODUCTION. EVEN FEWER HAVE HAD A BOOK DEDICATED TO THEIR STORY. BUT STAGECO, WHICH CELEBRATES ITS 30TH ANNIVERSARY THIS YEAR, IS NO ORDINARY COMPANY, AS TPi DISCOVERED... This month sees the publication of Stageco: 30 Years – From Werchter To The World by Flemish author Geert Vandenbon, who first came into contact with the company when he worked as the Technical Producer of the Tour of Flanders road cycling race. Researched over seven years and filled to the brim with beautifully illustrated tales of Stageco’s innovation, adventure and industrychanging successes, Vandenbon’s luxurious, 336-page hardback is a must-read for anyone with a keen interest in stage technology, set design and entertainment production. The book also serves as an in-depth study of how the live industry has radically changed since the days of The Beatles’ first stadium concerts, and how technology has solved many of the challenges highlighted by artists and promoters. Headquartered in Tildonk, Belgium, Stageco is at the very epicentre of the live event world today, with offices in Germany, Austria, the Netherlands, France and the US, the company 68

provides staging and temporary structure solutions for an astonishing range of concert touring, festival and corporate event clients. Although the company’s story officially began with its inception in 1985, its origins goes back to the mid-seventies when Stageco President Hedwig De Meyer and his co-founding partner, Herman Schueremans, pooled their skills and know-how to bring together the emerging Rock Werchter festival. A graduate of NARAFI College in Brussels, with a degree in electronic engineering and a firm grounding in civil and structural engineering to boot, De Meyer’s love of music encouraged him to work as a rock music DJ with his self-styled Flash Experience disco bar. “Through word of mouth, I began to get bookings from far and wide,” he said. “My ambitious streak raised its head when some friends and I organised a summer party for 2,000 people, charging 40 francs.” His success escalated even further the

following year, but it wasn’t until 1975, the year that he married his wife Ria, that De Meyer’s future began to unfold. “ iI was about to take my final exams and Guy Mortier from [festival sponsor] Humo encouraged me to organise a concert in Werchter the day after my party,” he recalled. “It was really going to push me but I was very driven by the opportunity, not least because Ria and I needed some extra income.” On Sunday 13 July 1975, the first Werchter Rock & Blues Festival took place indoors with a bill of well-known local acts. 12 months later, the audience figures tripled and De Meyer met a music journalist who was about to change his life. “Herman Schueremans ran his own events and he came to the festival to write a report for Muziek Express. We got talking and it was obvious that our individual skills would complement each other very well so we joined forces. While I organised the logistical aspects of the festival, Herman handled artist bookings, contracts and general promotion.”

IN PROFILE: Stageco

Opposite: ‘The Claw’ - Stageco’s sprawling monster designed for U2’s 2009 360° world tour. Below: The structure first developed by Stageco for the European leg of Genesis’ 1987 Invisible Touch tour; Stageco President Hedwig De Meyer in 1985; In 1997 the company worked on The Rolling Stones’ Bridges to Babylon tour; ‘The Claw’ in Werchter, Belguim.

The team formalised their partnership in August 1978, by forming their own company Altsien, a contraction of the words ‘alternative scene’ coined by Hedwig. Soon, the rapid growth of Rock Werchter (as it later became known) forced its move to a new open-air site in the summer of 1979 when Dire Straits, Tom Robinson Band, Talking Heads and blues legend Rory Gallagher played to a soldout crowd. “We needed a stage but no one could meet our specifications. So there was only one option: we built our own stage with a pole at the front to support the roof, and a covered platform on both sides to accommodate the PA. We learned a great deal over the next few years and rapidly improved the standards. It was the start of what became Stageco,” he said. Over the next few editions, the Werchter stage underwent a number of enhancements and practical improvements, as De Meyer and his team honed their craft. Meanwhile, his staging techniques were requested outside of Belgium at events like the Thionville Rock Festival in France. 30 years ago, Stageco became the commercial branch of Altsien and Hedwig De Meyer and Herman Schueremans remained its joint owners until 2001 when the pair agreed to separate their business interests, with De Meyer

retaining sole ownership of the staging element. It was a fateful meeting with influential Production Manager Morris Lyda that led to Stageco’s first tour. “And it was with Genesis on the European leg of their Invisible Touch tour in 1987,” said De Meyer. “Morris had been excited by the ideas we had for using towers instead of scaffolding - ideas that in 1983 resulted in our Tower System that was quick to set up and allowed for greater rigging capacities than ever before, which led him to hire us for Genesis. “Although we only built the stages at four locations, it proved to be massively encouraging to us because we were out there in competition with other companies and we came through it very successfully, to the extent that Morris got us onboard for his next project: Pink Floyd’s Momentary Lapse Of Reason tour. “January 1988 saw us shipping our then new 10-tower stage to the other side of the world for the Floyd’s 23-date Australasian leg. Based on the tower structure we developed for Genesis, the stage was 26 metres wide and 20 metres high with huge scaffolding structures for the side wings. We also built the structure behind the FOH tower from which Pink Floyd’s airplane flew on to the stage. “That summer we were back for the European leg [taking over from Mountain Staging] and we enjoyed another ‘first’ when, as

part of that Floyd tour, we built our first stages at Wembley Stadium. It was incredible to work with such cutting-edge bands so early on in our business.” Stageco’s work with these two progressive rock icons was far from over. For Genesis’ 1992 We Can’t Dance tour, the firm notably built an impressive custom-made stage without a roof, while Pink Floyd’s revolutionary The Division Bell world tour in 1994, remains a technical marvel one of many to harness the architectural design talents of the late, great Mark Fisher. “I think we were very lucky to be able to learn and grow during a period when the concert touring business, for the most part, was still in its infancy. These days, the industry is much more demanding and I suppose that started when shows began to be designed as spectacles. Mark was extremely prolific in that respect. He was one of our industry’s true greats, if not the greatest.” THROUGH THE 90s With these experiences fresh in the company’s memory, Stageco began to expand its festival portfolio to include Pukkelpop, PinkPop, Lowlands in the Benelux region and, in the UK, the Monsters Of Rock festival at Donington - the precursor to today’s Download. Along the way, the company also picked up vital touring clients 69

IN PROFILE: Stageco

Below: De Meyer in 2010; Flemish author Geert Vandenbon, whose book Stageco: 30 Years - From Werchter To The World will be published later this month.

such as David Bowie, Madonna, Simple Minds, Bon Jovi, AC/DC, Phil Collins, Tina Turner and Bruce Springsteen. In 1992, when Production Manager Jake Berry ordered a stage for the Guns N’Roses / Metallica double header tour of America, Stageco seized the opportunity to establish a base in the USA with former Rolling Stones site co-ordinator Mary Lou Figley at the helm of the Colorado Springs office. Towards the end of the 90s, Stageco began a long-running association with The BRIT Awards, which still continues today. In that same year, 1997, the company was awarded U2’s PopMart world tour and The Rolling Stones’ Bridges To Babylon, both of which travelled with three ‘leapfrogging’ Stageco stages. Tours and events by Céline Dion, the Backstreet Boys, Luciano Pavarotti and Kiss also filled the company’s diary, showcasing the diversity and scale of work that would cement Stageco’s marketleading position. THE CLAW If Stageco’s technical vision has to be defined by a single project, De Meyer himself would choose U2’s 360° world tour of 2009-2011, whose 110 shows grossed more than $730m USD, becoming the biggest concert touring box office success of all-time. Stageco’s role in the tour was crucial. Working with Set Architect Mark Fisher and Show Designer Willie Williams, the company set about constructing ‘The Claw’ - the sprawling monster that spanned the width of each stadium venue, underneath which U2 performed on an elliptical main stage. The Claw’s steel superstructure was 30-metres high, weighed 190 tonnes and was built by Stageco’s crew in four and a half days. Tested at Stageco’s Werchter base, the expanse of the structure began to attract media attention, with De Meyer earning celebrity status on Belgian TV. “All of the elements were created exclusively,” he said. “It was a phenomenal achievement - an unprecedented 70

marriage of creative genius and technical prowess.” Collectively, the four members of U2 paid an exclusive tribute in Geert Vandenbon’s book, saying: “Not only have Hedwig and team been able to turn our theoretical designs into portable reality, but their pioneering approach to engineering technology has actually inspired us to reach further than we might have otherwise dared.” De Meyer said: “They are very flattering words. Above all, we have become advisers who can help creative dreams become a technical reality but also stimulate artists, managers and producers to think ahead. We feel that their ideas drive our development.” PEOPLE AND CULTURE Colossal achievements aside, it is the importance that Stageco places on personal relationships that has created the winning formula. The vibe, as they say, generally comes from the top and, being a family man at heart, Hedwig extends a caring attitude towards all his staff. “Hedwig is a unique guy who has encouraged more people progress in their careers than you could possibly count,” claimed Dirk De Decker, who joined Stageco as a Truck Driver in 1988 and after years of touring, rose through the ranks to become a CAD Designer and, eventually, a Lead Project Manager. “He [Hedwig] built this company with technical skill and a sense of camaraderie. Despite his many achievements he remains the most down-to-earth man you’ll ever meet.” With its outstanding record as a source of technical expertise, Belgium has earned a worldwide reputation as the ‘go to’ country when it comes to industrial troubleshooting. Stageco’s Belgian origins provide a distinct advantage over other businesses in the sector. According to De Decker, the modest disposition and interactive skills that personify his fellow countrymen are the result of basic education. “From early on at school, you are taught a

variety of languages other than your native Flemish, and you naturally tune into a multilingual situation because of constant influence from neighbouring countries. Language conflicts exist but we’re stuck with each other and we always find a solution, socially and industrially, which is the perfect foundation for our business. “Being a small country, Belgium has had to be very inventive within its own boundaries so that other countries take notice. Around 95% of our economy is export-based so we are obligated to work in territories that are more robust. We never believe that we know everything; we are always soaking up knowledge from everywhere. “It’s no coincidence that Stageco has maintained an international mix amongst its crew. In 1995, I was touring with a guy from Greece, four from France, three Americans, one Dutch guy and four Germans. The crew chief and I were the only Belgians, and we all got along really well.” Stageco’s success will inevitably continue for decades to come, or at least while innovative stages and temporary structures are needed by event organisers. At 60 years of age, however, De Meyer realises that he won’t be running the show forever. “There’s certainly a sense of legacy but the business still fascinates me in a contemporary sense,” he said. “It’s always a thrill when we work on something ambitious or with a new client. For example, EDM is a very exciting genre and I’ve enjoyed what we have brought to massive events like the Electric Daisy Carnival, Sensation and Tomorrowland. “We’ve gone through so many experiences as a team and brought so many projects to a satisfying climax, that I now feel a kind of blissful contentment with everything.” ‘Stageco: 30 Years – From Werchter To The World’ is published in both English and Flemish versions by Pinguin Productions, and is now available direct from the website. TPi www.stageco.com

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CLOCKING OFF: Haven House Below: Haven House Children’s Hospice provides music therapy for terminally ill children; Shure Distribution UK’s Head of Marketing, Kirsty Lamport, is currently in training to run the 26mile London Marathon to raise money for the charity.

SHURE DISTRIBUTION UK’S KIRSTY LAMPORT PUTS HER RUNNING SHOES ON... LAST YEAR I BEGAN TO CONSIDER MY 40TH BIRTHDAY, WHICH WAS FAST APPROACHING THE FOLLOWING APRIL. I WONDERED WHAT I SHOULD DO TO MARK THE OCCASION. I COULD HAVE A PARTY, WHERE I’D GET DRUNK ON CHAMPAGNE AND TRY TO DANCE AWAY THE AGEING PROCESS. I COULD FLY OFF TO A TROPICAL ISLAND SOMEWHERE AND GET DRUNK ON COCKTAILS AND HOPE THAT THE SEA WASHED AWAY ANY WRINKLES. OR I COULD HIDE AWAY AT HOME AND GET DRUNK ON G&T WHILST WALLOWING IN JEFF BUCKLEY’S GRACE ON REPEAT... It was around the same time that I first visited Shure UK’s nominated charity, Haven House Children’s Hospice. And that’s when it hit me. I’m a very lucky lady to be turning 40. I’m healthy and happy, so I should do something positive and life-affriming to celebrate. Haven House provides specialist care for children and young people who have lifethreatening conditions, and who, unlike myself, are unlikely to reach the age of 40. It’s a lovely, bright, happy place, full of inspiring people and the support the charity provides is thoughtful, creative and heart-warming. From the highest level of medical care to specially designed bedrooms and bathrooms. From a tranquil bereavement suite, to a huge Pirate Ship for chaos and fun in the garden and most importantly of all, everyone in the family is cared for. The children, parents, carers and siblings are all treated with dignity and respect. What also touched me particularly deeply 72

was the Music Therapy the charity provides. Music is so important to me, for motivation to keep going when running (Don’t Stop by Fleetwood Mac), lifting me up on a bad day (Move On Up by Curtis Mayfield) or to just lose myself in (The Flaming Lips! entire back catalogue). Music therapy is an established health profession, based on the belief that we can all respond to and appreciate music, despite disability or illness. Through this therapy the children and young people have been able to connect, bond and together become a family often for the very first time. Now I’m not a runner, I never liked running, so running 26 miles in the London Marathon is going to be a challenge. It still scares me, but if by doing this challenge I can in some small way help Haven House to continue to provide such special care, then all the exhausting training, blisters, sore knees and sober work events are well worth it! The cost of an overnight stay at Haven House

is £1,135 and the cost of a days care is £3,835. If you can, please donate, thank you so much for the support this far. TPi http://uk.virginmoneygiving.com/KirstyLamport

STAGECO CELEBRATING 30 YEARS

FROM WERCHTER TO THE WORLD

Stageco Belgium N.V. Kapelleweg 6, 3150 Tildonk Tel: +32 16 60 84 71 Fax: +32 16 60 10 61 info@stageco.com www.stageco.com

STAGECO 30 GEN A4 AD.indd 1

IF YOU CAN IMAGINE I T WE CAN BUILD IT 09/04/2015 17:12

IN THE SPOTLIGHT: Christie

CHRISTIE 4K30 AS PART OF ITS ONGOING DEVELOPMENT PROGRAMME, CHRISTIE’S SOFTWARE AND ENGINEERING TEAMS CONTINUE TO PIONEER NEW PLATFORMS, DESIGNED TO REVOLUTIONISE THE EXPERIENCE IN ITS CORE MARKET SEGMENTS. WHILE TECHNOLOGIES LIKE LASER 6P ARE BEGINNING TO REDEFINE THE 3D CINEMA INDUSTRY, AND PRODUCTS LIKE MICROTILES, LED DISPLAYS AND LCD FLAT PANELS ARE DOMINATING A RAFT OF TILED WALL APPLICATIONS, IT WAS ANOTHER OF CHRISTIE’S TRADITIONAL HEARTLANDS THAT HAS BEEN THE FOCUS OF MUCH RECENT ATTENTION. TPi REPORTS. While technologies like laser 6P are beginning to redefine the 3D cinema industry, and products like MicroTiles, LED displays and LCD flat panels are dominating a raft of tiled wall applications, it was another of Christie’s traditional heartlands that has been the focus of much recent attention. The rental staging market, which has been serviced over the years by a range of highpowered Roadie and Roadster 3DLP projectors, just got a lot more interesting. Not least is the fact that Christie recently acquired coolux, with the advanced 3D render engine and compositing / editing facilities provided by its Pandoras Box server. At the top end of the projection range is the 74

new xenon-based Christie Roadie 4K45. With 45,000 lumens projection and advanced image processing (including blending and warping), the Roadie 4K45 has already staked a claim as the brightest 3-chip DLP projector on the market today. But Christie also wanted to define a new market paradigm for rental stagers by producing a high brightness rental workhorse with a singlephase power draw. The idea that the Boxer 4K30 could live up to its pre-ISE Show hype was immediately confirmed when the Amsterdam show opened its doors for the projector’s world premiere. Its aim was to set a number of benchmarks: at 30,000 lumens, to be the best size-to-lumen

output ratio with the lightest weight (less than 68kg / 150lbs); to be the smartest, most efficient projector available, as well as the most profit focused projector (offering an unbelievable ROI) on the market today. We followed the trail to the Christie booth and caught up with Senior Director of Engineering, Jeevan Vivegananthan, and Product Manager of the 3DLP platform, Mike Garrido two of the driving forces behind the Boxer 4K30. According to Vivegananthan the Boxer 4K30 is the result of Christie’s ‘can do’ attitude. “I realised several years ago that we needed something completely different in the industry. We had good brand cachet but the competition had come on stronger. So we proposed the

IN THE SPOTLIGHT: Christie

Opposite: Christie’s Product Manager for the 3DLP platform, Mike Garrido. Below: The Boxer 4K30 projector from Christie.

idea of Boxer - and were given the all clear to proceed.” The company already had a sound platform on which to work: “We could draw on a long history with rental staging and we already had the 4K high frame rate projector with products like the D4K3560. “20K lumens had been the mainstay of rental staging but we knew we had the technological ability to build a 30,000 lumens projector in the smallest package at less than 150lb (68kg) making it a two-man lift; in this way it would be easier to ship around the world and to handle when lighting up bigger spaces.” Checking customer wish lists revealed the need for a small, bright, quiet running projector

Boxer had to be a lamp fault tolerant projector and critically it has been designed with six highly efficient 460W mercury lamps. To make the six lamps easy to manage, there are two cartridges in the projector, each holding three lamps and each cartridge is removable by a single screw. The deployment of mercury lamps also enables the projector to be omni-directional - it can be placed in high tilt angles, in any orientation. Finally, Christie introduced NFC (Near Field Communications). Tapping the device with an NFC-enabled smartphone provides an instant healthcheck and since each of the mercury lamps has an NFC tag it will also provide provide lamp status.

“We have designed the Boxer 4K30 as a platform for the future, for those who care about colour space, image clarity and large amounts of light in a small package.” - Jeevan Vivegananthan, Senior Director of Engineering, Christie

- but Christie also knew that if this was single phase power it would also lower the overall cost of installation and help deliver the best brightness to weight ratio in the industry. Although Boxer has been designed in 4K resolution using Christie’s TruLife 4K electronics platform, the company recognised that customers would already have an existing HD workflow. “We didn’t want to alienate them when they didn’t need 4K. So we incorporated an upscaler to bring the image in and produce an excellent HD image, which is literally plug and play,” continued Vivegananthan. But the Christie man also recognised that

In summary, Jeevan Vivegananthan said: “We have designed the Boxer 4K30 as a platform for the future and for those who care about colour space, image clarity and large amounts of light in a small package. With more brightness you can perform more actions, while fewer projectors means less money invested in the job and a more versatile fleet.” But Christie will remain invested in 3DLP development on all levels, according to Senior Product Manager Mike Garrido. And by integrating coolux Pandoras Box and Spyder platforms into the projectors they will be able to offer full pixel processing solutions.

“The 3DLP group at Christie will continue to innovate with electronic performance in higher resolutions. We are very proud of our TruLife electronics and how it has allowed our products to reach higher levels of performance with 4K resolution in particular. We are also confident of our ability to implement user required operations into our product, like NFC, faster software update, preview screen and simpler product maintenance.” So how is Christie technology presently playing out in major concert venues? At the Live Nation-run 14,500 capacity Point in Dublin (now renamed 3Arena) Eurotek Ireland has fitted Christie as part of a rebranding exercise, following the takeover of O2’s franchise in Ireland by fellow network giants Three Ireland. In the main auditorium, two large Roadster HD20K-J (20,000 centre lumens) 3DLP projectors are now used exclusively for branding and promotion before and after each concert. The orientation of the walls along with the tiered seating and the sound baffles, required Eurotek Ireland to undertake detailed projection mapping around the area to fit the animation into the space. Meanwhile, for the busy concourse area, Eurotek Ireland has deployed four compact, high brightness Christie WU12K-M WUXGA (1920 by 1200) projectors. These throw images onto the back of the large seating modules which form a wall behind the main stage - part of a sophisticated control playback system. Finally, in the bar area on Level 2 Eurotek has installed five FH Q841-T 84in ultra highdefinition LCD presentation displays, which like the concourse, are also controlled by an AMX system and fed by Brightsign media players. Eurotek’s Noel McMahon said Christie offered the best product at the best price: “We wouldn’t have used anything else for this install,” he concluded. TPi www.christiemea.com 75

THE BIGGER PICTURE

THE BIGGER PICTURE A HANDS ON APPROACH TO HANDS ON TRAINING Apprenticeships, they’re quite the thing at the moment, and whichever way the country swings in the next election, they will probably remain so. Today, in the business of supplying technology to live events, apprenticeships seem to be the favoured route in. Sure, there are degree courses in live sound and lighting design but, walk into the warehouse with a gown, mortarboard and rolled up certificate and that’s where you’ll start, alongside the enthusiastic school leaver. Three years at university, £40,000 GBP in debt and you’ll still be learning the ropes for another two, alongside that school leaver who’s learning while they earn. We’re not saying that the degree route is wrong, we’re just aware that there are other routes that need improvement. Of course, there are advantages for the employer as well, with apprenticeships minimum wage rates are lower than other workers and there are grants available for some, either locally or nationally. It’s one of those win, win things; so why are so few rental companies taking on apprentices? Well, officially anyway, because we know that there are companies that have their own trainee development programmes, mapping a route through various departments, delivering on the job training and mentoring, without the advantages of an official apprenticeship. It’s not through lack of trying; we’ve spoken with companies over the years that have tried their best to hire an apprentice, only to be faced with a young person who, despite their enthusiasm, was sent off to a college to learn irrelevant skills. As one company head put it: “We’d have done better sending him to the pub every Friday.” It seems that the reason for this disparity between need and provision has been the way that apprenticeships have been developed. Currently, but not for long, the frameworks around which apprenticeships have been structured have been cumbersome beasts, developed around National Occupational Standards. Employers have, up until now, been bound by these frameworks, 76

with prospective candidates placed on courses that, at best, are only partly relevant. Of course, the more complex a framework is, the harder it can be to change it, and once you do change it, the more complex it can become. Why would colleges want to change frameworks anyway? Apprenticeships make good money for educational establishments, with sums running into five figures, drawn down from the government for each individual, so why would they want to change anything? The money they make depends very much on the type of course they’re running, so there could be the temptation to attract candidates to courses

that pay best. No wonder there are agencies who are keen to find an apprentice for your business, I’m sure the commission is very good. It’s an odd way to work, employers fitting their needs around what the colleges have to offer; looks like it’s time for a shakedown. The great news is that it’s happening and our sector is playing its part in that change. Following a 2013 report into future apprenticeships, the government took steps to simplify apprenticeships, increase their quality and put employers in the driving seat, in terms of the skills demanded and methods of assessment as well as purchasing power, to enable businesses

www.psa.org.uk

to act as the customers of training providers, to ensure quality and relevance remains high. In February, a group of 12 PSA member employers joined forces to express their interest in developing an Apprenticeship Standard for Live Event Technicians, this was met with approval and work has begun on its development under the guidance of a Relationship Manager from the Department of Business Innovation and Skills (BIS); hard work, but the benefits will be many and for all. This expression of interest needed a lead employer, in this case it was PRG, and at least 10 other supporting employers, diverse in terms of size and location; the enthusiasm for the project was indicated by the employers saying yes within 24 hours. And why shouldn’t they be enthusiastic? Some of the finest technicians and crew in our business started out in the warehouse, gaining the knowledge and skills that have led to great careers, and there is immense value in the training delivered by suppliers across all disciplines, a value that needs to be recognised. The first part of the task is to write the apprenticeship ‘standard’, the document that replaces the old, cumbersome framework. This is a simple document, which describes the job as well as the skills, knowledge and behaviours needed to pass the apprenticeship. From

our sector’s point of view, this is what will be learned by a candidate during their journey from warehouse to FOH, providing skilled employees with real life, on the job training. The standard itself will be nothing more than two sides of paper, written so that candidates and parents have a clear picture of the job and skills involved. All those involved are confident that the aforementioned trainee programmes will map across to the new standard, making the unofficial official and starting us on the road to effective, valuable apprenticeships. A more complex task is the design of an assessment criteria, with decisions needed on how skills and knowledge are qualified. Assessments, practical exams, paper exams, projects, dissertations and demonstrations are all options to test a candidate’s skills, knowledge and experience. This is where the help of our Relationship Manager comes in to play, along with a plethora of ready-approved standards and assessment programmes to give inspiration. There’s also the question of money, and the desire to put the training budget in the hands of the employer. During the development of the standard, the group will engage with providers to estimate the cost of the training involved. This will help assign a funding cap to the apprenticeship. Once this is decided, an employer

can ask providers to pitch for delivery of training based on the criteria set out in the standard. the government will provide funding to the value of £2.00 GBP for every £1.00 GBP spent by the employer in the form of discount vouchers up to the maximum funding cap. There will, of course, be discussion about the fact that training is also provided in-house by the employer company, and should therefore be considered - they are still fine tuning the system. Although the group developing the standard is formed, other employers are welcome to give their input and opinions, wider consultation is a must and has to be demonstrated before a standard is approved and crown copyright is assigned. Everyone involved so far sees this project as a great opportunity; it’s a complete reversal from the current system, from the inadequate to the employer-led. It’s another addition to our sector’s entry routes, entirely complementary to the industry-designed further and higher education courses, handing money and control to employers to ensure that there are opportunities for young people to become the next generation of skilled live event technicians. It’s our opportunity to create better opportunities. TPi www.psa.org.uk

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MOVERS & SHAKERS

Milos UK has appointed the UK’s largest truss and stage distributor, Impact Products (Europe), as the exclusive UK Master Stockists of the Milos Structural Systems range of truss and accessories. The new distribution arrangement will help to create a major centralised warehouse facility based in Northampton, with specialist sales and technical support for all Milos products. Dave Jeffery, Head of Impact’s Stage and Truss division, will be on hand to offer project support to Impact customers: “My team and I are available to assist customers with their enquiries, tenders and post-install enquiries, including rigging design and quotations.“ “Milos is a fantastic brand,” said Keith Williams, General Manager of Impact. “Their quality is unbeatable and their backup will allow us to provide the very best support to our customers before and after purchase. We can now turn an enquiry into a full drawing in hours, not days. If the customer is in a hurry, the enquiry can turn into a shipment the same day!” Roland Corporation U.S. has announced three new personnel appointments, in alignment with the company’s current strategic business plan. The announcement was made by Jay Wanamaker, President and CEO of Roland Corporation U.S., reflecting Roland’s on-going commitment to the expansion of the company and its brands. Steve Spak, who comes to Roland from KMC Music, where he was a consistent top performer, has joined the Roland U.S. team as District Sales Manager (DSM) for the MidAtlantic District, which spans from New York City to Washington, D.C. Daniel Lee has also joined the company as Local Marketing Specialist. Lee will augment Roland’s marketing initiatives and effectively partner with the dealer community as part of its Local Marketing effort. Ruby Biloskirka-Conley also joins the team as Social 78

Media and Content Specialist. Biloskirka-Conley comes to Roland with a background in the music and entertainment industry, having worked as a Keyboard Instructor at Musician’s Institute in Hollywood, a touring keyboard player for the American Idol band and a Keyboard Clinician for Roland U.S. Wanamaker said: “I am certain that Steve, Daniel and Ruby will all be great additions to our company. Each has their own unique skill set, which will contribute greatly to the overall growth and expansion of Roland U.S. and will enable us to work effectively toward our short and long-term goals.” Crowd management and event security specialist Showsec has taken significant steps towards completing a restructure of its crucial support services, by announcing two key appointments. The company has confirmed that Roy Wise will take up a newly-created position as Head of Product Resources, while Michelle Sparsis will join the company in the role of Booking Manager. Showsec is in the process of establishing a new Product Resourcing Department at the company’s Head Office in Leicester, in order to centralise the three key support services which play an important role in the operation of the business; Recruitment, Training and Booking. “These two appointments will provide us with the necessary experience and expertise to help drive the company forwards,” commented Mark Harding, Managing Director for Showsec. “The prime objective is to utilise all of our resources in a more effective way in order to enhance service for casual workers and clients,” Harding continued. “Nobody is better qualified to take on the lead role in this restructure than Roy Wise, his vast knowledge of the security industry has been a significant influence on the company throughout its development. Likewise, Michelle Sparsis brings a wealth of experience to Showsec

from her time managing call centre operations and enabling change and development within this role.” Wise, who vacated the role of Training and Development Manager at Showsec to take up his new appointment in the restructure, said: “I’m passionate about my work in the security industry and I am confident that this new department can make a big difference to the service which we deliver.”Sparsis, who joins Showsec after eight years working as a key figure in the management of the Leicester-based call centre for the online travel business Opodo, explained: “It’s an exciting challenge for me and I hope that my experience of developing call centres and managing change will serve me well in this new position.” Showsec is also gearing up for further expansion in the North of England with the appointment of two new Area Managers. The company recently divided its Yorkshire operation into two distinct regional operations following the recent restructure of the Manchester office, as it looks to maximise the potential for future expansion. Sam Hodkin has been confirmed as the new Area Manager for Leeds while Craig Bennett will take up a similar position in Sheffield. The two appointments represent yet another major endorsement for the company’s highly-acclaimed Management Development Programme, with a total of six graduates now serving as Area Managers. Alan Wallace, Showsec’s Regional Manager in the North of England, commented: “This is another significant step in the Company’s development throughout the region, which puts us in a very strong position to achieve further growth in the future. This is an exciting new challenge for Sam and Craig to take on. They have been given an excellent springboard through the Management Development Programme, which has created a strong infrastructure for

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MOVERS & SHAKERS

Opposite: Milos UK has appointed Impact Products as the UK Master Stockists of Milos range of truss and accessories; Sam Hodkin has been confirmed as Showsec’s new Area Manager for Leeds, while Craig Bennett will take up a similar position in Sheffield; Ruby Biloskirka-Conley joins the team at Roland U.S. as Social Media and Content Specialist. Below: Steve Spak has joined the Roland U.S. team as District Sales Manager.

us to promote from within.” Hodkin confirmed: “This opportunity is a dream come true, I look forward to continuing my journey with Showsec and embracing this fantastic opportunity.” This view was echoed by Bennett, who said: “I am thrilled to have been given the opportunity and I fully appreciative of the level of time, effort and support I have received at every step throughout my career with Showsec.” The ADJ Group has announced that a new management team will be running its European operation with immediate effect. The team will be responsible for the continued growth of all European-based companies including ADJ Supply Europe, Elation Professional and DuraTruss. The new management team is made up of familiar faces from within ADJ Europe and consists of Marc Librecht, European Sales Manager (Elation); Kris Dawber, European Sales Manager (ADJ); Jo Mulders, General Manager; and Sebastian Mobers, Purchase Manager. The new management team has been hand-picked by ADJ President Toby Velazquez. Discussing the change, Velazquez said: “These are exciting times for ADJ in Europe. In the last couple of years we have seen rapid expansion, with new warehousing and hundreds of new products. “In

order to cope with this growth it was essential that we move forward with a new management structure. The new team consists of veteran staff from all of our European operations, ensuring closer collaboration between myself and other top management members including Eric Loader, our Director of Sales for Elation and Acclaim, as well as Brian Dowdle and Alfred Gonzales from our ADJ USA headquarters team. This is a significant step for the ADJ Group of Companies, which will further strengthen our foundations in Europe.” Martin Audio has announced the appointment of Lee Stein as it’s new Vice President for North America. Martin Audio’s Managing Director, Luke Ireland commented: “Stein’s industry knowledge and organisational skill can only enhance the our strength in the US and help us build upon existing foundations to serve and grow our customer base over the next five years.” On his appointmenet, Stein remarked: “I’m thrilled to be part of such a highly respected and successful loudspeaker manufacturer as Martin Audio. They have a high-performing, broad product portfolio with the unique technology to solve everyday sound problems better than anyone else. Martin Audio has experienced great success

globally and has a stated desire to increase its US presence and I’m excited to be a part of that. My immediate goals will be to build the US team and to further develop long-term partner relationships, increasing our presence in both live and install markets.” TPi www.tpimagazine.com/jobs/

ASIA PACIFIC EUROPE

The CT Middle East operation is actively looking to strengthen its growing team of industry professionals and has vacancies for the following positions in the region:

MIDDLE EAST NORTH AMERICA

Senior Technical / Project Manager

Sales / Project Manager

An experienced Project and Technical Manager with a strong background in video and media technical delivery in the live event industry. The individual must have over 5 years’ experience of operating and managing live event projects at a high standard with the latest video and media technology, including projection systems, LED displays, switching and routing equipment, cameras and media servers. Any candidate should also have experience in system design and specification, as well a firm understanding of power and cable infrastructure. Strong I.T. and CAD drawing skills are also essential.

Experienced Sales / Project Manager to support the growth of the business in the Dubai and Qatar offices. The individual must have over 3 years’ experience in the broadcast/live events business ideally with knowledge of Video, Audio, Lighting and Scenic disciplines. The successful applicant will have a flexible outlook, a confident manner along with an ability to work under pressure. A key aspect of the role is the ability to be pro-active in generating new or repeat business and building upon the existing client network.

Based in Doha the Technical Management aspect of the role will cover our operation in Doha and Dubai, whilst the project delivery will include the entire Middle East region. The role will therefore involve considerable travel and extended hours during busy periods.

Based in Dubai the role will be UAE focused but with involvement across the entire Middle East region, often involving a fair amount of travel and with long hours being expected during busy periods.

Successful applicants will have a flexible outlook, a confident manner along with an ability to work under pressure. This will suit somebody looking for new and fresh challenges within a relatively small but growing professional team. In all cases a remuneration package would be tailored to an individual’s circumstances, and will reflect their experience and skill level. Consideration will also be made for relocation expenses. Creative Technology is a leading audio visual equipment rental and staging company with operations in Europe, Middle East, USA and Asia Pacific. We specialise in supplying video, audio, lighting and multimedia presentation solutions for conferences, exhibitions and live events. CT is continually looking for talented people across all disciplines and in all regions. In addition to the specific roles outlined we are actively seeking additional Sales and Project Management resource across our UK, Dutch, German and Spanish businesses.

Applications should be made in writing to Mark Elliott, enclosing your full CV: melliott@ctlondon.com All applications will be treated in the strictest confidence.

The TPi Production Guide

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VITAL STATS

VITAL STATS 169 Simon Jackson Profession: Business Development Manager, Sound Moves UK Date & place of birth: December 27, 1972, Crewe, Cheshire

“Being able to react is a key part of our operations in the summer. We research and prepare for every eventuality and build in contingency plans...”

How did your professional career begin? After leaving college, I worked in musical instrument retail, most notably in the drum department at Foote’s in Piccadilly. A few months before I started, Alan White had left to join Oasis, so a little part of me was convinced that I could do the same thing and be safely extracted from the dreadful metal band I was playing with in Reading. Not all dreams come to fruition and sadly this didn’t happen, nevertheless it was a great experience for me, as the West End theatre and session musicians were daily clients and I would listen to their anecdotes and advice with great enthusiasm, shock and awe. After growing weary of the four-hour commute, I applied for an opportunity with British Airways World Cargo. I started in the Call Centre and had moved up to London Sales Manager by the time I left to join Virgin Atlantic Cargo eight years later.

How and when did you get involved with the live event / touring industry? Martin Corr, the Managing Director of Sound Moves UK, contacted me in 2009 when he decided to create a new Business Development position. I got to know Martin as a customer during my time with the airlines. The office always intrigued me and during sales calls I took an unhealthy interest in the walls because they were adorned with posters of current and previous tours that the Sound Moves team had handled. To be fair, I think he thought I was a bit odd - so no doubt would fit in nicely. For those who don’t know, what can you tell us about Sound Moves’ services? As a freight forwarder, our core services include global air, ocean and road transport and customs clearance services. We also provide carnet processing, chartered aircraft, warehousing, hand carry and on-site project management. We provide consultancy for any event from conception to planning through to execution. Our clients expect and receive the very best service and support from our team of live event specialists. Freighting isn’t only important for seamlessness, but also for the smooth running of high profile festival dates. What kind of strategies do you implement during those busy summer months? Being able to react is a key part of our operations in the summer. We research and prepare for every eventuality and build in contingency plans. Our schedules can be affected by all sorts of things that are difficult to predict, for example wildcat strikes by ferry, airport or customs workers and work-to-rule industrial actions which can increase in the peak summer season, so we have to be prepared and ready to change months of advance planning at a moment’s notice. We provide clear communication with the client at all times. Once live, every tour and event, no matter the 82

size of the artist, is appointed a Tour Principal to manage and operate the project and that person is always contactable 24 hours a day. During busy periods we also add resources to the warehouse and activate bi-weekly operations meetings. Our business is now spread over 12 months as our list of clientele diversifies - only 60% of our business is music touring vs. 75% five years ago, so in fact what used to be our “peak months” are now all year round. The company has been nominated for - and has previously won at - the TPi Awards. How important are your relationships within the industry? Our relationships are key to our success. I see this with the new generation of tour managers, production manager and artists, who are working with their first freight budget, as well as with our long term customers like Jake Berry who has been working with Martin for 30 years. This is a good example of how the working relationship exceeds just a business transaction and becomes a friendship built on trust, knowledge and hard work. What acts will you be working with for the remainder of the year? Paul Weller, Fink, Kwabbs and Rick Wakeman for me this year. Since the new year, I’ve also been dispatching multiple trucks and air freight consignments to Baku, Azerbaijan for the inaugural European Games this June. Sound Moves UK continues to be busy with U2, AC/DC, Fleetwood Mac, James Bay, Usher, Katy Perry, Sadler’s Wells Theatre and Noel Gallagher to name a few. Can you recall a favourite live music experience to date? Dream Theater – Astoria ’93. Desert Island disc? Dream Theater – Metropolis Pt.2 Scenes from a Memory (notice a pattern?)

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