TPi August 2018 - #228

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • AUGUST 2018 • ISSUE 228

THE ROLLING STONES

TOURING TECH WITH THE ROCK ‘N’ ROLL LEGENDS

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GEAR HEADS: POLECAM • AREA FOUR INDUSTRIES AMERICA - WEST • BEYONCÉ AND JAY-Z: OTR II BACKSTAGE WITH HAIM • ROSKILDE - DENMARK’S PREMIER FESTIVAL PRODUCTION • PSA

AUGUST 2018 #228

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EDITOR’S LETTER

LOAD-2-NET

SUMMER SWAGGER Mick Jagger - who takes to the stage for this month’s cover story - turned a mighty 75 recently, and we can confirm he still moves... well, like Jagger. Ste ventured to Prague to watch the timeless band’s lively stage show take shape in Europe, and was not disappointed. Turn to Pg. 32 to journey backstage with one of the planet’s most successful rock ‘n’ roll acts, and the analogue sounds that come with them...

In contrast, Beyoncé and Jay-Z led the way in stadiums as their must-see collaboration, On The Run II, brought its slick stagecraft to UK shores. The result drew crowds from across the country. Find out how the team behind the world’s biggest touring power couple put on this latest production feat on Pg. 44.

On my travels I visited the HAIM camp to hear from the tech team that delivered in style for the musical sisters. The female prowess and empowering attitude left fans elated, but the tour’s beautifully lit stages stole the show for me. Read all about the ‘power of 3’ on Pg. 80.

I could go on (and on) about all of the gigs, festivals and events we’ve been to lately. The rule that arena touring doesn’t tend to happen at pace during the summer usually stands, but 2018 has been a hectic exception to say the least! The industry seems to be doing outstandingly well, and everyone we know is exceptionally busy, including us. No doubt some of you have heard or seen that we have a new recruit at TPi HQ, with Lyndsey Hopwood joining the team. Already part of the family since her BPM | PRO days, we’re really pleased to have her on board!

Speaking of teams, Lauren and I will be taking part in a Tough Mudder event (I know, I’ve asked for a double gin to be on the finish line) in order to raise money for Music Support. If you’d like to sponsor us for a very worthy cause, please get in touch!

Kel Murray Editor EDITOR Kel Murray Tel: +44 (0)161 476 8360 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk

CHIEF EXECUTIVE Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

ASSISTANT EDITOR Ste Durham Tel: +44 (0)161 476 8385 Mobile: +44 (0)7891 679742 e-mail: s.durham@mondiale.co.uk

GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Zoe Willcox: z.willcox@mondiale.co.uk

ASSISTANT EDITOR Stewart Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk ADVERTISING EXECUTIVE Lauren Dyson Tel: +44 (0)161 476 9119 Mobile: +44 (0)7415 773639 e-mail: l.dyson@mondiale.co.uk ADVERTISING EXECUTIVE Lyndsey Hopwood Tel: +44 (0)161 476 8360 Mobile: +44 (0)7800 557094 e-mail: l.hopwood@mondiale.co.uk GENERAL MANAGER - TPi MAGAZINE & AWARDS Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk www.tpimagazine.com www.tpiawards.com

ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk MONDIALE GROUP CHAIRMAN Damian Walsh

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DIGITAL EDITORIAL ASSISTANT Jacob Waite: j.waite@mondiale.co.uk EDITORIAL INTERN James Robertson COVER The Rolling Stones by Manfred Vogel PRINTED BY Buxton Press • www.buxpress.co.uk Issue 228 - August 2018 Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW).

Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk

TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence.

ISSN 1461-3786 Copyright © 2018 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 2018 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.

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ITINERARY

EVENT FOCUS

32

08

Pearl Jam Live 2018 Stew speaks to LD Kille Knobel.

12

Lionel Richie Serious Stages and Arena Seating were on site at The 1st Central County Ground.

16

Holland Zingt Hazes The late Dutch singer André Hazes was honoured in style.

22

26

28

British Summer Time Capital Sound provides flawless audio for Roger Waters

Grayscale version C/50 M/50 Y/50 K/100 C/0 M/0 Y/0 K/0

Black version C/50 M/50 Y/50 K/100

SERIES

Coda Audio Demo Day A look at the company’s latest tech.

PSCo - Rental in the Park

PRODUCTION PROFILE 32 Rolling Stones Ste meets the crew behind the band’s gargantuan No Filter tour.

44

White version C/0 M/0 Y/0 K/0

44 Beyoncé & Jay-Z: OTR II The power couple team up for this outrageous live production.

58 Giudizio Universale Panasonic, Bose Professional and Osram join forces for an immersive show.

66 Roskilde Festival Stew was on site to experience the famed non-profit extravaganza.

74 Flight of the Conchords The comic duo take to the stage.

66

12,000 LUMEN LED SPOT FULL FEATURED COMPACT DESIGN

80 HAIM Kel meets the crew behind of the most in-demand live acts of the day.

MARKET FOCUS 88

TPi profiles the industry’s latest immersive audio offereings.

FESTIVAL FOCUS 94

This month: Parklife, Farr Festival Bonnaroo, and much more...

INTERVIEW 106 Glen Rowe unveils NEKO Trust.

IN PROFILE 108 Area Four Industries America - West.

74

PRODUCTION FUTURES 112 We talk to Adlib’s Billy Bryson.

CLOCKING OFF 113 TPi takes to the sky in the name of Stage

Hand & Backup.

GEAR HEADS

22,000 LUMEN LED PROFILE FULL FEATURED FRAMING

14,000 LUMEN HYBRID LED / LASER PHOSPHOR ENGINE

114 Polecam’s Steffan Hewitt discusses the

company’s latest innovations.

PSA: THE BIGGER PICTURE 116 Samantha Gruskin discusses the issue of workplace incidents.

INDUSTRY APPOINTMENTS

80

118 The latest movers and shakers.

BACK CHAT 122 TPi sits down with NEWSUBSTANCE’s

Creative Director, Patrick O’Mahony.

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EVENT FOCUS

PEARL JAM Seattle rock band Pearl Jam, crossed the Atlantic this summer for a few select performances ranging from headline arena and stadium slots, to sought-after festival stages. TPi’s Stew Hume spoke to long-time LD, Kille Knobel, about the band’s distinct and scalable look for their 2018 campaign...

Last year was a landmark period for Pearl Jam; after nearly 3 decades of touring behind them, the band were inducted into the Rock & Roll Hall of Fame. Far from taking their foot off the pedal, it seems this new status has ignited a fire and presented new goals. Not only did 2018 see the band drop a new single from their forthcoming album, but they also announced their longest European tour in recent history. The tour, saw a varied schedule and the band played several 360° arena shows along with their festival appearances. Despite moving through a variety of performance spaces, each show had a distinct feel and style that was unmistakably Pearl Jam. Design-duo Kille Knobel and Spike Brandt have overseen Pearl Jam’s visuals since the turn of the millennium. Speaking prior to their final night at London’s 02 Arena, Knobel spoke of her time with the band so far, and the vision for the tour.

With Pearl Jam’s visual show becoming more ambitious over the years, the LD asserts that she still remembers that the focus still has to remain on the band. She recalled how, last tour, frontman Eddie Vedder encapsulated the vision he had for the band’s live show in a single metaphor. “He said to me, ‘Think of the band like the main meal and the lighting as the seasoning… too much and you can no longer taste the meal!’ It’s all about the balance, in essence.”

This meant Knobel sometimes had to pull on the reins of the lighting rig to ensure the band and music remain at the forefront. Just as they have for previous tours, the 2018 run saw Brandt and Knobel split design responsibilities down the middle. “Simply put, I deal with lights while Spike handles the scenic elements,” stated Knobel. She explained that neither department takes priority, working harmoniously to create a cohesivelooking live show. Helping create the Knobel-Brandt vision were suppliers 08

PEARL JAM

Below: The dedicated visual team on the last day of the European tour.

TAIT Towers for staging and Upstaging for lighting.

Knobel wanted to ensure that each show had a variety of looks, with automation playing a key role in its development. Using TAIT Towers’ Navigator system, Knobel was able to control several moving parts including 11 trusses, 14 custom LED spheres, a mirror ball and the gigantic, ‘Hero’ sphere (more on that later). Yes, you read correctly Knobel is controlling automation, all via her trusty MA Lighting grandMA2 desk. “I just think of each piece in the same way I would a moving light,” explained the LD, modestly. “To explain what shapes I want to create with 95 plus songs to program, to another operator would be a disaster!” she laughed. Admittedly, the LD sometimes needed backup juggling the roles.

Watching her back throughout the tour was Automation Crew Chief, Mike Rock, who was able to take over the automation elements if Knobel had to throw herself into the design aspects or manage an on-the-fly song changes. “Working on Pearl Jam is worlds apart from most shows,” Knobel explained. “We get the set list 10 minutes before they hit the stage - if they even keep to it!” In that vital 10 minutes Knobel, Rock and the rest of the visual team look through the 2-hour set, highlighting any potential

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issues, such as songs that may not have a solid design. “They simply have too much material to create cues for every song,” she stated. “If they play a track which we haven’t programmed, then I often repurpose a vetted design of a similar tempo, editing on the fly.” The show file that has been created for the tour is “not for the faint hearted,” the LD stated, while discussing the size of the show. Aiding the veteran LD in the programming was Lead Programmer, Eric Marchwinski along with Joe Bay, Andrew Giffin and Joe Cabrera who took on the gargantuan task. The rest of the visual crew consisted of Franklin Antonio, Dave Sulch, Neil Smith, Stuart Lee and Darragh McAuliffe. Finally completing the autoamtion team were Andrea Espinoza and Barbara Pinnow.

This season’s major workhorse fixtures included 42 Claypaky Scenius Unicos, 39 Robe Spiiders and 11 Philips Vari-Lite VL4000’s. All 3 fixture types were rigged on the automated trusses along with the TMB Solaris Flare Q+ LR fixtures, which created the backbone of the design. “The original Scenius had been my favourite ‘hard edge’ fixture for some time,” stated the LD. “When Claypaky brought out the Unicos I was intrigued and immediately began putting them on the rig. I’ve not been disappointed!”

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PEARL JAM

Above: Andrew Giffin and LD Kille Knobel sitting at FOH.

The crew used GLP’s impression X4 and X4S and conventionals to fill out the set, being placed into every “nook and cranny” of the stage. Also featured on the rig were, 6 Philips Color Kenetics Colorblaze 72’s and 16 Robe Spikies.

Knobel also had several other lighting sources at her disposal.

Expanding on a concept explored on the last tour, the LD commissioned Upstaging’s Travis Shaffer to produce 14 LED spheres which, alongside the automated trusses, created a changeable landscape. The largest element at the scenic department’s disposal was the Hero. Aptly named, this giant structure, created by TAIT Towers, contained the 16 Robe Spikies and 6 TMB Solaris Flare Jrs. The 360° emitting structure was used at various points during the show, giving a modern take on a traditional mirror ball gag.

For followspots, Knobel opted to join forces with Follow-Me. Due to all the automated elements, the LD needed a solution where any light could be used as a spot. Having used other remote follow spot systems, she is well versed in the technology. “But the Follow-Me system gives LDs a tool that has never been available until now,” she enthused. She explained how the system gives LDs a chance to move away from the traditional ‘one fixture to one operator’ paradigm, really opening doors for the designer. She continued: “I have to praise the team at Follow-Me. We were asking a lot as they had to figure out how to use the real time data from the TAIT Navigator system to calculate where the lights were in space at any given moment on this fully automated rig. What they produced meant the fixtures could accurately follow when trusses moved positions or were in motion.”

The tour’s Video Director [and TPi Award winner] Blue Leach, handled IMAG content. “What Blue produces is far from regular IMAG,” said Knobel, as she described the artful treatment of the director. Leach’s relationship with the band goes back a long way too, after he became a fan in the early ‘90s. Having been a bucket list job for the director, he finally got his shot in 2013, dropping a whole year’s schedule for a chance to work with the band for a one-off show. A gamble that thankfully paid off...

“I approach Pearl Jam shows as a film shoot rather than a live performance,” stated Leach, who looks for more interesting angles than typical front-facing footage, allowing the screens to capture the feeling of the various tracks. Helping the Director achieve this goal was a team of

camera operators provided by supplier video vendor, Creative Technology [CT].

The company also provided a camera package consisting of 4 Marshall Electronics Minicams, 2 pit cameras with track and dollies, 2 Camera Corps Q-Ball 3 and a Panasonic ENG camera for a locked-off wide shot. Lastly, there was a Wireless Guitar RF camera which has been developed by CT. Also on the rider were 7 Black Magic Design HyperDecks and 2 H.264 video converters, enabling the crew to handover full footage to the band via USB at the end of each show. The cameras and content was all run via a Panasonic AV-HS6000 2ME PPU system, which was adapted to connect via fibre to the bespoke FOH control unit, allowing Leach to mix out front. “It’s something I demand on every show,” he stated. “It’s important to see the IMAG screens, rather than use a HD screen backstage as a reference. This way the fans receive the ultimate visual experience.”

Jim Liddiard, CT Project Manager, commented: “Blue is an extremely talented Video Director and the end results were stunning. It was great fun adding bespoke grip to find some unusual angles of the band. They’re so dynamic, it makes for some incredibly filmic shots which really brought the show to life.”

With the European leg coming to a close, Knobel expressed her sadness at saying goodbye to another dedicated crew. “This tour has been fantastic,” she smiled. “I’m only as good as the crew that works with me and I have nothing but love and gratitude for everyone that joined us on this run.”

With the UK and Europe conquered, Pearl Jam return to America in early August for two hometown shows in the birth place of their genre as well as stadium shows in Montana, Chicago and Boston. The Seattle Home Shows mark the first gigs of the US dates and no doubt fans expectations will be met when the iconic rock stars take to the stage.

TPi Photos: Andrew Giffin and Rob Skinner www.pearljam.com www.upstaging.com www.taittowers.com www.ct-group.com 10

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EVENT FOCUS

LIONEL RICHIE TPi caught up with Lionel Richie’s All the Hits tour at The 1st Central County Ground to meet the crew who created the infrastructure for the singer’s loyal fans.

With a successful career that spans decades, Lionel Richie is one of the world’s most renowned artists on the planet with hits such as All Night Long, Endless Love, and Hello, recognised by every generation. Richie’s popularity in the UK has risen since his 2015 Glastonbury appearance and this June, he made his return to the UK with his 13-date All the Hits tour.

The tour’s technical production was specified by Richie’s management, bringing in SSE to supply the PA, Neg Earth for lighting and VER for screens.

TPi visited The 1st Central County Ground, home of Sussex County Cricket Club - a factor which, during the season, added to the usual logistical challenges.

Marshall Arts’ Production Coordinator for the tour, Anna Parry said: “Marshall Arts has amassed a lot of experience taking artists to sporting venues. The venues love it as it generates revenue and connects them with a wider local audience. From our side it’s great to expose the artists to new audiences they haven’t played to before.” But of course these venues weren’t designed to host concerts, which gave the production a logistical challenge that fell outside of the tech production and into the site elements.

Thankfully Marshall Arts had already worked with the venue back in 2011 and has developed the knowledge how to turn a cricket ground into a concert venue in a very short period of time.

“This particular venue was selected as it’s such a lovely place with great facilities and they were keen to host concerts,” said Parry. “Concerts held at Hove Cricket Ground are a great experience for fans as the place still feels intimate despite having 18,000 people here. The whole surrounding residential area also got involved as they watch and sing from their balconies - it adds to the fantastic atmosphere of the event.”

Despite the local support, working in a residential areas did create limitations that the production had to work around. These included working curfews, which had a major effect on work. This only allowed Marshall Arts to load in or out at certain times with all lighting checks having to be completed before a set time in the evening. Similarly sound checks could only be done on the day and had a tight, strict schedule to pull it off.

Parry was appointed the role of Production Coordinator at Marshall Arts having worked with and learned from the company’s vastly experienced Michael Stewart. “Marshall Arts organised many elements of the concert, including the stage, seating, infrastructure, track-way and disabled platforms,” Parry explained. “We had a lot of meetings and discussions so we could plan for the build and ensure that we finished the set up in the strict time frame. This has been a great team effort from all of the brilliant suppliers we’ve worked with on this tour.”

12

LIONEL RICHIE

Above: Serious Stages’ Project Manager, Tim Norman; Marshall Arts’ Production Coordinator, Anna Parry; Howling Productions, Mark ‘Wolfie’ Wolliscroft.

The tour had a total of 5 site managers over the 11 dates. Mark ‘Wolfie’ Wolliscroft of Howling Productions managed 3 dates of the tour, including the event at the cricket ground. He said: “Timing is of the essence at this venue. I’m lucky to have worked here as Site Manager for the Elton John concert which meant that I’ve learnt from experience and implemented a better plan.

“Working closely with Anna, we made sure that we planned ahead and ensured that all the suppliers arrived at the correct times as loading was limited to between 8am and 8pm to keep residents surrounding the ground happy.”

Due to space constrictions, suppliers could only unload 2 arctic trucks at a time, which meant all personnel had to adhered to a tight schedule.

Additionally, Wolfie had to liaise with the venue’s groundsmen to ensure that the grass wasn’t damaged as a result of the event. In addition to the Lionel Richie concert, Little Mix was scheduled to play 2 weeks later. “We had to take everything away so the grounds men could work on the grass in-between both events,” stated Wolfie. “This kept any damage a minimum as a cricket game was due to be hosted only days after the Little Mix concert. Everybody worked together to make this event a success and Anna played a huge part in that success.”

Also singing Parry’s praises was Serious Stages’ Project Manager for the tour, Tim Norman. He said: “Anna has taken over as production manager and she is fabulous. She’s calm under pressure and is very resolute in getting things done and bringing order.”

Serious Stages supplied 3 especially adapted TZ tower stages, measuring 20m, which were smaller versions of the company’s 25m TZ roof.

Specific adaptations were made to compress the standard configurations of the system to fit the client’s specifications and needs.

“The 20m stage still more the comfortably accommodated the tour’s technical requirements, while reducing the need for 2 artic lorries per system. This cut load-in / load out times, and also minimised costs, so it was a great result.

With 6 cross stage trusses, the stage’s 48-tonne load capacity was more than enough to carry the lighting and 5 portrait screens. A pair of 7m wide goal-posts flanked the stage carrying further portrait screens and flying the PA from a swan’s neck and out-rig.

Arena Seating supplied a range of the company’s audience flat and grandstand seating across all tour dates to augment the ground’s own permanent seating to ensure fans’ comfort.

Arena has worked with promoter Marshall Arts for many years across a range of outdoor venues. For this particular tour, Arena Seating supplied over a 100,000 seats with 18,000 of those for the The 1st Central County Ground concert.

Dave Withey of Arena Seating, said: “It is great to see this tour selling so well at these new destinations for Lionel. We exceeded previous capacities at Sussex County Cricket Club. Despite the challenging nature of the venue, the event was a true success as we were still able to offer a large capacity.”

Arena also worked to a tight schedule for getting the seats into the stadium, installing them and numbering each of the 18,000 temporary seats, with clear signage so that concert-goers to locate their seats quickly and easily.

The success of the Lionel Richie (and subsequent Little Mix) concerts at Hove reflect a trend of more sport stadiums looking to host concerts and promoters taking gigs to new audiences. These venues may prove challenging as they are not designed with gigs in mind and its apparent that an expert production crew is invaluable to achieve the level of success of these recent concerts.

TPi Photos courtesy of Plaster www.lionelrichie.com www.marshall-arts.com www.stages.co.uk www.arenaseating.com 14

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EVENT FOCUS

HOLLAND ZINGT HAZES...

AND THE 2018 HOLOGRAM Holland Zingt Hazes, a series of concerts celebrating the life of Dutch singer André Hazes, returned for its sixth consecutive edition in 2018. Taking place in April, the concerts spanned 4 days, over 2 weekends. TPi reports on the latest technical innovations and creative vision of the teams behind ‘Holland Sings Hazes’, which was started as a homage designed to keep Hazes’ music alive...

MediaLane, an independent production company that focuses on content creation, takes each year working on this event as an opportunity to top its previous production quality. The introduction of a hologram of André Hazes in 2017 meant that this time around, audience expectations were at fever pitch. With 4 sold-out shows in front of a 16,000-strong fanbase per night, the pressure was certainly on for the crew.

“Holland Zingt Hazes is unique in the fact that the fans return annually to hear the exact the same 40 Hazes hit songs. But each time, with different

combination of star vocalists and never-seen-before technical additions,” explained Patricia Khemili-Kok, Director at MediaLane, who has been involved in the Hazes project since its first production. “I know exactly what our audiences expect - and those expectations get more demanding year on year.”

To assist in the expansion of the show, MediaLane tasked Sightline Productions and its visuals department, Prevyou, to top previous efforts, and the challenge was accepted. Sightline’s Sander Van Der Ham, the show’s Set Designer, wanted to take the show back to basics by exploring 16

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STAGE DESIGN & VISUALISATION

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the idea of who André Hazes was as a person. Finding his answer in and the look of the houses in the video content were refined. At this point, Hazes’ hometown of Amsterdam, Van Der Ham went about recreating an Sightline decided to integrate Notch software to allow for real-time control Amsterdam street for the set design as the backdrop for the live stage of the virtual environment. The show’s impressive video elements included show. Khemli-Kok commented: “The mind-blowing visual effects of a 3D 336sqm of Glux LED panels, and to film the various angles, 15 cameras, Amsterdam street scene in which we experience a ‘year in the city’ is the including 2 on cranes and 3 in recording cars, were used. perfect example of the synergy between Sightline and MediaLane.”

Ton Swaak of Tenfeet, the licensee of Notch in the Netherlands, To make this look as realistic as possible, location visits to Amsterdam commented on the video setup for the Amsterdam street: “To obtain this were planned to look at the details and exact look, a high-res LED wall was used covering the full shapes in the housing and street architecture. width and height of the stage and measured 32.5m Van Der Ham wanted to keep the buildings as x 13m. close to reality as possible, while also taking into For such a technically ambitious project, Swaak consideration the size of the popular arena venue. and his team needed the right equipment to This resulted in a search for the best way to scale ensure everything ran properly, as he explained: back the dimensions while still allowing the use of “Because we went for the most realistic look, real doors in the physical décor. and tweaked Notch to its maximum capabilities, In order to make this look and feel as if you we had multiple blocks with multiple layers set were really watching a street performance, Van Der up on two machines; a Barco S3-4K Compact Ham wanted to break the boundary between the Event Master Processor and a Barco EC-50 Event “With this show complete, physical set and the video content of the virtual Master Controller. While one was rendering and we made a new step in set. By having the lighting of both the physical and outputting to the screen, the other was loading the creating something unique. the virtual take place at the same time, and in the next block. Therefore, we didn’t have to make any same way, he created more depth which resulted compromises to the realism of the look by loading We are always open to ideas in an optical illusion for the crowds. Finding the multiple blocks onto one machine.” and getting the right tools & ideal vanishing point in the video content resulted The show gave Swaak the chance to be part in a smooth front line of the housing, and thus, the of creating something brand new, and Notch people in to bring a show like optical illusion optimal. software used in conjunction with a Green Hippo this to life...”

Once MediaLane approved the design in late Hippotizer media server helped to make that a 2017, the final incarnation of the physical houses reality. “With this show complete, we made a new Ton Swaak, Tenfeet 18

HOLLAND ZINGT HAZES

step in creating something unique. We are always open to ideas and getting the right tools & people in to bring a show like this to life. With the Green Hippo Hippotizer & Notch constantly developing in terms of power and features, we are getting the latest tools to work with.”

Swaak continued: “The lighting placed in each the scene was controlled by the LD from a separate lighting console, an MA Lighting grandMA2.

By doing this, we created a unity within the lighting & video worlds, fully integrating for the live show.”

The show’s lighting elements saw a rig made up primarily of Robe fixtures and specified 7 Robe Robin BMFL Washes, 102 Robe Robin Pointes, 95 Robe Mega Pointes, 500m of festoon lighting and 6 Robert Juliat Aramis Followspots.

With the Notch building blocks in place, realism was top priority for Swaak focussed on creating the right shadows & reflections and finding the balance between maintaining the realistic look and the best, well-lit performance space.

With both the scenic backdrop created, and the visuals approved, Van Der Ham then had to find a way of updating the 2017 hologram for the next generation of concerts. MediaLane turned to Eisko, a company specialising

in creating digital doubles, to create and render the new hologram of André Hazes at the company’s French HQ. This was managed by using an actor, who was hand-picked by the Dutch team. MediaLane and Sightline Productions gave the hologram a special spot in one of the Dutch houses built on the stage, as well as interacting with the host for live realism, as well as ensuring constant viewing points were realised for the audience.

By using live, over the shoulder shots, mixed in with real time scenes and images of the previously created hologram, the team successfully added an extra dimension, and the results received a huge reception.

With so much riding on new technologies the risks were high, but with such a proficient team, Khemili-Kok was confident in their abilities. She concluded: “Thanks to the expertise of Sightline Productions, the gamble really was worth the hard work... I have grown to trust them implicitly.”

TPi Photos: J Lousberg www.hollandzingthazes.nl www.medialane.nl www.sightline-prod.com www.tenfeet.eu 20

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EVENT FOCUS

MARTIN AUDIO ON A HIGH IN HYDE PARK Capital Sound fields 318 MLA series enclosures at BST for Roger Waters - the largest deployment ever.

Now enjoying its sixth year at Hyde Park, AEG Live’s Barclaycard Presents British Summer Time (BST) has now settled into a proven and established formula, since its sound reinforcement partner, Capital Sound, and its premier loudspeaker system, Martin Audio’s MLA, have been fully optimised the sound site-wide.

Maintaining the status quo, Capital has rigged the main stage and outfield identically to 12 months ago, with one major exception.

Providing the spectacular curtain raiser to the 10-day festival, Roger Waters brought his Us + Them tour to the UK for the first time. Waters had already taken his sonic and visual experimentation to breath-taking levels at Desert Trip in 2016, with the biggest surround sound system ever built.

To create maximum impact at Hyde Park, Capital was asked to provide an additional 12 hangs of MLA/MLA Compact on towers positioned through the concourse for one night only.

These provided 12-point surround sound effects, at positions set by Loud Sound’s Dan Craig and fine tuned by Roger Waters’ sound team, as

part of the show to give the audience an immersive experience that had them gripped from the beginning as the sound chased around the site.

The auxiliary towers added a further 112 MLA/MLA Compact cabinets to the existing total of 206 MLA series cabinets deployed in the Park. With 318 enclosures in total, this was the largest deployment of MLA at a festival anywhere in the world, eclipsing that of Rock in Rio and Glastonbury.

That same weekend, Capital Sound was also servicing the Volt/Balaton festivals in Hungary, followed by Kew the Music, which added a further 149 MLA family enclosures in use at the same time.

Back at Hyde Park, for the remainder of BST, the main Great Oak Stage is equipped with 2 hangs of 16 MLA and 1 MLD Downfill per side, with 13 MLA and an MLD Downfill for the sidehangs. The sub array consisted of 32 MLX in a broadside cardioid design (21 front facing, 11 rear facing).

With 12 MLA Compact serving as front fills all MLA components are operating on the same network.

Out in the field, there are 9 main delay towers, 7 comprising 7 MLA and 22

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a single MLD Downfill, while for delay positions 10 and 11, 8 MLA Compacts are deployed. 4 of the positions are supported by 12 MLX subs.

To support the 12-point surround sound set-up, Capital designed a new Optocore multi-node system based around 21 X6R-FX-8AE/8MI interfaces and an Optocore DD32R-FX at FOH to accommodate an AES signal distribution. The company deployed all its own Optocore interfaces with Gilles Bouvard’s GB4D in France supplying additional surround sound units - linked by 24 lengths of multimode fibre across 1km of the site to create the loop - and the DD32R-FX AES interface.

The system provided a mesmerising soundscape for Roger Waters as he worked through an epic 21-track performance spanning many Pink Floyd albums, with classics such as Breathe, Us And Them, Time and Wish You Were Here - as well as several tracks from his solo album Is This The Life We Really Want?

A very clear political voice drummed throughout, seen during the performance of Another Brick In The Wall (Part 2), with school children from the Grenfell community taking to the stage dressed in Guantanamo Bay prisoner boiler suits, with t-shirts bearing the one word - ‘RESIST’.

This theme continued following the interlude. With Waters’ grandiose visuals projected on screens out from the stage, a series of images and quotes from President Donald Trump flashed across screen. Also appearing was an inflatable pig parading through the crowd, Battersea Power Station chimneys extending above the stage, and even a Dark Side Of The Moon prism created from lasers.

The show ended with a stupendous rendition of The Wall classic Comfortably Numb and a firework display.

The anticipation for Waters was fuelled by vintage performances by Richard Ashcroft and Seasick Steve, which took place beforehand on the Great Oak Stage.

The opening day line-up attracted stars in their droves, including Richard Gere, Damian Lewis, Kate Moss, Liv Tyler, Helen McCrory, Sadie Frost, Simon Cowell, Jeremy Clarkson and Michael Kiwanuka. And they were always within distance of the crystal clear signature sound of MLA. Away from the Great Oak Stage, Capital equipped the VIP Pavilion this year with 12 Martin Audio Blackline F8+.

On the Barclaycard Stage (Stage 2), 8 MLA Compacts are flown on each side of the stage, along with 14 of the new Martin SX218 subs, while the popular Martin Audio DD12’s provide front fills.

The Moretti Bar, which runs through the midweek from MondayThursday, features a full Martin Audio system comprising a pair each of DD12 and CSX-LIVE 118 subs for the live stage with 4 Blackline F12 stage monitors, while the bar area features a distributed system of DD12, DD6 and PSX subs.

Leading Capital’s 24-strong crew are Martin Connolly, Account Manager, Great Oak Stage, with Capital Operations and Development Director, Paul Timmins, taking responsibility for the other stages. Al Woods returned from Dubai to serve as Main Stage Crew Chief. For Martin Audio, Jason Baird provided system alignment and propagation tests, while Chris Pyne lent additional MLA support.

Summing up the opening event, Timmins said: “This is up there in my top 5 shows of all time. We’ve never built a surround sound system on that scale, and we were not only firing low-level FX but high level sources around the site, which needed to be contained. But with everyone working to a common goal - we were able to meet all sound level challenges, and the reviews of the sound system in the serious media the following day were 100% positive.”

Martin Connolly agreed: “Roger Waters’ production team - including Sound Engineer, Jon Lemon, System Tech, Dean Mizzi and Josh Lloyd, who did the set-up with our System Tech, Toby Donovan, achieved everything they wanted. All have sent us emails thanking us, and we are delighted with the result.”

Of the event, Lemon said: “The Capital team did a great job and worked so well with Dean and Josh, as well as Toby and the team. We pulled it off!”

Thus a site that was once thought to be unworkable because of the way punitive offsite sound thresholds had impacted on sound levels in the bowl, has now been consolidated by Capital Sound, and a combination of Martin Audio’s flagship MLA PA and its DISPLAY optimisation software.

Summarising the festival as a whole, Martin Connolly stated that wholesale complaints from Mayfair and Kensington residents was now a thing of the past. “No-one really raises the question of restrictive sound levels any more,” he said.

TPi Photos: Sophie Hoult www.bst-hydepark.com www.capital-sound.co.uk www.martin-audio.com www.optocore.com 24

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EVENT FOCUS

CODA AUDIO UK DEMO DAYS The speaker specialist hosted a brace of product demonstrations at the Dominion Centre in London’s Wood Green to shed light onto 2 of its main product lines - APS and TiRAY.

determine the angle, a clever feature has been built into the grill, which will tell the user what angle they have on the most part of the Coupler.

“The subwoofers in the APS Series go down to 28Hz, which if you compare with other companies that have Infra subwoofers in their range, it’s only those Infra subs that go down as low as our regular subwoofers, it gives us something extra to offer,” said Fraser. “Similar to the tops, it’s an easy system to use, put equal boxes per side or hang sub-arrays. The whole system is so small and compact that it fits in a regular sized van!”

CODA Audio’s TiRAY (small line array system) was also on display, a series of top boxes that can go down to a useable 70Hz, or if a single 12-inch flyable Lo Frequency extension box box sits at the bottom of the array, it can achieve 40Hz. The TiRAY at the Dominion Centre was demonstrated with a U4 Universal Subwoofer- a dual 18-inch subwoofer, ideal for installations providing a frequency response down to 30Hz. The CUE Series of stage monitors were put to the test. “We’ve got 2 of the 4 monitors from the range and they go very loud,” added Fraser. “Today, we have the CUE One, a dual 12-inch and for our drummer and keyboard player, there’s a 1.4-inch coaxial driver inside too, with a dispersion of 55º up and 40º down. It’s a real 143dB peak SPL monitor and weighs 32kg.

“The CUE Two is a triaxial, 3 -way, 15-inch box and is very compact at just 25kg. When you look at a touring rig and you want to have a stereo monitoring system but it’s got to come in at a certain price point, that’s where we come in - we’ve got the performance, they sound great and they go really loud,” he explained. Fraser also brought in a couple of HOPS 8 and HOPS 5 cabinets for attendees to listen to as front / side fill to show of the flexibility of the high output point source systems.

With the presentation complete, visitors were encouraged to walk around the space, listening to the two different systems playing a series of tracks. The monitors, in particular, were definitely put through their paces by the in-house band and were met with a positive reception from the audience. An Allen & Heath dLive system was used for mixing requirements on the day.

Summing up the 2-day event, Fraser said: “We would like to thank the Dominion Centre for the use of their facility and of course thank so many people coming out to hear just how good CODA Audio is. We look forward to expanding the business in the UK with significant partners.”

TPi http://codaaudio.com

Having worked with the Dominion Centre for many years, CODA UK’s Technical Sales Manager, Scott Fraser said it was an easy demo space to choose. The centre - formerly known as Edmonton Temple - has a multicultural congregation, representing a diverse range of nationalities.

Fraser hosted 2 demo days at the venue on 10-11 July, inviting engineers, system integrators, distributors, end users and press to attend. First up for demonstration was APS, with 3 tops stacked atop 3 subwoofers. “APS is unique in that fact that if you get up and walk around the room, you can’t actually hear the separation point between the boxes,” Fraser explained.

Normally with a point source system, when you walk around the room from left to right, you’d hear the separation point. But due to CODA Audio’s advanced design using the DDC assembly with its APS-Coupler we have entirely removed that problem. The series is extremely versatile, with options to stack or hang the boxes in a variety of configurations. “If you use 20º APS boxes, you can make a complete circle using 18 of them,” he continued. A total of 18 APS tops, the amplification and all the rigging weighs in at just 750kg - making it a lightweight solution for its capabilities.

When the Coupler is added to the mix, the dispersion pattern of the boxes can be altered. The Coupler combines the energy from all transducers to perform as a single source. For the demo set-up, Scott used three 90º boxes (45º up and 45º down) and 20º wide, so altogether it offered 60º by 90º. It’s an option to make the dispersion asymmetric and to help 26

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CODA Next Generation Advert - TOTAL v2.indd 1

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EVENT FOCUS

PSCO’S RENTAL IN THE PARK In July, trade only rental and distribution company, PSCo, held a technology open day at Surrey’s Thorpe Park in order to showcase the latest tech, including Epson projectors, Absen LED displays and Samsung large format screens. The day was a key networking opportunity for manufacturers, rental companies and distributors to engage and discuss the newest innovations. PSCo, a specialist in LED and laser projection, invited TPi along for the ride. Ahem…

PSCo was proud to partner with Midwich Group companies, Sound Technology and Holdan, for Rental in the Park, a mini trade show style event that targeted specific end users and buyers. The location? A popular theme park in the South of England, which enabled attendees to relax after business chat. PSCo Marketing Executive, Robyn Dow, stated: “We are proud to welcome Holdan, Europe’s largest pro video and broadcast distributor to the fold; Holdan showed 4K studio cameras and live production equipment that can shoot, mix, record and stream every kind go production at broadcast quality.

“PSCo was also happy to reveal the Absen Polaris 2.5mm LED, a brand new addition to the PSCo rental fleet, which is now available for sale.

The PL2.5 provides all-round performance in any application, from eyecatching signage in exhibitions and detailed presentations in corporate events, to excellent visual performance in live broadcast application.”

Outside, amidst a backdrop of rollercoasters and log flumes, (where the water ride Kagool of our school years were an unnecessary addition in the relentless British summer of 2018!) the PL3.9 Pro - PSCo’s first outdoor LED - was on display. The 3.9mm pixel pitch product is the highest resolution 28

RENTAL IN THE PARK

First page: The Universal Pixels Team. Below: Epson UK’s Sharon Head; The PSCo crew.

outdoor LED product currently available for rental. Standing at 5m x 3m in company’s Pro Displays Account Manager for the South. the Lake View garden, it boasted an impressive 5,000 nits of brightness, Sharon Head, Sales Manager at Epson UK told TPi: “The Rental in the even in the sunshine.

Park event proved to be very successful and enabled us to demonstrate our The Large Format zone included the latest additions to PSCo’s rental wide range of professional installation projectors in partnership with PSCo. fleet - the Samsung QLED 55-inch and 65-inch, which offer 3840 x 2160 4K The event also gave us the opportunity to showcase the L20000U, our 20k resolution and feature HDR technology in a single, stunning panel display. lumen laser projector in the UK, which will be officially launched later in PSCo partnered with leading vendors to provide the latest and most the year, as well as our recently launched Lightscene EV-100 Series, a new innovative technology for rental. Epson’s latest laser projection technology, type of projector that expands Epson’s presence in the signage and lighting and the high resolution outdoor Absen LED available for rental were all on sector.” show.

However, it wasn’t just manufacturers and Sound Technology, UK distributor of Harman distributors that attended the event; rental Professional audio and lighting brands including partners also came to check out the latest JBL, Crown, Soundcraft and Martin took up a stand technical innovations. Universal Pixels, a video at the event, and chose to showcase the latest rental company that specialises in large scale in Soundcraft mixing consoles, with the Vi1000, concert touring - and has recently delivered alongside Martin by Harman lighting fixtures. production elements for Roger Waters and Gorillaz “The Rental in the Park In the neighbouring space, projector - also stopped by. Founder, Phil Mercer, stated: “It event proved to be very manufacturer, Epson, revealed a sneak peak of its was great to see some new products on offer, such EB-L2000U, 20,000 lumen laser projector and its as the Epson 20k Projector & the Absen Polaris successful and enabled us to brand new 15,000 lumen projector, which is ideally COB LED in person, and to get to grips with what demonstrate our wide range suited to live events and the rental market. The they can achieve for event production. This was 15K is available at PSCo for sales and rental and the first time I’ve been to a PSCo event and I must of professional installation comes with the key features of the existing models say, they’re great hosts! It was good to ride some projectors in partnership with - HD images with 4K enhancement, compact and rollercoasters too of course... what a great idea lightweight chassis and a flexible, 360° installation Rental in the Park was!”

PSCo.” - plus, it’s compatible with Epson’s extensive TPi Sharon Head, selection of lenses. TPi was given an in-depth Photos: TPi tour of the Epson range by Paolo Marenghi, the www.psco.co.uk Sales Manager, Epson UK 30

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MADE IN GERMANY

THE ROLLING STONES The legendary rockers brought a striking new production along for the gathered masses at Prague’s Letňany Airport.

TPi’s Ste Durham was on site to meet the crew.

32

PRODUCTION PROFILE

33

THE ROLLING STONES

Although TPi wasn’t exactly early to the No Filter party - we appeared for the penultimate show of the tour’s second leg - it certainly was evocative to witness this production in a setting where the usual artist / fan connection has been irreversibly transcended. In 1990, as some of the more distinguished TPi readers may remember; The Rolling Stones played in this very city to mark the symbolic end of the Velvet Revolution.

The tanks rolled out, and the Stones rolled in, and the people of Prague have idolised this band ever since. What better place to become immersed in the phenomenon that is the world’s biggest rock act coming to town?

In the 28 years following that monumental performance at Strahov Stadium, both the landscape of concert touring in Eastern Europe and the technological bedrock that supports it have developed immeasurably. To that end, it is heartening to see a band like The Rolling Stones - still firing on all cylinders at 56 years young - return with a production that’s as sleek and contemporary as it is old school rock ‘n’ roll.

by 10 Lake Contours (as crossovers and delay only) located under the stage.

The delay system was controlled by an additional 4 Lake Contours located at FOH. EQ for the main, front fill and delay systems was taken care of by TC Electronic TC 1128’s.

Ragus appraised the setup from the sweltering FOH structure at a sundrenched Letňany Airport: “We’ve had real good luck with the system, and it helps that we’ve got one of the best crews on planet earth right here. It fits well with The Stones and lends itself to what Dave [Natale, FOH Engineer] wants to do.

“This venue is very different that what we’ve done earlier on it the run, which was mostly large football and rugby stadiums, like Old Trafford and Twickenham in the UK. It’s more of a flat spot here with a few bleachers either side. We use a version of EASE Focus that’s been specifically modified for us to model the venue, which is very accurate, and easy to get around on. Another member of the audio crew, Thomas Huntington, generally does the computer modelling, and both him and the model have been spot on.”

He added: “The rest is just good, old fashioned copper snakes; the standard 40 pair and 14 pair. Much like the rest of our gear, it’s absolutely bulletproof and works perfectly every day. We’re not reinventing the wheel here, we just took what was working and ran with it!”

FOH Engineer Dave Natale - whose CV reads like its own miniature Rock & Roll Hall of Fame - has been on the road with the band for 15 years, and claims to have only changed “a couple of mics” in that time. Discussing his relationship with the band, he began: “They never told me what to do. It’s nothing flashy - we have drums, bass, guitars, 2 keys, 2 sax players, and some vocals. We just get on with it, and the setup we have here is perfect for that.”

Natale opted for a battle-hardened Yamaha PM 4000 as his main and backup at FOH, each containing 40 mono and 12 stereo modules. To supplement this, he brought a pair of 30-space racks that housed 2 Aphex 612’s, a dbx 900 rack, a Lexicon PCM 80 or 81, a Lexicon PCM 90 or 91 and a Bricasti reverb.

A separate 17-space rack housed 2 Alesis 9600 Masterlinks, 4 dbx 160XT’s, 2 Lake LM44’s and a Lake LM26, while his another rack contained

AUDIO In terms of the band’s audio setup, the latter ethos was present in spades.

As System Engineer, Jim Ragus, put it: “The Stones are old and so are we, so if it ain’t broke, then why fix it? We stay with the old tried and true stuff and roll on down the road.”

This meant a healthy dose of one of Clair Global’s most seasoned PA systems, a selection of bulletproof analogue gear, and the humblest of microphone packages.

The main left and right arrays in Prague each consisted of 8 Clair i-5’s at 2.5 degrees, 8 at 5 degrees and 2 at 10 degrees, with 18 i-5B cabinets to cover the low end. The side left and right arrays were 14 deep, with 8 i-5’s at 2.5 degrees, 4 at 5 degrees and 2 at 10 degree cabinets. The crew also used a pair of i-5’s at 10 degrees for front fill, while the 4 delay arrays each consist of 8 i-5’s. The entire system was driven by 20-amp racks each consisting of 4 Crown Macro Tech 3600VZ Amplifiers.

The main system was controlled overall by 2 Lake LM44’s and a Lake LM26 processor located at FOH, while its individual zones were controlled 34

power to scale.

We created the pro range with one thing in mind: to play huge video content across massive canvases, in the toughest of live environments. disguise.one/en/products/pro/

The Rolling Stones’ ‘No Filter Tour’ The disguise pro range was used to power the giant vertical LED walls backing the Stones with IMAG and dynamic video and graphics.

THE ROLLING STONES

6 TC1128’s, 2 TC MM24’s, and an NC-14 Switcher. He also travelled with 2 4-channel RTS distro amps, 6 Lake Contours and a pair of PM 4000 PSUs. The engineer commented: “Particularly when it comes to consoles, if it’s got brains, then it can start thinking for itself or somehow fuck up. I’m afraid of something not working for any reason, and it’s not an option to just say sorry to 80,000 people. I have 2 identical desks, just in case. The worst has never happened, but that’s only because we have a backup! We have 2 weeks of rehearsals, and I do 7 days on each so they’re set roughly before we head out on the road.”

He continued: “I mix all night long, with both hands on desk at all times.

I know how to mix on digital desks for TV and stuff - and they’re great - but they’re constantly changing. Computers pack up from time to time; even in an air-conditioned office, so imagine what could happen when we’re out here in the middle of a dirty airstrip, bouncing the shit around in a truck for months!”

The engineer gave TPi a tour of his desk, which is constantly rebuilt and maintained by the team at Clair Global: “We’ve got Shure SM57’s on Keith and Ronnie’s guitars, with just a little rolled off the top, but that was more due to the last stadium we played in. There’s no compression, no gates on the drums, and not really any effects. I have the stuff here but I don’t use it - if you don’t ask for it, they won’t give you these nice racks to put the desk on!”

On stage, the crew deployed a beyerdynamic M 88 TG for the kick drum, 2 more SM57’s for the snare, Neumann KM 184’s for hi hat and ride, a Sennheiser MD 409 and Telefunken M82 for toms, and AKG C314’s for overheads. As well as the 57’s, there were Radial JDI boxes for guitars, while Electro-Voice RE20’s served as mics for the bass amp and brass instruments, and Shure Axient units with SM58 capsules were used for vocals.

In concurrence with Natale’s Spartan mixing style, the band forgoes all manner of timecoding or click tracks, and the only playback comes in the form of the percussion loop at the beginning of Sympathy For The Devil, which is triggered at the side of stage and comes through the PA and into

the headphones of drummer, Charlie Watts.

Natale said: “I mix the show how I’ve known it to sound for years. I’ve used this desk since 1996, and I just focus on what’s coming out of the speakers. There are limits of a PA and a desk and you have to know where to go. There’s nothing to bounce off of here, so this will be the best sounding gig of the tour!”

MONITORS AND REC For on-stage monitoring, The Stones carried what Ragus succinctly called “a metric shit tonne of wedges” - more specifically, a total of 98 Clair 12AMs that lined the perimeter of the stage, thrust and B Stage. These were driven

by Lab.gruppen PLM20000Q amplifiers and supplemented on stage by Clair R4 sidefills, which relied on Crown Macro-Tech 3600VZs. To stay on top of this fearsome arsenal, new Monitor Engineer Stephen Carter inherited a setup based around a Midas Heritage 4000 and sidecar, with TC 1128’s inserted on wedge outputs and a Yamaha SPX 990 for backing vocal and guest reverbs. A Lexicon PCM 80 served as the main vocal reverb and delay unit, while a Rupert Neve 5045 was inserted on main RF vocals.

“It’s not changed much in terms of the actual desk setup - my snapshots are 140-odd flash cards,” he laughed. “I have a big, laminated wad of them just written out for analogue recall and gaffer tape buttons on different sends, on and off. I don’t even mind because it sounds incredible, and we’re getting really close now. I worked for Sting for a long time and these guys the old school engineers - are the people I learnt from. It’s a straightforward rock band, and a great one at that. It’s such a fun show to mix.”

Elsewhere it was Shure PSM 1000 for IEM, an AD4Q wireless microphone system and Clair RF antenna combiners for in-ears. The RF mic antenna distribution system was Shure UA845 UHF. Carter commented: “I use a Portico 4050 on Mick’s lead vocal, which I got turned onto during the Guns N’ Roses tour. It’s essentially a magic box and really helps to keep all the noise out of a loud mic. He sprints around that stage and out onto the thrust, so there are always things like ripping 36

THE NEW REFERENCE POINT

w w w . r o b e . c z

210x297_3mm megapointe Robe ve01_svetlo.indd 1

14.9.2017 13:45:31

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THE ROLLING STONES

guitar rigs on stage, a crazy amount of monitor wedge ambience and a massive PA out on the thrust.”

Singer Mick Jagger opted for Jerry Harvey Audio Layla IEMs, while backing vocalist Sasha Allen used JH7’s. Carter is another JH Audio fan: “I believe so much in that product, their ears are unreal. We have to get this show pretty loud at times and they always hold up. They never break, and the company gives us great service too.”

Elsewhere, it was Sensaphonics for bassist Darryl Jones and percussionist Bernard Fowler, while Carter employed 2 12AMs and 2 i-5Bs for drum fill. The Monitor Engineer continued: “It can be intimidating to come into these crews, but it keeps you on your toes, it keeps you honest and it keeps you striving to be better. This is the first full tour I’ve really mixed for them - coming from being a tech – but my previous tour with GN’R really drilled me into paying attention to the small details. Getting a job like this is a massive vote of confidence in your abilities; it means a lot. This was the only band you’d ever leave GN’R to do - you want for nothing out here, and we’re taken care of so well. It’s an ode to Opie really. Everyone is so professional and so good at their jobs. If someone says something’s going to be done, you know it’s going to get done.”

The curveball of the audio setup in Prague presented itself as Carter invited TPi into monitor world, situated behind which was a rare sight digital technology. In order to archive every soundcheck and show, the crew carried a ‘rec rig’ that consisted 2 Avid S6L-24Ds, with 2 48-channel stage racks and 2 laptops running Pro Tools HD 2018.3. The first machine was an Apple Mac Pro recording 128 tracks over AVB Ethernet with a Sonnet xMac Pro Server expansion and a pair of 4TB hard drives for split track recording. The other machine, a Mac Mini, received 96 tracks of MADI directly from the stage rack, using a Sonnet RackMac mini, a Sonnet Echo Express III-R and 2 more 4TB hard drives. The rec rig computers and expansion chassis was supplied by Diablo Digital’s Brad Madix and Greg

Price, while Clair Global provided the consoles and tour packaging.

System Engineer / Stage Left PA Tech Thomas Huntington, who managed the rec rig, explained: “The whole console could crash and as long as we have power the to stage racks it’s all good. We’ve had no issues so far. At the end of the tour I’ll just pop the drives and give them to archive people. They can potentially be used in the future - all the audio for the Cuba and South America documentary came off of this rig - but it’s not necessarily going to be the case. It’s a little harrowing, as we weren’t planning on anyone using it!”

Monitor System Tech/RF Jordan Turner, Stage Tech Matthew ‘Minty’ Woolley, Monitor Wedge Tech Brent Edgerton, Stage Right PA Techs Trystan Forbes and Sean Baca, Stage Left PA Tech Johnny Brook, and Delay Techs Falco Knueppel and David Enderle completed the audio crew.

SHOW DESIGN Renowned Lighting Designer and Creative Director, Patrick Woodroffe, was behind the striking look of the Stones’ latest production, working with Ray Winkler of Stufish and Jeremy Lloyd of Wonder Works on the scenic design, alongside Stageco’s Project Manager Hedwig De Meyer and R&D Engineers Tom Frederickx, Patrick Martens and Kai Eppinger, to create the steel, tower and roof systems for the tour.

From the outset, the band’s main wish was for a tidy and streamlined production, with sleek contours but absolutely no hint of behind-thescenes steelwork. Spreading 60m wide, the resulting set features 4 monolithic 22m high x 11m wide LED video screens, a 28m long T-shaped catwalk and B-stage, and a bespoke, cantilevered, transparent-skinned ‘roofette’ that appears to hover above the band.

Stefaan Vandenbosch, the leader of one of two outdoor Stageco crews (Kevin De Meyer managed the other), commented: “Each system fills 17 trucks. Working with our own team of 14 along with 15 local climbers and 15 40

THE ROLLING STONES

stage hands, it takes 2.5 days to load in with 6 fork lifts and a pair of cranes, and we are averaging about 18 hours to pull it all down and put back into the trucks to head to the next venue.”

When planning began, PM Dale ‘Opie’ Skjerseth invited Belgian engineering company WIcreations to team up on the project. “Hedwig and I went to the first meeting together, and advised on aspects of the design,” said WIcreations founder Hans Willems, who gained his early industry experience as a Stageco employee.

“It’s a genuine collaboration with WIcreations and it works very well,” observed Vandenbosch. “All the pieces came in and connected with our systems perfectly. Of course, it helps that Hans has worked for Stageco and knows our procedures so well. They developed and fabricated the aluminium-clad transparent band roof that has its own drainage system to cope with rainy conditions. It’s formed from four curved 12m long steel roof beams that each break down into 2 sections.

“The roof travels with us and we build it for each show, along with our towers, pulley beams, lifting cables and the trussing support system for the video screens, while the wind bracing system and motion control hoists [connected to the black steel base of the towers] are provided by WIcreations. The way the screens are rigged means that any wind pressure on them is borne by their supporting black steel towers. Personally, I love the 3D effect of the screens - they give the impression that the band are playing in front of four tall buildings.”

The 4 video screens are pulled up the tower via a pair of 2.5 tonne Liftket motion control hoists, double reeved for a 5-tonne capacity, 2 per tower - 8 in total - which are connected to the black steel base of the towers, sitting on the upstage edge. The roof connects to the black steel superstructure of two of the four central video towers on the outdoor shows, and is flown on the indoor ones, albeit with modified construction. For these arena performances, Stageco assigned an additional crew led by Martin ‘Tinus’ Beckers.

As usual with productions of this scale, Stageco handled all the scaffolding and stage decking requirements, and also supplied and built the spot/delay towers, platforms and covered FOH risers - for this tour, lighting / video control and audio each had their own structure.

Onstage, 2 rolling sheds - stage left and stage right - are built from modular decks with heavy duty castors to offer size variation; complete with detachable one-directional mesh fronts allowing a clear view out across the stage and an opaque view in from the stage so they blend into the blackout.

These are 6m long x 2.5m wide in the largest format and can be broken down in 2m x 2.5m sections to accommodate variable stage spaces the crew might encounter on the indoor shows. The sheds house the monitor position on stage left side and the band’s entourage on stage right side.

WIcreations designed and engineered all hardware from a touring

perspective, with quick and efficient deployment at each gig on any possible site in mind, using bespoke dollies into which all equipment packs down for travelling. The company is well known for this characteristically practical approach.

In his role as technical design co-ordinator, Jeremy Lloyd was perfectly placed to appreciate the interaction of Opie’s chosen task force. “It’s been a great collaboration all round,” he said. “We didn’t spend a lot of time in meetings. A lot of it is about trust and knowing what can be done in the time. I know these people, so I know what we can achieve.”

Andy ‘O’ Omilianowski, Stage Manager, added: “It’s a very straightforward job from my point of view. We always have a load-in day prior to the show day and have had the same rig out for a while now. Going from a stadium show to a greenfield one varies from country to country, but you generally have more driveable area around stage for machinery and vehicles. Today they gave us a lot of space to drive trucks and forklifts for a quick setup and, hopefully, a quick tear down.”

The roof structure and exposed nature of the towers meant that only a small portion on the kit and personnel around stage were covered in the event of inclement weather. Omilianowski said: “We have to employ certain protocols to make sure equipment and people are safe but, bar dehydration, today is quite easy from that perspective. You’ve got to be aware of your surroundings on a site this busy and, as Stage Manager, one of my jobs it to make sure they do. Thankfully, everyone out here is great at their jobs and have brought great rock ‘n’ roll values to the tour. The emergency planning is always there but we’ve been lucky so far. It also helps that Stageco carry the best stages out there; we wouldn’t settle for anything less.”

As well as the world-class equipment, the Stage Manager was similarly full of praise for his colleagues on the road: “I’ve been with The Stones for 3 years and it all starts from the top; Opie runs the best crews in the world and he likes to create a relaxed and professional environment. We like to have fun out here too - we’re all away from our families for a long time so its important to make it enjoyable for the guys. It doesn’t get bigger or better that The Rolling Stones. Everyone is honoured first off, and to work with the same crew makes everything even smoother.”

LIGHTING & VIDEO Patrick Woodroffe designed the lighting for the No Filter tour with assistance from Woodroffe Bassett Design’s Terry Cook. “Unlike previous tours with the band that typically ran for a year or 18 months,” he began.

“We had to create a show that would justify the budget with only 14 shows, limiting the amount of custom designed pieces available.

“The only piece of scenery that was made for this show was a very elegant and contemporary roof structure that played in front of 4 monolithic video screens. These were portrait format and had the added

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feature of a 1.5m return of video panels on each side, giving a vivid sense of large blocks of animated images. We also committed to having nothing at the top of the screens, so all the rigging was hidden behind an additional fascia of video panels.”

The lighting rig, provided by long-time supplier Neg Earth Lights in Europe, included of 12 Vari-Lite VL3500 Washes, 172 Martin by Harman MAC Viper Air FXs, 14 MAC Aura XBs, 24 Claypaky Mythos, and 60 Robe BMFL Wash Beams.

“Every Stones show design over the years has been different,” said Woodroffe. “But the common feature has always been to integrate the lighting, video and scenic elements in a seamless form. This is something that Mark Fisher and I had focussed on ever since 1989 and the latest tour was no different. Our long-time Lighting Director and a key member of the team, Ethan Weber, worked closely with Roland [Greil] and Nick [Keiser] to make a completely immersive experience that is much more than the sum of its individual parts.”

The LD also specified a total of 168 molefays, 75 Philips Color Kinetics iW Blasts, 4 ColorBlast TRXs, and 180m of LED X-Flex. Atmospherics were taken care of by 6 Hazebase Base Hazers and 12 Reel EFX DF-50 Diffusion Hazers, while 8 Robert Juliat Lancelots served as followspots. Show control for both lighting and video came from, 2 MA Lighting grandMA2 Full Size consoles and an MA Lighting grandMA2 Light.

Woodroffe continued: “The number of fixtures was not particularly small for a typical stadium show but the placement of the lights was critical. We used a typical mix of large format spots and washes with some smaller fixtures tucked in the roof structure where they wouldn’t be seen or noticed.

Most of the fixtures were rigged inside and underneath the roof structure but we also fitted 9 powerful spots into slots built into the video panels.

So the venues were indoors but these were in large, covered stadia so the indoor and outdoor systems were much the same.”

He added: “Ironically, considering the length of the band’s career and the stage that they find themselves at now, this is probably the most contemporary design that they have performed with. It very much placed The Rolling Stones as a band of its time, still looking forward both musically and in terms of production, and it is gratifying to see them selling out stadia with a spectacular production after nearly 60 years together.”

The lighting crew was completed by Andrew “Fraggle” Porter, Crew Chief; Luke YC Radin, Head of System; and Lighting Techs Steve Belfield, Barry Branford, Damon Coad, Keith Johnson, Peter Horne, Gus Wimmer, and

Charly Strangeways.

Treatment Visual Productions’ in-house team, headed by Sam Pattinson and Lizzi Pocock, created most of the video content and background material, with additional individual pieces commissioned from outside video artists.

Woodroffe Bassett Design’s Screens Director and Media Server Programmer, Roland Greil, detailed the hardware that served as this dynamic content’s canvas: “To get this modern look, the 4 towers were created, the front parts of which were fully covered with 12mm LED panels.

Additionally, the returns of the towers were covered with LED to create an architectural look, add some depth and avoid letting the towers just look like 4 LED screens.”

Solotech supplied Saco SLine S12 LED panels (12mm), along with the corresponding Nano Processors, and a Ross Carbonite Switcher with Ross Open Source Gear. The crew also specified 6 Grass Valley LDX 86 Cameras (3 handheld, 1 jib, and 2 long lens) and Panasonic Robo PTZs. For playback, there were 2 disguise 4x4 Pro media servers and a 2x4 Pros.

Greil gave his appraisal of the setup he had on the tour: “The Saco LED wall elements, as well as the Ross kit, are Solotech stock products but have proven to be a great choice. All the provided equipment is reliable, even under rainy outdoor conditions, and is easy to handle during load-in and -out.

“When we knew we were looking for something to control the whole system, playback content and create effects on the fly, we ended up choosing disguise pretty quickly. The rig does exactly what we want it to in a very efficient way and has been 100% reliable so far.”

He added: “Reliability is a key factor for a show of this calibre. We wanted to use some custom-made Notch effects, especially for IMAG, so the integration of Notch in the servers was another plus. Last but not least the disguise support was second to none, which is key on a project of this scale.”

The show’s video content, consisting of treated and untreated IMAG as well as the bespoke visuals, could be combined in multiple ways. Said Greil: “The key with shows like this one is to keep the balance between the different elements. Furthermore, you always try to avoid overrunning whatever happens on stage, especially with a band like this one that has a great stage presence.”

When it came to the direction of the show, Greil took a collaborative approach. He said: “It’s true teamwork between myself and Camera Director Nick Keiser. He directs 9 cameras and mixes them into as many as 4 42

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different feeds, which are then fed into the disguise system. Those feeds are formatted in the servers, treated and combined with content. The servers, much like the rest of the show, are controlled 100% manually by me using my MA Lighting grandMA2 Full Size console.”

This manual approach is crucial for the Stones’ show, given the organic nature of the band’s performance. Greil continued: “Even with multiple very high-resolution video layers playing back simultaneously, showing various IMAG feeds and treating them in real time - at the same time - we had no performance problems with the servers and there was very little latency.”

The video crew consisted of Graham Holwell, Engineer; Josh Keys, Engineer / disguise Tech; Ben Rader, Crew Chief / Lead LED Tech; and Abe Main, Scott Grund, and Austin Colby. Tina Skjerseth was Lead Camera Operator; Scott Lutton, Robbie Lawrence, Mario Juarez and Simon DiFazio served as Camera Operators; and Ryan Woods was Jib Operator.

Greil summed up by saying: “I think we ended up with a very balanced show, which created a good-looking picture frame for one of the biggest rock bands of all time. It was an enjoyable and entirely painless experience thanks to a great team effort with all of the people and crew involved. It’s a lot of fun, not to mention a very rewarding experience, to operate such a show for this legendary band every night.”

Creative Director Woodroffe added: “We had very little lead time once the tour had been confirmed but we worked with a great team from Neg Earth on lighting and Solotech on video. Stufish and Jeremy Lloyd put together the scenic design and concentrated very much on the detail of rigging and mounting all these elements to produce a composition that was both stylish and practical.”

To transport the illustrious band and its hard working crew around

Europe, Opie trusted the equally renowned Beat The Street, while the sizable amount of production was ably transported by Transam Trucking.

CONCLUSION In 1990, the Czech crew that was cobbled together to put on a show for 100,000 people - in a country where the infrastructure to do so didn’t exist - performed nothing short of a miracle. In 2018, it was another day at the office for one of the world’s most professional touring crews. That being said; the changing times and altogether more (dare I say it) banal conditions surrounding this show did nothing to dampen the fervour of The Stones, their Czech (and wider European) faithful, or those working behind the scenes. It was a master class from front to back, and hopefully just another milestone in the career of this most imperious of touring machines.

TPi Photos: Manfred H Vogel http://mhvogel.de/ www.rollingstones.com www.woodroffebassett.com www.negearth.com https://clairglobal.com www.diablodigital.com https://solotech.com www.stageco.com www.wicreations.com www.treatmentstudio.com www.stufish.com www.beatthestreet.net www.transamtrucking.com

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PRODUCTION PROFILE

BEYONCÉ & JAY-Z - OTR II Back together on the road, Beyoncé and JAY-Z’s joint tour On The Run II blends giant cinemascopic spectacle with astounding automation worthy of their pop royalty status.

BEYONCÉ & JAY-Z

As the story behind the On The Run II (OTR II) tour is told, there’s much to be impressed by. Naturally, any show involving Beyoncé is always destined to wow. But for this latest tour - a double-header that sees both Beyoncé and husband Jay-Z hit the road together in an evolution of their original OTR shows in 2014 - things have been pushed to a new high. It reveals a story that started with Formation and 4:44 tours. A combination of creative ambition and a can-do crew spirit has made possible an astounding array of automation and effects, from giant moving screens to huge moving stages, ‘star lifts’ to 4-storey ‘performer walls’.

It is, in short, a big show - one made all the more impressive by the fact it comes straight off the back of 2 massive 30-truck Coachella performances

by Beyoncé - produced by the same team, but completely different in concept and execution to OTR II. Thus, while everyone was working on the Coachella design, they were also advancing and working on the details for the tour that would follow quickly on its tail.

“That period definitely challenged everyone,” remembered PM Bill Leabody. “Coachella was a momentous event and something that was unique. We all knew we were working on something very special and it was definitely a highpoint of my career. Going straight from that into the tour rehearsals was tough, but we managed to pull it off thanks to the ability of the team.”

Leabody came on board in January after diary conflicts meant previous PM Malcolm Weldon would be unavailable. Having just wrapped on Coldplay, Leabody had not only the necessary huge-scale-tour experience but also an equally adept team he could bring across from the Coldplay crew. These included: Craig Finley and Russell Glen, who came in on the stage managing side; Advance Coordinator Nicole Massey; Toby Fleming,

Bart Durbin and Robert Hale, who came in as the Site Coordinators; Dressing Room Coordinator Tiffany Henry; and Head Electrician Paul Traynor. Much of the crew was already in place from past Beyoncé tours, indeed some like Production Coordinator Carmen Rodriguez, Stage Manager Terry Cooley, Head Rigger Bill Rengstl, Head Carpenter Jamie Pharand, and the audio and backline crew were long-term employees. “We managed to find a good blend and we soon managed to get into a groove,” said Leabody.

Designing the look of the tour (in tandem with Coachella) was Stufish, who worked closely with Ed Burke, Todd Tourso and Erinn Williams from Beyoncé’s creative team.

Thematically, the show tells the story of the 2 artists Jay-Z and Beyoncé, who arrive together before splitting into their separate worlds, represented by 2 parallel 52m runways. Throughout the show their separation forms the emotional rollercoaster of the scenes. Towards the end of the night, these worlds are brought back together - both figuratively and physically - by a giant automated floating stage that bridges the catwalks and moves outwards, connecting the thrusts as one. Live performances are interspersed with pre-filmed video-art content by director Andrew Makadsi that move the narrative along - displayed on the 58m x 14m kinetic videowall at the back of the stage.

Echoing the success of the pyramid of performers created for Coachella, here the videowall opens out (wrapping around the side of the stage) to reveal a giant performer wall - a 5 x 4 grid of bays, backed by another videowall - that shifts the energy of the band and dancers into the vertical.

CONSTRUCTION & RIGGING OTR II is made possible through the use of 3 steel systems and 2 advance 46

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BEYONCÉ & JAY-Z

teams that leapfrog each other from city to city. The production fills 47 trucks - not counting the 6 trucks required for advance and a combined 17 trucks to transport the 3 steel systems. Transport was provided by Stage Truck. “Stage Truck is a vendor that we use quite often - they’re a great group of drivers,” commented technical Stage Manager Russell Glen. A sentiment echoed by the PM: “I bought in Stage Trucks to do the trucking as there were not many suppliers who had the numbers we needed,” noted Leabody. “Finding the drivers is the biggest challenge these days, and something that needs careful planning.”

Stageco provide the steel systems and construct them in each location.

The overall stage measures 60m wide and 27m tall at its highest point.

The central performer wall (16m x 12m) comprises 4 floors of 5 boxes, and provides the crucial structure that supports a scissor lift, 3 quick lifts and the tracking video system that is cantilevered into place. Also contained here are 2 stair houses, built by Stageco with scaffolding, that are used as holding areas for the artists.

The system’s design wasn’t finalised until just 3 weeks before the production loaded into the U Arena in Paris for its month of rehearsals - a consequence of the creative team’s pursuit of the best possible solution.

“It was that close!” said Dirk De Decker, who managed the project from Stageco’s Belgian office.

“In their favour, they were working with Stageco, a company that has spent many years accommodating very challenging last minute requests of a structural nature. There are not many companies in the world that could find the suppliers, provide the solutions and turn everything around in a very short time.”

On average, the build takes 3 days at each venue, with Stageco completing the load out by 7pm the day after the show. With the steel

structure in place, the stage is set for the main tour crew to arrive.

All rigging is done on the production load in and loud out, with kit and motors provided by Neg Earth and Eighth Day Sound. Headed by Bill Rengstl, a team of 4 (including Lenyn Barahona, Alex Bolduc, Dion Pearce), hang over 120 rigging points for all the light, video and sound. 64 tonnes of gear is flown from the structure, with a rigging height of 27m for the cantilever trusses that project out above the giant video screen.

AUDIO To allow the full magnitude of the vast downstage video wall to remain visually and physical unobstructed, the cantilevered trusses are used to raise the main PA way above the screens. This follows the template established on another of Stufish’s project, U2’s 2017 Joshua Tree Tour.

4 main hangs of 24 d&b audiotechnik J8 and 28 J-SUBs are flown above the video wall at a height of 27m, with the lower frequencies provided by 56 ground stacked B22 subs. 4 delay towers are used, each 12 J8 deep. The whole system is array processed and powered by 108 active D80 amps.

Such is the scale of the show, that the audio package supplied by Eighth Day Sound was far from straightforward - not least the network of desks required to wrangle the stage’s 124 outputs and 175 inputs.

“We have quite a complex DiGiCo system out here,” commented Audio Crew Chief / System Engineer, Arno Voortman. “In order to accommodate the amount of inputs and outputs required by a show this size we had to go to a max of 5 DiGiCo SD7’s in the primary fibre loop. 4 of these consoles are on stage for monitors. 2 SD7’s manage the 23+ band member mixes including all of the band talkbacks, and two more SD7’s manage the artist mixes as well as sidefills, wedges, and dancers. The artist desk also utilises the second fibre loop to manage sends and returns to a Klang over Dante.

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“At FOH there is one primary SD7 that is in the Primary fiber loop with the monitor desks. A second SD7 at FOH is setup on standby as a spare.

This console also handles the support acts.” In total this complex console network consists of 5 SD7’s on the main fibre loop, 2 of which are equipped with the second fibre loop as well. There are also a total of 7 DiGiCo 192khz SD racks in use: 5 in the primary fibre loop and 2 on the second.

In terms of wireless, the tour uses 2 Sennheiser 9000 mainframes, 20 channels of Sennheiser 6000 receivers, 40 channels of Wisycom in-ear transmitters, 60 in-ear receivers, and 9046 handhelds.

A matrixed intercom system comprises 4 Riedel Artist 64 mainframes, 30 12-way intercom panels, 80 wired packs and 45 wireless Bolero packs.

VIDEO & AUTOMATION With video such a vital ingredient in the show, ensuring the artists are perfectly framed was essential. 17 cameras are used to capture the action - broadcast grade Grass Valley cameras in the main, along with a handful of Panasonic.

Positions include 4 at FOH (due to the depth of the stage and the presence of 2 headliners), 2 at the sides of the arena, 2 rail-mounted cameras along the side of the runways, a centre stage moving arm and a stabilised head at the front of the moving bridge stage. The footage is augmented by the use of a Spidercam that swoops in to position to

capture the perfect angle to help tell the narrative of the show. “Spidercam is a huge part of our show,” commented Video Crew Chief, Ray Wszolek. “It gets some amazing shots.”

All automated camera elements are provided and operated by Railcam Robotic Systems, represented on the crew by Rick Compeau and Brian Sheid. Having worked on Beyoncé’s Formation tour and Coachella shows, they were invited back for OTR II to operate their largest system yet. “We’re taking camera tracking systems that are typically used in live TV shows and making them road ready to do a concert tour, night after night, in all weather,” explained Sheid.

Another essential element of Railcam’s role is providing the required sub stabilisation, without which the show’s powerful PA would inflict an unacceptable level of shake to the live feed. “As the tour world grows bigger and bigger, these screens are just getting better and better, so the visual “We’re taking camera tracking quality needs to be really good,” noted Compeau.

By using 5-axis stabilised heads to float the systems that are typically cameras on their mounts, any resonance from the used in live TV shows and sub woofers is removed.

Also on the video spec is a Grass Valley switcher making them road ready to and an extensive package of almost 30 monitors, do a concert tour, night after both for safety checks and to provide previews to Beyoncé’s dressing room. “She’s a very hands-on night, in all weather.” type of creator, so for a while she was getting the Brian Sheid, same camera multi-views that the director gets, so she could see everything that was happening,” Railcam Robotic Systems 50

NOVEMBER 7TH 2018

PRODUCTION PARK, WAKEFIELD

WWW.PRODUCTIONFUTURES.CO.UK

BEYONCÉ & JAY-Z

Head Rigger Bill Rengstl; Strictly FX Crew Chief, Scott ‘Bull’ Allen; Fourth Generation, headed by Tweed Hurlocker and Chief Electrician Paul Traynor; Automation Crew Chief Sam Melotte;Railcam Robotic Systems’ Rick Compeau and Brian Sheid.

said Wszolek. If the team do achieve a shot that they want to recreate in WIcreations was also responsible for the star lift that carries the artists future shows, they have the benefit of a comprehensive recording package, from the top of the performer wall to the stage (and any level in between).

Ingest, which ensures each night is properly archived.

This is mounted on an I-beam and uses 2 hoists. A spotter positioned on The video walls themselves are constructed from PRG-supplied the wall ensures the stars are safely on or off the platform before operation.

WinVision 9mm panels for the main left and right screens that track on Downstage of the video wall, the show has many more automation and off, and ROE CB 8mm for the static upstage tricks up its sleeve, created by Brilliant Stages. As wall that sits behind the giant pigeonholes of the well as the main stage (with incorporated scissor performer wall (the lower level of which has the lifts), BBQ deck and screamers, Brilliant created ability to ‘garage-door’ up if required). the twin runways, each featuring a travellator and, Automation of these walls is carried out by hidden within, a one-man mining cart that can WIcreations, headed by Crew Chief Sam Melotte transport the performer to the end of the thrust “The bridge was an (assisted by Stephan ‘Xumi’ Schumacher, Miro without being seen.

Kusiuk, Robo Vrbjar and Matt Moran). The top and At the end of each runway a pantograph exceptional piece that had bottom tracks for the screen are built in advance staircase rises up to allow access and egress to never been done before.

by Stageco, with the requisite lifting truss with and from perhaps the most impressive element of hoists ready to go when the team arrives. 12 truss the show - the giant bridge that detaches from the Not only the design and dollies with running motors (6 per side) run over main stage, raises into the air and tracks the 50m manufacture of an enormous the top track beam. During installation, these to the end of the thrusts. Weighing 20,000kg and move to the side of the stage so that 4 800kg hoists measuring 20m wide x 5m deep, the bridge carries piece of engineering proved on each side can gradually raise each section as both stars along with 16 dancers and features a challenging, but also the way tiles are added below, before transferring them railing that can be raised around the perimeter as on to the track. During the show, spotters on each required. it packaged and travelled side of the stage work alongside the video crew Ben Brooks headed the team from Brilliant had to be considered and as Melotte operates the system with WIcreations’ Stages. “The bridge was an exceptional piece own MCA program. For this tour, MCA is run on respected all the way through that had never been done before,” he said. “Not a computer, with tablet control available to only the design and manufacture of an enormous the process.” achieve the millimetre precision required during piece of engineering proved challenging, but installation. also the way it packaged and travelled had to be Ben Brooks, Brilliant Stages 52

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Video Crew Chief, Ray Wszolek.

considered and respected all the way through the process. It has to air freight around the world, and be in and out of venues in a matter of hours as the schedule is quite tight, so this was going to be the bit that made such a difference on the road.”

POWER With the show ram packed full of automation and moving systems, powering the whole production posed a mammoth challenge. Leabody called on Coldplay alumni Fourth Generation, headed by Tweed Hurlocker, and Chief Electrician Paul Traynor to ensure everything ran smoothly.

“With this being such a big production on the power side, Bill wanted to make sure he had the right people and the right equipment, so he brought us both in to oversee it,” said Traynor.

“3 megawatts of generators - 2 complete systems - are required, such is the size of the production,” Hurlocker confirmed.

It’s a dynamic system using several different voltages to cater for both European and American equipment. Additionally, much of the automation was converted from AC down to DC, using isolating transformers to reduce noise and potential disruption to audio and video.

MEDIA SERVERS To serve the video walls, 4 disguise machines are used: 3 GX2 units and a 4x4Pro. The disguise was operated by Joshua Koffman (working alongside Leo Flint, Sam Jeffs and Grant Draper) from within the software itself - with additional controls on a pair of MA Lighting grandMA2 Light consoles. “Our main wall has a high enough pixel count that we had to get creative to drive it without making transporting the signals really tricky,” commented Koffman. “The ultimate solution chopped the wall into 6 separate feeds coming from the servers.” Movement of the main wall is tracked in the servers via a connection to the various automation systems used on the tour. “Artistically that was a bit of a challenge as with every different configuration we have to decide how best 53

BEYONCÉ & JAY-Z

to display cameras and content in a way that keeps the show interesting but doesn’t make it impossible for the camera team to shoot.”

delay towers. The pod lights are ostensibly grouped in pairs to allow the lighting operator extra coverage should it be needed, while 3 individually controlled BMFLs are used as key lights.

LIGHTING 150 weatherproof Elation Proteus Hybrids are used downstage of the Even though the show’s Lighting Designer Cory FitzGerald has worked with video wall and on delay towers, while 54 GLP impression X4 Bar 20’s run Beyoncé since 2012, OTR II proved to be a unique experience. “The process down each side of both runways - protected from the elements inside for this tour was unlike almost anything I’ve ever done,” said FitzGerald. bespoke louvre boxes, an aesthetic that extends all around the edge of the “We were trying to achieve looks that were very theatrical, operatic and stage. A further 88 X4 Bar 20’s plus 38 Prolights UNICOs are used in vertical almost anything but a rock ‘n’ roll tour. Since ladders by the main downstage support legs. the beginning of the concept it’s been about Distributed evenly across the vertical trying to hide the sources of the lights, creating performer wall are 60 X4 Bar 20’s (floor mounted), architecture- and smoke-based installations of 24 Robe MegaPointes (floor mounted), 40 Robe light, as well as shadow and silhouettes for the LED 150 (flown to light up each bay in the wall), band and dancers then revealing them and back and 16 Ayrton Ghiblis (2 per side on each level to and forth. Creating a truly theatrical experience in provide side light). A GLP JDC1 strobe is ground a stadium sized show.” mounted in each bay, with more JDC1’s used The show itself was programmed by FitzGerald, across the wings and across the back of the screen along with Jason Baeri and Davey Martinez (who (35 units each). A further 46 MegaPointes are also operates it on the road). “They did an amazing mounted on a 2-tiered Kinesys truss that drops “The process for this tour was job, and the crew from Neg Earth is one of the best in to provide backlight for the performers when unlike almost anything I’ve I’ve seen out there,” commented FitzGerald. required.

To avoid the audience’s eye being drawn away 40 SGM G4’s attached to the underside of the ever done. We were trying from the main screen by a line of lighting above its bridge surprises audience members standing to achieve looks that were upper edge, a central lighting pod is cantilevered between the 2 runways (dubbed ‘Club Carter’) with at the same height as the main PA hang. This a blaze of energy as the system passes overhead. very theatrical, operatic and contains part of the follow spot contingent: 11 2 MA Lighting grandMA2 (plus a back up) provide almost anything but a rock ‘n’ Robe BMFL spots (with an external camera fitted control. to monitor the beam) controlled from a ground “It’s a big rig and the main challenge is that roll tour.” based station. These are complemented by 2 BMFL quite a lot of it’s either single handling or on the Cory FitzGerald, Spots on each of the cantilevered trusses and 12 floor - there’s very little truss work,” noted Lighting PRG Best Boys dotted around the stadium and up Crew Chief, Jon Shelley Smith, adding that the Lighting Designer 54

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BEYONCÉ & JAY-Z

team have risen to the challenge. “We’ve got a blend of old-age-andcynicism and youth-and-optimism on the crew, so it’s going quite well,” he said.

Using the fixtures available the LD was able to create the distinct looks required for the two headliners. “Jay and Beyoncé have very different ways of being lit and we need to make sure we make that work throughout the show and keep it consistent,” said FitzGerald. The show is filled with stunning looks.

In the song PSA, for example, Jay-Z is framed on the runway by strobing beams everywhere he goes and blue spot lights to help complement the Notch fire overlay applied to the IMAG, ensuring he still stands out visually.

Equally, during Baby Boy, we see Beyoncé and her dancers on the performer wall in a side-to-side chase that gives an almost stop-motion effect.

Completing the visuals were Strictly FX, led by crew chief Scott ‘Bull’ Allen. 20 fog machines add ambience, with hazers placed underneath the bridge and performer wall. Haze is also evenly distributed down the length of the runways via a system of perforated piping. 10 Isopar flame heads are used - 4 on the actual stage and 6 in the truss and tower section above - as well as 250 pieces of pyrotechnics. Pyro is mostly positioned along the side of the stage, with additional pieces placed underneath the automated bridge to create a dazzling camera-friendly backdrop when the platform begins to move out into the crowd.

About half a mile of front of stage barricade was provided by EPS, along with accessible (ADA-compliant) cable ramps as well as three staff.

For local productions, materials like driveable / non-driveable field cover, production plans / drawings, fencing, entry gates, signage and production vehicles (such as Gators and golf carts) were also supplied.

SMOOTH RUNNING While the creative ambition of OTR II is impressive, so too is the small army that works tirelessly to keep the whole tour running smoothly; a 240-strong crew was transported by 16 buses, alongside 8 artist buses - all provided by Coach Service - as well as the arsenal of gear transported by Stagetruck.

“It is a giant production and very complicated technically,” said Leabody. “There are many, many challenges, but so far the crew have managed to rise to the challenges and we are moving like a well oiled machine. Special mention though has to go to Stageco, without them the whole project would not be able to happen.”

Having completed its European leg, the tour now continues on through North America, concluding in Seattle on 4 October.

TPi Photos: Andrew White www.beyonce.com www.lifeandtimes.com www.8thdaysound.com www.negearth.com www.prg.com/uk/en http://strictlyfx.com www.fourthgenerationltd.com www.brilliantstages.com www.wicreations.com www.stageco.com www.eps.net/en-us www.coachservice.com/en/start.html www.stagetruck.com 56

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London, Olympia 16 - 18 September 2018

At the worldwide event for entertainment technology.

PRODUCTION PROFILE

GIUDIZIO UNIVERSALE Arguably the most renowned artwork in the world, Michelangelo’s fresco in the Sistine Chapel attracts 5 million tourists from across the globe every year. Now, visitors to Rome can see the cornerstone of High Renaissance art brought to life with a fully immersive production. TPi sees Michelangelo’s masterpiece in a new light and discovers first hand the technical innovations that made it all possible.

Since it opened in March, Giudizio Universale has showcased a city steeped in history to millions of visitors. Subtitled Michelangelo and the Secrets of the Sistine Chapel, this theatrical performance transports audiences back to the 16th century and brings them face to face with a young Michelangelo and Pope Julius II, who challenged the sculptor to pick up a paintbrush and create a masterpiece on the ceiling.

The show’s 3-way collaboration between Panasonic, Osram and Bose Professional showcased the latest projection, lighting and audio technology, all overseen by Marco Balich of Artainment Worldwide Shows.

In light of the success of Giudizio Universale, organisers now hope to bring the event to venues across the globe. TPi was welcomed to the show’s permanent home in Auditorium Conciliazione, a stone’s throw from Vatican City, to examine the various technical elements of the production.

told TPi, adding that he learned the importance of audience engagement during his time at the helm of the Olympic ceremonies. Much like those culturally-stimulating events, Balich’s work on Michelangelo and the Secrets of the Sistine Chapel was “a privilege and a huge responsibility” he did not take lightly. He shared his hopes for the show’s reception: “We like to think spectators, especially the younger ones, leave inspired. There is nothing more exciting than the beauty of art!”

PROJECTING HISTORY Stufish Entertainment Architects was hired to bring Balich’s vision to life through creative set design. The studio stated its intention to recreate the ecstasy of a rock show by surrounding the viewer with light and exposing them to the power of imagination. The show itself consisted of a 270° immersive projection with all content being designed and animated by Luke Halls Studio. “It’s been a real privilege to work up-close with such amazing artworks,” stated Luke Halls. “The opportunity to create a new style of show that enables people to see these much loved paintings in a new way was too good to pass up. Working at this scale is always exciting and I hope audiences get to enjoy this show for years to come.”

The vaulted structure of the Auditorium Conciliazione offered an extraordinary backdrop to the high definition video content. Moving images were projected onto an area of over 1,000sqm and positioned more than 12m high above around the audience.

Panasonic Visual System Solutions was the technical sponsor for the show. “Without access to the very latest technology, we could never have

PRODUCTION With a résumé boasting several Olympic Opening Ceremonies, there were few entertainment visionaries better equipped to bring the works of Michelangelo to life than Marco Balich. The Chairman of Artainment told TPi he was humbled by the appointment and proceeded with “rigorous respect” to create a show in which “the genesis of a masterpiece of universal art is narrated by mixing all the languages of the world of live entertainment today.” He credited the Vatican Museums, Monsignor Nicolini and the then Director Antonio Paolucci for their support and attention since the project’s inception in 2015.

The 2 pillars of a Balich-led show are “emotion and authenticity”, he 59

GIUDIZIO UNIVERSALE

show. “Without access to the very latest technology, we could never have succeeded in giving concrete expression to our vision, using the immersive 270° projection,” stated Balich, complementing the reliability and usability of the technology. He continued: “Above all, it exceeded our expectations in terms of image quality and brightness. We could concentrate on the production of content which produced the ‘wow’ effect.”

The projection was divided into 5 sectors; 2 lateral walls with 8 PT-RZ31Ks (31,000 lumen); the vaulted ceiling which was fitted with 6 PT-RZ21Ks (20,000 lumen) and 2 PT-RZ31Ks; the proscenium featured 4 PTRZ31Ks; the front gauze hosted 4 PT-RZ31Ks; 2 PT-RZ12Ks (12,000 lumen) were used for mapping a replica of Michelangelo’s David on the stage; and finally PT-RZ21K projectors with EL-D75LE95 short throw lenses projected vertically onto the stage from above.

Daniele Parazzoli, MD of projector vendor Event Management, cited Panasonic’s reputation for reliability in laser DLP technology as justification for his choice. “In representing the frescos of the Sistine Chapel, the aim was to ensure a result equivalent to the original. The chromatic consistency and the contrast ratio of Panasonic’s projectors were determining factors in achieving the objective.”

Driving the video projection was a disguise gx1. “The disguise media server is a very powerful system,” enthused Parazzoli, praising its 3-dimensional visualisation abilities. “During the setup of the show we did a laser scan of the theatre and fed that information in the media server, which made it much easier when mapping all the various projection surfaces.”

Jan Markus Jahn, Director Visual Systems Solutions of Panasonic Europe, stressed the company’s passion for new ventures: “It is a great honour to be part of this unique and original event, where art is married to the most sophisticated technology to create live entertainment. Thanks to the creativity of Marco Balich and Artainment Worldwide Shows, we have had

the opportunity to showcase our cutting-edge laser projection technology in such an artistic way.”

Showtex provided all of the projection surfaces for the show. On stage, 2 horizontal layers of dark grey GobelinTulle struck the perfect balance between front projection and transparency. By varying the amount of light on both theatre scrims, the audience witnessed an amazing 3D effect that blurred the line between physical and digital reality. At 27m wide and 12m high, the vault provided an impressive projection surface in need of some high-quality masking curtains. Over 500sqm of black Molton legs and custom-curved borders were used to carefully mask the auditorium to keep all unwanted light out and make the projections shine. The flame-retardant Molton also served a dual-purpose by eliminating reverberations and enhancing venue acoustics.

LIGHTING Osram worked alongside the awe-inspiring projection show as the official lighting partner for the performance. Since opening night, Osram brands Claypaky and ADB helped enhance the mood as the audience was transported from scene to scene throughout the 60-minute performance.

Award-winning Lighting Designers Bruno Poet and Rob Halliday introduced a variety of Claypaky’s powerful moving lights for aerial effects to create drama and excitement. Meanwhile, ADB theatrical projectors generated an atmosphere that Balich dubbed “artistic, emotional and spiritual.”

This was not the first time Poet and Balich had collaborated. The LD had provided his services for Intimissimi On Ice. However, Poet had already committed to the new Tina Turner musical in London and therefore unavailable to prepare the show. After much persuasion from Balich, he agreed that as long as he could co-design the show with a partner who would be present it was a deal; enter Halliday. Both noted it’s rare to find 2 60

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“Lighting can be quite a lonely profession,” admitted Poet. “Having a ‘production friend’ - someone to talk things through with, someone to bounce ideas off, someone to reassure you you’re not crazy - was wonderful. As suspected, 2 heads are indeed better than one!”

The lighting arsenal included 19 ADB Warps and 51 Claypaky Scenius Unicos, which use traditional lamp technology. Also on show was an assortment of luminaires including 29 Claypaky SharBars and 11 ShowBattens to generate colourful light barriers, plus Stormy stroboscopes to emulate striking lightning.

There was also a call for beam effects, particularly symmetrical ‘wings’ of lights moving in the air. This would traditionally come from a Claypaky Sharpy or Mythos but there were concerns within the Giudizio Universale production team about the available power, heat management in the building, and long-term running costs. Fortunately, Osram had a new product available at the perfect time, the Axcor Beam 300; an LED version of the Sharpy. In total 47 Axcor 300’s were deployed across the rig. For fast-moving mid-air beams, 16 K-EYE K10’s and 2 K-EYE S10’s, with their HCR technology, were able to wash the stage and audience with colour.

Finally, a circle of 50 ADB Svobodas was used at the show’s climax to emulate the Sun. The request from the designers to use this heritage fixture gave the Osram group an excuse to finish redesigning the Svoboda for the modern age and continue with its production.

Prior to installation, Halliday utilised an ETC Eos lighting control system and pre-programmed parts of the show using WYSIWYG virtual lighting software. This was not the usual kind of load-in, he explained, for two reasons. “The whole show was firstly classified as a permanent

installation,” he began, adding: “It fell under the jurisdiction of 2 authorities; the city of Rome and Vatican City.” For the production, this meant no plugs, no sockets, no patch bays. All of the lights had to be run back in fireproof cable and then hard-wired into a new dimmer and distro room.

Halliday explained how the team rose to the challenge: “This was quite an undertaking, slightly delayed and with temporary power installed as a work-around, but ultimately very well achieved by the team, with a big rack of RCD circuit breakers feeding the moving lights, and with an ADB TwinTech dimmer rack feeding the Svobodas and other tungsten lights.” Aiding the 2 LDs were Lighting Assistant, Robin Senoner and Production Electrician Daniele Giuliano.

AUDIO After presenting the best pitch of many - according to William Geroli, Supervisor of Balich Worldwide Shows - Bose Professional took up the mantle of official audio partner for this immersive experience.

“Our goal was to create a perfectly integrated audio installation within a high-resolution video setting, embedded in the fixed scenographic structure created for the Roman auditorium,” explained Moreno Zampieri, Bose Italy’s Technical Supervisor, who directly monitored the installation’s design. “Unlike any other musical event where the audience’s attention is aimed at front stage, in Giudizio Universale’s case the spectator feels completely immersed in the artistic experience, as the upper vault and the space around the stage are entirely covered by HD projections. As a complementary aspect to the visual stream, a powerful audio installation - an integral part of the 3-dimensional journey - was needed.” The aim was 62

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to find a place where 3D sounds, surround videos and aesthetics could ideally be gathered together. “The installation goes beyond the typical 5.1 surround. If we count the relevant points, this is a versatile 9.4 system,” added Zampieri.

Balich chimed in to explain his choice of Bose Professional, pointing to the quality of sound, pressure levels and its design, which was able to “combine the obtainable immersive audio experience with a lower quantity of audio points”.

To bring the event to life, Balich brought in an array of entertainment heavyweights. Sting produced the original theme for the production and John Metcalfe, who among many accolades has produced for artists such as U2, Blur and Coldplay, wrote the soundtrack for the event.

Marco Itta from Auris Populi was the System Integrator for the show.

He discussed how the ratio of direct and reverberant sound was a major concern, adding the Bose Professional DeltaQ series was able to ensure each attendee got the full immersive experience.

Each of the main Bose ShowMatch DeltaQ clusters comprised 2 Bose ShowMatch SM5WG55 waveguides, 2 SMS 118 subwoofers and 6 SM5 modules. The centre hangs consisted of 3 Bose ShowMatch SM5 modules, 1 SM10 module, 2 SM20 modules and 2 SMS118 subs. The down-fills were an SM10 and an SM20 per side.

The rest of the rig filling the room was made of Bose’s RoomMatch.

Left and right surround speakers were 7 RMU208’s per side. The delays consisted of an RM12040 per side and rear surround came from 4 RMU208’s.

The ‘over’ speakers are 4 pairs of RM12060’s configured in stereo. Flown above the audience stage monitors are 6 RMU208’s. Amplification consisted of a combination of Powersoft’s X8 Dante and Bose PowerMatch PM8500Ns. Only the rear surround speakers and 2 delay enclosures were partially visible, with the rest of the rig concealed behind the projection surfaces.

Another notable addition to the audio department was Riedel, which provided the intercom system that allowed the cast of 30 people to work harmoniously for more than 3 months in 3 different languages.

Finally, Sennheiser collaborated as a technical partner on the show.

The company provided the innovative TourGuide 2020-D translation system. Each member who wished to hear the performance in a different language were presented with an EK 2020-D-II bodypack receiver which were able to streamed dialogues and voices off-screen in English, Chinese, Japanese, French, German, Portuguese, Russian and Spanish. The complete Tourguide 2020-D has been developed to ensure a quickly set-up for operation with receiver channels being synchronised at the push of a button while still in the charging bay. In summary a system which prides itself as being simple and intuitive for the end user.

With local and international praise in abundance, it seems that Giudizio Universale is quickly becoming a highlight of the 21st Century Roman tourist experience and a vital tool to learn more about the region’s rich history. Next time you’re in this part of the world, take a break from the crowds (and the heat) and see the upper limits of what the entertainment industry can create.

TPi Photos: Antonello & Montesi and Parisse www.giudiziouniversale.com www. pro.bose.com https://business.panasonic.co.uk www.osram.com/els/ www.showtex.com www.stufish.com www.sennheiser.com www.lukehalls.com 64

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ROSKILDE FESTIVAL Situated outside of Copenhagen, Roskilde Festival erected its temporary city for 8 days of music, culture and revelry. TPi’s Stew Hume was on site meet the suppliers and volunteers who make this unique non-profit event possible...

It started with 2 college students who dreamt of recreating Woodstock in Denmark, but Roskilde Festival is now a beacon of the European Festival circuit. Each year, the 8-day festival opens its gates to some of the biggest names in music - and 130,000 festival goers! This year was no exception, and the likes of Eminem, Bruno Mars and Gorillaz took to the iconic Orange Stage. Throughout the non-profit’s history, one element has remained constant within the mindset of organisers - audience experience is paramount! To witness this mantra first hand, TPi stopped by to see the latest developments, most notably its recent partnership with Meyer Sound - Roskilde’s official sound partner.

Production Manager, Lars Liliengren gave a brief history of the event; like many among the extended festival family, Liliengren started as a volunteer, fulfilling multiple roles before joining full time. He began: “What separates Roskilde from other festivals is our dedicated team of volunteers,” began Liliengren. “Roskilde is a non-profit event with all earnings after expenses going to myriad worthwhile causes. But the whole event would be impossible without our volunteers who do everything from office work, stage management and security.” The PM explained everyone

- from the volunteers to suppliers and the crew - shares the same common goals and points to this as the reason for the festival’s success over the years. The supplier ranks, including ETP on staging, lighting specialists Comtech, Obscura, Litecom, Victory and Vigsø as well as Mediatec providing screens and Meyer Sound, in conjunction with Bright Group, handling audio.

THE SOUND OF THE FUTURE The relationship between Meyer Sound and Roskilde Festival has been in bloom for almost 10 years. Liliengren reminisced about the first time working with the company. “The first time we used a Meyer Sound system, the company - off their own backs - used to send crew to help the onsite team tune the PA.” The PM said this drive for perfection to ensure the ultimate audio experience for the audience meant Meyer Sound became part of the proverbial festival woodwork. So, when it came time to reassess contracts, there was one company Liliengren wanted to bring on board.

He added: “We are always interested in working with companies who share similar ethos to us and Meyer Sound really tick that box!”

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PRODUCTION PROFILE

Below: Meyer Sound and Roskilde Festival joining forces in front of the Orange Stage.

As part of the official audio partnership, close to 1,000 Meyer Sound loudspeakers were deployed across the 8 festival stages as well as all other festival-related events and activities that also required sound reinforcement. Not only this, but Meyer Sound crew also designed each of the audio systems for every stage to create a top-quality audio experience.

Meyer Sound’s European technical support team, Michael Pohl and Dennis Tholema - regulars to the Roskilde site - were back for 2018. Both played a part in the audio design of each of the stages alongside Bob McCarthy, an audio veteran who has worked with the brand since the ‘80s.

The varying stage sizes throughout the site acted as a perfect arena to show the full range of Meyer Sound’s curved line array systems - the Leo Family. The largest system by far was at the Orange stage, anchored by Leo and Lyon main line arrays with added power from Leopard line arrays and deep bass from 1100-LFC and 900-LFC low frequency control elements.

Systems for the Arena, Avalon and Apollo stages were built around Lyon main arrays, with Leopard arrays doing the heavy lifting at the Pavilion, Rising and Countdown stages. Lina arrays, the newest and smallest of the Leo Family, held its own at the Gloria Stage.

“I like to use the analogy of Goldilocks when explaining the various systems we have out here,” laughed McCarthy. “There’s a papa, mama and baby bear portion - all ideal for specific jobs.” The engineer pointed to the Gloria stage as a perfect example. “Gloria functions as a cattle shed throughout the year but for 8 days we have transformed it into an amazing performance space, thanks to the Lina system installed.” McCarthy also cited Gloria as proof of the care and detail the Roskilde production put into each of the festival’s stages. “Obviously this is hardly an ideal acoustic environment but the thought the festival’s production put in to draping

and a temporary real wall has made the world of difference acoustically in that venue. It’s something we at Meyer have experienced throughout the planning and build process and one we look forward to continuing in the years to come.”

Another noted addition to this year’s audio rider was a recent innovation from Meyer Sound, the new VLFCs, which brought a visceral feel to the experience at Apollo. “This is the wild evil cousin of the LEO family,” joked Andrew Davies, UK Tech Support for Meyer Sound, who spoke of the addition of the speakers to the Apollo Stage. “This venue is primarily used for DJs and electronic artists making it an ideal space for the VLFC to showcase its ability to sink to the depths of 15hz.”

Not only was the entire range of the Leo family at the disposal of the production, but a selection of other parts of the Meyer Sound tool box were made available too. Each stage used the Galileo Galaxy the company’s latest digital signal processing platform, operated by Compass software.

Galaxies at the Orange, Arena and Pavilion stages distributed audio using the AVB digital network. Throughout the build, all the on-site engineers used the MAPP XT software which enabled them to accurately sculpt their coverage pattern for each stage. McCarthy explained he wanted to ensure each audience member received a top-quality audio experience, no matter where they stood - particularly at the Orange stage. “I like the idea that while the headliners are on stage, people don’t necessary have to fight their way to the front just to hear the artists. With this design, throughout the semi-circle around Orange, the sound is very consistent so even those who would rather hang back will still experience a great show!” It’s a statement echoed by the Liliengren. The day before opening the main arena, the Orange stage crew gave the new system a test at performance volume.

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ROSKILDE FESTIVAL

Production Manager, Lars Liliengren; Meyer Sound’s Bob McCarthy; Morten Büchert, Consultant and Project Manager.

“I was a very happy PM on that day,” beamed Liliengren. “This is the first year we have flown subs on the main stage and already the difference this 1100-LFC has made is outstanding. I can’t wait for our Roskilde audience to experience it for themselves.”

The systems were supplied by Bright Group, a leading European AVL rental and integration firm. The technical teams of Bright, Meyer Sound and the festival were fully integrated, collaborating on the sound design and deployment. For Bright Group, Roskilde afforded a unique, collaborative opportunity to demonstrate how its Meyer Sound inventory and support teams could manage a massive, multi-stage festival. “I’m looking forward to many more,” commented Bright Group CEO and President, Patrick Svensk.

“We have been partners with Meyer Sound for years and we expect to strengthen our partnership through the festivals yet to come. Audio is key for a music-centered festival like this.”

The new partnership between Meyer and Roskilde goes far beyond simply offering the audio backbone for the festival. It’s also a chance to train the next generation of engineers. Under the name RF Sound, both the audio manufacturer and the festival, ran extensive training sessions prior to the event for a new crop of engineers who then oversee both FOH and monitor duties. The incentive was supervised by Morten Büchert, Consultant and Project Manager for the festival. “This partnership with Meyer Sound is an opportunity to move into uncharted territories,” enthused Büchert, who explained how the partnership has given a whole new generation of engineers the skills to progress their careers. Early in the year, Büchert put out a job advertisement inviting aspiring engineers to work the festival. After an interview process, 28 engineers were selected and sent on a training course in partnership with Meyer Sound’s Education department to learn about the design approach and products that they would be operating at the festival. “In past years we had vendors supply their own crew which gave us limited say on our vision for the festival,” stated Büchert. “Now with Meyer on our side and 28 engineers employed by us, we have really made sure everyone shares the same vision.” Büchert

also enthused how opening the doors for aspiring crew had brought fresh blood into the Roskilde family. “Rather than relying on traditional networks, we’ve got loads of new faces including 4 female engineers greatly improving the diversity of our crew.”

It was not just the new crew who benefited for this new educational incentive, but also travelling engineers. Out of the 28 successful engineers, Roskilde opted to put the most experienced on the smallest stage - Rising.

“This might seem like an odd decision,” admitted Büchert. “However, that stage featured bands and crew who are still developing. Why not give them the opportunity to rub shoulders with an experienced industry veteran where they will learn more and progress quicker?” Büchert was clearly ecstatic about the first year of RF Sound, but did note, “this was only the beginning.” He continued: “We are currently working on a new incentive called the Rising Star program which we hope to launch next year.” Although he was very tight-lipped about some of the detail of this new scheme, he did reveal how Rising Star would effectively be a talent programme and a platform for people working with live sound both in application and research.

Whether you talk to the Roskilde or Meyer Sound teams, both parties seemed incredibly excited about the partnership and the opportunities it presents. On site during the festival were Meyer Sound Founders John and Helen Meyer. “Working with the whole team at Roskilde has been amazing right from the start,” said Helen Meyer, on the partnership. “It feels different than the other big festivals. Everybody is very cooperative, and always coming up with new ideas. Also, there’s a warmth to it... Everybody really cares about what they’re doing, and that makes it a very special experience.”

LIGHTING If you were to take a walk around Roskilde Festival, one of the elements which would stick with you as an audience member is how each stage has its own identity. From the famed Orange Stage, which doubles as the 68

ELEVATING THE

FESTIVAL EXPERIENCE

Photo: Ralph Larmann

Roskilde Festival Group and Meyer Sound have joined together for a unique partnership that will leverage the shared values and respective strengths of both organizations. For 2018 and beyond, these partners have jointly created new programs for technical staff training, education initiatives, and a memorable audience experience. Together, with strong leadership, Roskilde Festival Group and Meyer Sound are working closely to bring an amazing sonic experience to the festival on each 100% Meyer Sound stage.

ROSKILDE FESTIVAL

Visual team for the Arena stage, Sune Verdier, Frederik Heitmann and Nicolai ‘Gubi’ Smith.

logo for the festival, to some of the smaller intimate stages, you can tell significant effort has been made to ensure each space within the site is unique and special for each festival goer. Liliengren outlined this ethos, explaining all the stages, except Orange and Arena, usually have a 3-year run with a theme. Each stage has an independent LD who created the concept and spec’d the rig for the show. Arena and Orange also have independent LDs, although as the 2 largest stages, they host headline touring acts and the goal is more focused on how the stage layouts accommodate an artist’s touring production. To realise the vision, Roskilde called upon a selection of suppliers including Litecom, Comtech, Victory, Vigsø and Obscura.

Following the festival, TPi caught up with Jes Hylby Christensen, General Manger and Head of Production for Comtech. The visual specialist provided equipment for the Arena, Pavilion, Apollo and Rising stages. Although working under different names over the years, Comtech’s history with the festival dates back to 1984 - making it very much part of the fabric. “There really is no other festival like Roskilde,” enthused Christensen. “It has such a strong family of volunteers who you work with each day on site. It’s great to collaborate with individuals who are so passionate about making the event as great as possible!”

The biggest stage under Comtech’s jurisdiction was Arena which, as it has for the past 10 years. This year the stage had an almost exclusively Robe rig. “Comtech was actually the first company in Denmark to stock both the Robe BMFLs and the Spiiders,” said Christensen. “Our stock of Robe really set us apart from the competition and has been a great relationship.”

Describing Arena’s rig was LD Sune Verdier, who, alongside his team, co-ordinated and ran lighting for the venue. Several years ago, Verdier’s team came up with a solution to tidy up the stage and ensure each visiting band was able to achieve their desired looks. In doing so, they created a malleable, automated setup that could give LDs the option to reconfigure the lighting rig, using a ChainMaster system. “The first year some LDs were

taken aback that they were able to have such a say on how this festival set would look,” smiled Verdier. “The following year we had some of the same LDs return to take full advantage of how many potential looks they could achieve.” In total, the visiting LDs were able to choose from 8 rigging configurations. If a band only had a small backdrop, the production could opt for the lighting rig to descend filling the black space. This year on each of the 10 moving trusses were 4 Robe Spiiders, 3 BMFLs and 2 Martin by Harman Atomic 3000 strobes. There were Spiiders along the front of the stage and upstage at the back, and in front of the house LED screen which was also movable. The rest of the rig consisted of 22 Robe Pointes which were added to the audience lighting positions.

A noted addition to this year’s design for the Arena stage was the outer tent lighting. Christian OIsson, a key member on Verdier’s team, devised a custom control system for the periphery lighting on a separate console to mimic the action of the main console.

For control, Comtech supplied a range of ChamSys MagicQ MQ500’s and MA Lighting grandMA2’s for its various stages - and, in one case, both. Christensen elaborated. “For Apollo we are using a combination of both brands with a grandMA2 Light running all video content while a ChamSys MQ500 runs lighting. Both desks are interconnected, meaning a VJ can control the video and colour treatment while our in-house LD can just controls the movement. All the while the colour palate can still be controlled by the touring crew. It’s a complicated system to connect but the results are undeniable.”

Christensen was keen to complement the range of SGM fixtures deployed on the various stages. Its “priceless IP65 rating” made them an essential inclusion on the various riders.

Vigsø also made use of SGM fixtures supplying a the lighting rig for the Countdown stage. CEO, Christian Vigsø described his company’s involvement with the festival. He said: “It’s the 3rd year we are providing 70

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main stage. Now the company provides a site-wide video system for the Orange, Arena and Apollo stages. Managing Director of Mediatec Solutions Denmark, Karel Lemahieu, walked TPi through the company’s development with the Danish festival.

“Screens play an incredibly important role in the infrastructure of the festival,” began Lemahieu, who has worked in various capacities for Roskilde for over 18 years and become the festival’s main adviser for all video solutions. “Obviously the visual element allows a greater connection with artists and audience members. However, there is also the importance of screens in the festival’s safety plan!” During an incident there is nothing more effective then words on a screen to convey a message to the masses, the MD asserted. It’s now written in Roskilde’s guidelines that the 2 biggest stages will always have a screen so, in the event of an emergency, the production can get a message out to the audience. Not only that, each screen even has its own backup generator so in the unlikely event of a power outage, the screens will still be operational.

For both the Orange and the Arena stage, Mediatec opted for a similar screen arrangement as in previous years. Orange’s package consisted of 2 portrait Aoto Electronics M-8Es, 8mm screens standing 7.2m x 9.6m high with a 12m x 6m landscape ROE Visual MC12H backdrop wall. “Aoto is not a name you usually see in rental markets,” admitted Lemahieu. “It’s quite a heavy product compared to others in the market. However, due to our work with Formula One events, we have an abundance of the product. The quality of the image it creates is on par with others in the market.”

Thankfully, both stages were able to take the weight thanks to custom towers which Mediatec built for the festival several years ago. “At the last minute, a supplier had to drop out of the festival so Roskilde came to Mediatec to produce the side screen towers which the festival now own.”

The Aoto also made an appearance at the Arena stage with pair of M-8E with a Glux BAtn backdrop LED wall.

According to Lemahieu, the design of the LED packages was focussed

lighting for the Countdown stage, as we are a dry hire company. Roskilde provided the crew for the festival, which were very professional and caring about their job and the stage design!” The rental house delivered 40 SGM Q-7’s, 18 LightSky AquaBeams and 8 Martin by Harman MAC Auras.

VIDEO Mediatec is also a keystone at the festival, annually, having been involved since 2003 and growing alongside the festival’s expansion. Back in the early 2000s, the video package only consisted of one side screen for the

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on flexibility. “We wanted to make sure each artist is able to put on the best version of their show,” enthused Lemahieu. For both the Arena and Orange, the LED back wall could be moved out of the way for load in and out and each artist had the decision whether to use it or not. On the Orange stage the ROE Visual MC12H was rigged on trolleys, so it opened like a curtain.

Its see-through characteristic also gave touring crews the option to load a lighting floor package behind the screen. Arena rear LED was also movable with a possible stage clearance of up to 4m high.

“This flexibly continued with the back-end of the system,” stated Lemahieu. “We utilised Barco’s Folsom ImagePRO so we could plug in any hardware a touring production might bring and resize it to our screens.

From media servers to a DVD player, we were ready for anything!”

Mediatec brought back its popular camera package with a selection of Panasonic 4K cameras and the Ross Video Furio Dolly and Primo Dolly Systems. The robotic camera options offered slick profession visuals for stage screen and broadcast content - and is “certainly not something you would expect to see on a festival site,” laughed Lemahieu. The product is probably more at home at TV studio or high-level sport competition.

Although the cost was high, Lemahieu believes the Furio Dolly more than made up for it in content. He noted that artists had commented on their preference for the set up as having several camera operators in your face can often be a distraction. “We just have to make sure to give it a good clean once the festival is over,” joked the MD. In fact, the footage Mediatec produced for the streaming has been of such a high quality, artists often ask the company for a copy. A dedicated team from Mediatec burn the midnight oil at the end of each festival day cutting together footage so when the band’s busses roll out, they can take a DVD home. For the Arena stage Mediatec supplied 5 Grass Valley LDX 720p with a further 4 used on the Countdown and Apollow stages.

Last but not least was Rosklide’s Apollo stage for which Mediatec supplied an ROE Visual MC-7 complete with a Barco Folsom ImagePRO

and a Green Hippo Hippotizer media server. “Most of the artists are DJs who perform on Apollo and don’t often have a large touring crew or equipment,” stated the MD. But due to electronic music’s affinity with LED screens Roskilde produced a set up so these artists could bring some basic content which the onsite VJ could then transpose onto the screen using the Hippotizer.

As well as providing several lorry loads of gear for the festival, Lemahieu personally used Roskilde festival as a testing ground for the next generation of video technicians. “For each stage we have an experienced tech and a trainee,” explained Lemahieu. “There is no better training ground for someone new to the industry than a festival as you never know what problem you may have to overcome. This year for example due to the temperature, overheating was a serious issue compared to last year’s heavy rain. Roskilde has become a rite of passage for many of our staff.”

INFRASTRUCTURE Those returning to Roskilde Festival 2018 will have no doubt recognised the majority of the stages, thanks to supplier ETP. While the stages remained virtually unchanged, the audience area around the main Orange stage had a facelift. After 18 years of a restricted penning system, Roskilde felt it was time for a change. Mojo Barriers has been part of the festival’s infrastructure since 2001 following the tragic accident of 2000 during which 9 audience members tragically died due to crowd swells. This year, Mojo Barriers provided over 1,000m of barricades, all overseen by Craig Edwards, who took the lead on the army of volunteers helping put each piece of the barrier puzzle in place.

Also on site during the week was crowd expert Jim Gaffney. No doubt known by several readers of TPi, Gaffney is often seen on festival sites across Europe. For Roskilde, he was brought in as an independent consultant to oversee some of the new developments. “I was approached

by Roskilde’s head of security last September as the festival wanted to 72

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make some changes to the Orange Stage Arena,” recalled Gaffney.

It was a big step for the organisers who had the sad memory of the accident still very much at the forefront of their minds. This year, the second row of barriers - which split in 2 and held almost 10,000 people - allowed the audience members to move in and out at all times. The pit dwellers, who wanted a front row ‘seat’ for performances, had to pick up a specific wristband which allowed them to enter the front pen via Mojo Barrier’s Line-Up Gate system. “The intention of this exercise and subsequent application was to change the layout of the Orange Stage Arena to allow the audience more freedom of movement in a safe environment whilst improving security access and maintaining good sight lines,” stated Gaffney. A central run of barriers was also requested to enable production personnel unhindered access from the stage to FOH. The only major change in regards to the barrier departments in the build process this year was the need for accurate marking out before starting the build, due to the complexity of the set up. “It cannot be rushed,” asserted Gaffney. “Craig Edwards did a fantastic job with this, checking and double checking everything before the start.” He was also keen to complement the festival’s in-house production. “The Roskilde organisers are very good to work with and cooperate openly without ego,” concluded Gaffney.

SEE YOU NEXT YEAR Interviews completed, TPi set out onto the festival ground to soak up some of that the Roskilde-spirit both the production and suppliers raved about all day. Enjoying a beer while watching Clutch’s set - a personal highlight of the summer so far - TPi got talking to a fellow gig-goer only to discover him to be one of Roskilde’s many volunteers, enjoying the perks of a week of hard work. He told TPi his friends and family make it an annual tradition to help play a small part at the cultural gathering. The result is not only a fantastic festival but one that gives its loyal following true, local ownership. Hopefully TPi will visit the site again in the future and enjoy a beer in the shadow of the famous Orange canopy…

TPi Photo: Ralph Larmann, Louise Stickland and TPi www.roskilde-festival.dk www. meyersound.com www.brightgroup.com www.comtech.dk www.litecom.dk www.vigso.eu http://vertigo.obscura.dk www.mediatecgroup.com www.mojobarriers.com http://etp.nu 73

PRODUCTION PROFILE

FLIGHT OF THE CONCHORDS TPi’s Ste Durham caught up with the tight knit crew at Manchester Arena as they stared down the barrel of the tour’s climactic run of shows at Eventim Apollo, London, where the band were due to film their long-awaited HBO special.

Musical comedy duo Flight of the Conchords [FOTC], otherwise known as New Zealanders Bret McKenzie and Jemaine Clement, had their theatre run in the UK cut short earlier this year when McKenzie inadvertently broke his hand, leading to all remaining shows being postponed. Despite this setback, the band returned in June to finish the job with a run of arena shows leading to a 4-night run at Hammersmith’s Eventim Apollo, wherein a TV special for US network HBO was to be filmed.

Monitor Engineer and Backline Tech, Matt Shane, first met FOTC in 2006 while he served as a staff engineer at the recording studio in New York where a lot of the music for the TV series and albums were recorded. He began: “The band and their producer, Mickey Petralia, came in to record and craft all the music for the television series’ 2 seasons, as well as the band’s debut EP and subsequent albums.

“After the second season the band and their management asked me if I would be interested in going on the road with them and doing live sound.

The first tour I mixed FOH & monitors and it was a lot of fun. We started that

tour in small theatres and ended it in a basketball arena, so it was clear that the next time we went out on the road the crew would grow.”

This latest UK tour came about in the same way as those past ones, as Shane explained: “The management reaches out for availabilities and then schedules are confirmed. All the while I’m in contact with Bret and Jemaine trying to get any insight I can into what the show may look and sound like from a stage set and backline perspective. As I receive or decipher info I will pass it on to Mike Leach (FOH Engineer) and Marc Janowitz (LD/PM) so they’re looped in on the latest info from the band.”

Having spent years building his relationship with the artists, it made the most sense for Shane to stay on stage and handle all of their backline / stage tech needs while mixing monitors.

He continued: “The band is really fun to mix for, and our working snapshots have held pretty true tour to tour, which is wonderful considering our production rehearsals are real shows - there’s not much in the way of traditional prep / rehearsal time for tech.

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“The band still keeps me on my toes, but we do have snapshots for each song (and sometimes multiple variations depending on whether Bret plays piano or guitar on something for example) to keep open mics and channels locked down pretty tight. Sometimes guitar tuner mutes or switches get hit accidentally (or not hit) when moving from one position to another, so I try and stay on top of it all and keep anything they’re not using on a song muted from the ears and wedges.”

McKenzie opted exclusively for IEMs for the arena / apollo run in June of this year, while Clement was wedges only. Although the New Zealand Symphony Orchestra, Nigel, typically makes use of IEMs and a traditional wedge mix, he stayed on his wedge for the duration of the UK run.

“The tour is wonderful to mix since we get to use our rig night in and night out,” Shane explained. “FOTC doesn’t really do one offs or TV shows, but I prefer mixing a tour where we can get the rig customised so everything is exactly where I want it when I reach for something. “Every room sounds different and every stage too. The band is really sensitive to spill from the PA, or slap from the back of the room on stage. They are also especially sensitive to low end build up on stage. This is part of the reason we do not carry side fills and the system techs and FOH engineer work really hard to get the sub energy steered off stage as much as possible.”

Since the initial FOTC tour, Shane has used an Avid Profile and d&b audiotechnik M4 wedges, as well as a Shure PSM1000 wireless system and the Jerry Harvey Audio JH13 IEMs. The engineer commented: “I stick with the Profile because my large show file is ready to go with snapshots and presets for different songs and scenarios. I also know how the M4 wedge sounds and I know what the guys like, so with minimal production rehearsal time, myself and the FOH engineer can get the system and mix sounding pretty close to what we anticipate will be comfortable for the band.”

On stage, all of the instruments are run through Radial Passive DI boxes, with the exception of the cello, basses, and acoustic guitars. Shane explained: “The acoustics go through Radial ToneBone PZ-Pre preamp/ DI’s, while the Hofner bass and cello pickups are run through the Radial ToneBone BassBone preamp pedals and an Avalon U5 DI handles the Fender P-Bass that Bret plays during the show.

We chose DPA cardioid mics for the acoustic guitar mics in front of each member, as well as their miniature piano stereo mic set and cello bass mic.

The vocal mics are all the Sennheiser e 935, which sound really nice and smooth even as Bret or Jemaine may drift, turn off the mic or back away for effect.”

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FOH Engineer, Mike Leach; System Tech, Billy Bryson; PM and LD, Marc Janowitz; Video Director, Alastair MacDairmid.

FOH AUDIO The PA system for the tour consisted of 14 boxes of L-Acoustics K1 per side, with 4 KARA down, for the main hangs, as well as between 12 and 16 K2 per side for side hangs, depending on the venue size. 4 additional KARA were deployed for lip fill, and 8 ARCSII were used as outfill to bring the image back down to stage level.

System Tech Billy Bryson talked through the system: “We stepped up to K1 for arenas - the L-Fins built into K2 are perfect for minimising overlap between the main and side hangs. On the floor, we have 2 stacks of 3-high KS28 subs per side, with the inner 2 spun in cardioid mode to reduce low end on stage. The show doesn’t require a lot of bass; it’s more used as an effect in 2 or 3 songs.”

Despite the relatively low volume of the show, 3 hangs of 9 KARA were hung on a delay truss above FOH to ensure maximum intelligibility - key for the spoken word portions - even at the back of the bowl. These delays were initially flown by Monitor Tech, Jim Patterson, who then traded off with Bryson so he could get them to height and configured.

PA drive was handled by 40 LA12X amps, with 2 Lake LM44’s at FOH (as a matrix) and 2 LM26’s per side of the stage for zonal processing and control.

All PA bumps were equipped with KSG Lasers, while the motor controller racks were fitted with rack mount KSG Inclinometer readers and a CAT5 Remote unit.

“The rackmount readers are an elegant solution for viewing data from multiple sensors at once,” said Bryson. He tuned the system using Rational Acoustics Smaart v8, and the Smaart API for tablet control, along with Room EQ Wizard.

He continued: “I use an Earthworks Audio M30BX on a Lectrosonics system so I can walk the room with my tablet. I’m certainly conscious when I tune that there’s less low end and less impact needed from the PA, because the gig is all about intelligible vocals in a big room. I use the Array Morphing tool in LA Network Manager to size the boxes down so they’re not producing as much 100-200Hz. This just assists Mike when he is making the vocals as intelligible as possible.”

Mike Leach began working with FOTC in 2009/10, initially becoming involved through the outgoing FOH Engineer. He said: “People often think that it’s a comedy duo, so how intense could it be? The truth is that these guys keep you on your toes! There are around 40 channels but the guys are constantly moving around the instruments throughout the show. It’s fun to chase them but, at the same time, it’s a lot more complex than staying on top of a few guys playing the same instruments all night.”

He continued: “I try to make it as loud as I can but it’s not the kind of show to force down people’s throats - it’s all about intelligibility in the vocals. All these acoustic instruments can only go so loud, and the introduction of guitar pedals complicates things further. I just have to rein it in and figure it out!”

Leach also opted for a Profile, citing the sound of the desk and the plugin ability of Pro Tools as key factors in this decision. “Snapshots help, and they have really song-specific effects they need,” he said. “We never get production rehearsals so there’s no time to learn a new desk or rebuild scenes. We need to be able to load an old showfile, adapt it to the new input list and go.

“We kind of know the set but to be able to have all those snapshots in the list is reassuring. They’ll set up the song with dialogue, and now we’re deep in the tour it’s pretty locked in. Some nights they aren’t comfortable to play a certain song or decide to leave it until later, so we rely on snapshots for that as well.“ Aside from the band’s mic etiquette being somewhat unconventional - a common theme in comedy performance - Leach’s biggest concern was the move into arenas. “They’re great singers and, the more comfortable they get, they begin to lay into the vocals a bit more. The spoken word is trickier, but the Sennheiser e 935’s are robust, tight patterned, and it’s easy to get good levels in the monitors with them. The major change for this tour was the addition of a Helpinstill contact system to get piano over everything else.”

The band also had a DPA pencil condenser each in front of them as a catchall solution, which is particularly useful for instruments like the toy piano used for Albi the Racist Dragon. Leach added: “Matt had to do a little last minute surgery on the ‘rockenspiel’ to insert a mic - he always has to adapt quickly but he’s a master at figuring that stuff out. It’s amazing how he balances those backline duties alongside everything else.“ He then went on to discuss how the PA lent itself to FOTC’s own audiobased idiosyncrasies: “We had a choice from Marc about the PA. In theatres we had K2 but bumping up to K1 has been ideal for clarity. Andy Russell and Billy Bryson have traded off as PA Techs, and both have been great at getting the system dialled in for me so I can do minor tweaks.

“I don’t treat the spoken word that differently than singing, but when it comes time for the music it has to feel as rock ‘n’ roll as possible, with full fidelity. Tweaking out the resonances of acoustic instruments or the room itself is key, as is keeping the subs down. There’s a couple times where it has to be full on but it can’t be overpowering and swallow up what they do.

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That’s the beauty of cardioid subs man!”

He added: “You can’t forget those people at the back of the room either.

Billy has been great at walking the room, getting to what looks like the worst seat, and ensuring the coverage is as uniform as it can be. I really can’t say enough about the rig and what the guys have done to make it a great experience. People who’ve never seen the Conchords don’t realise how much of a rock experience it actually is, particularly when people are expecting two guys doing mainly stand up. Their range of stylistic influences is so fun, and it’s awesome to be able to mix in different musical styles.”

Shane gave a round up of the tour from an audio point of view: “It’s gone really smoothly, the guys were happy and they played really well. The gear held up and was solid and reliable night in, night out - and that’s as important as how it sounds. Consistency is a huge thing for me when we’re doing back-to-backs, and the techs we had from our vendor, Adlib, were extremely professional. I couldn’t have been happier with how we were looked after. Our touring crew is pretty tightly knit for the size venues the band is doing, so everyone gets along and works well together.”

LIGHTING & VIDEO Lighting Designer Marc Janowitz, who also served as the tour’s Production Manager, began by discussing the surprisingly intricate processes behind the look of FOTC latest outing: “Just taking practical illumination out of it for a second, and there are 2 worlds being represented; firstly, you have a pair of musical comedians on stage, who are interacting with each other in their self aware, fourth wall-breaking moments, and essentially setting up characters that are a bit more real than their HBO caricatures.

“The other world is the way that they use musical genres to create parodies and comedy and, essentially tell a story. The visual aspect of this second world morphs so that the stage can become a place where that song could exist in reality. If they do a ‘folkier’ song we mellow to a ‘folkier’ look, and the same goes for rock or hip-hop. The difference is we can never truly lose sight of their faces and reactions, because that’s where the comedy is.”

Janowitz has spent 10 years with the Conchords perfecting this trick - a trick that often leads to comedic moments in and of themselves. The LD explained: “The world around them can’t just change and then they play,

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it has to happen as they play. There are times where they look out at FOH and ask me to create these looks, which was a little nerve wracking at first!

The original joke before they had an LD was they’d ask for a certain look and nothing would change,” he laughed. “Now it’s more whether the things they say can be interpreted visually. There’s a moment where they ask for medieval lighting for their ‘old song’, 1353, where we fade to black for 10 seconds. Sometimes it gets a chuckle or even a laugh, and they usually comment that ‘our LD gets one joke a night and that was it’.

“Then when we return, I can move into a far out, textural gobo look that you’d never get away with jumping straight to in a comedy show. It’s just a case of coming up with organic ways of creating these worlds.”

The rig itself was relatively generic in terms of fixture placement and was geared towards utility. DS truss for specials and audience lighting, US truss for profiles and washes and floor package with a handful of both.

That’s grown over time. There’s only 2/3 stationary guys. This included 12 Claypaky Scenius Unicos split equally between the downstage and upstage trusses, and 3 per side behind the IMAG to cut through the high side angle.

Janowitz explained: “We chose the Unico for its feature set and camera friendliness. It’s got a lot going for it - it can be used as beam, wash, and profile, and has great gobos. We also used 8 GLP impression X4’s on the upstage truss and 6 on the downstage. Those are your profile / wash system. On the floor is 8 Robe MegaPointes, which gives you that great beam texture over the band. It’s really useful visually and, because we rely for their expressions on IMAG, it’s nice eye candy for the cameras.”

There was no scenic backdrop or any set pieces for the show, mainly due to the way in which they could stifle the band’s potential for ‘world building’, but the white upstage cyc did provide an opportunity for Janowitz to get his gobo on.

“With this particular UK and Ireland run, we worked with notion of the HBO special at the end,” he said. “Basically, we don’t want the cameras to be shooting into black for 75% of show! The band and the director went back to iconic concert films of ‘60s, ‘70s, and even early ‘80s. Borrowing stylistic cues from things like The Last Waltz and Stop Making Sense, which make fair use of coloured cycs. We’ve talked about things other than light, but having scenery almost shows your hand too soon. Spontaneity is key to their storytelling, and too much foreshadowing could damage that.”

Video Director and Project Manager for VER Alastair MacDiarmid’s history with the band dates back to 2013, where he began a protracted game of musical director’s chairs with TPi Awards winner Jon Shrimpton.

This collaboration, also benefitting from the input of Arran Busk, has resulted in an organically evolved video setup for this latest tour.

MacDairmid began: “We have an independent 2-screen show, both of which are made from our very hi-res ROE VR3 3mm panels. It’s a really nice modern screen, with great black levels and colour saturation. It’s also a fine enough pitch that it doesn’t really trigger moiré effects in the cameras when they’re looking back at the screen, which is ideal for TV work.

“We have Sony 2500 hi def cameras, which are full broadcast spec, with Canon hi def x95 and x85 glass lenses. There’s also Panasonic HE160 robocams, and a Sony MVS-3000 broadcast switcher, which is a cut down version of 6000’s you see in TV studios. Behind the stage there’s a fully built up 3-rack PPU with a big shader station on one side and a director’s station on the other. With the 2 screens it has to be a 2ME switcher, as you’ve got to be able to have 2 full mixer-fed busses so you can do full fade, wipes and effects on both screens independently.”

The show is entirely made up of live camera footage to screen to ensure the essential spontaneity to which Janowitz had previously alluded. “The guys themselves project this persona of being 2 slightly naïve kiwis that haven’t quite got it together,” MacDiarmid smiled. “It remains an element in the live show but it’s obviously play-acting. They’ll still goof around on stage and mess things up from time to time but it adds to the ‘clunkiness’.

There’s a certain amount of this to my and Johnny’s video show; nothing’s ever quite perfect. At the same time it’s a real high quality show, just without over-glossing it. It’s certainly an interesting challenge.”

He continued: “The personas they’ve developed are still front and centre. You have to enhance the experience for everyone at the back, to ensure they see all the tiny things happening on stage like the toy pianos and nuances of visual humour - their facial expressions in particular. This creates the atmosphere in the room, which then feeds back to the guys on stage. The show is basically a circle of positive reinforcement that the video component is integral to.”

While the high quality LED certainly looked the part, VER had to work to ensure the product remained tourable. MacDiarmid said: “They’re not exactly designed to tour, but we have them shock mounted to protect them. Video screen is so much more reliable than it used to be in the old days. There’s less head scratching now, even for a 3mm screen!”

As well as providing the live footage for the show, MacDiarmid’s shots also served an alternate purpose, as he explained: “They’ve already cut together isolated recordings from earlier in the tour to create a kind of 78

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guide for the DVD shoot, which is a nice compliment to the show we’ve developed. We had fun feeding them shots and it will be great to see the final result.”

only a 4 truck tour, they’ve been perfect. To go with this low maintainance approach, we haven’t even used bussing, as we have enough hotel backto-backs and drives aren’t so bad. We’ve used Beat The Street day coaches to hop cities on days off. Tour Manager, Rebecca Travis, who is one of the long-time core crew along with Matt, Mike and myself, has made all of these logistical calculations. Finally, I will go back to the States with a few extra kilos thanks to Popcorn! The food is unbelievable and the crew are so good as well.”

Following the success of the tour and its triumphant peak at Eventim Apollo, the hour-long show recording, Flight of the Conchords: Live at the London Apollo, is due to air in the US on HBO on 6 October.

TPi Photos: Shirlaine Forrest www.flightoftheconchords.co.nz www.adlib.co.uk www.popcorncatering.com www.negearth.com www.ver.com www.flybynite.co.uk www.beatthestreet.net

SUPPLIERS As well as discussing the lighting-based world building that goes into a FOTC tour, Janowitz also found a moment to find his Production Manager hat and talk to TPi while he was wearing it. He began: “The suppliers for this run are a mixture of established relationships and a few new partners.

VER handles all of the video, as we have a long-running relationship with them in the US. They provided lights and audio for last few tours as well; not to mention the fact that Alastair is Project Manager there as well. It’s not easy to get that level of broadcast equipment at this time of year, but VER’s inventory is vast in that way and they made it affordable.

“We have used Adlib on all of our Europe runs. They’re a high-quality, reputable company, who guarantee you attention to detail at every corner.

“Neg Earth Lights is a new choice. There are so many great lighting vendors in the UK but they provided right combination of price and personnel to go with their worldwide reputation.

“Our trucking vendor, Fly By Nite, are awesome and, even though it’s

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used gear

AUCTION

☞

www.10kused.com/auctions audio

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PRODUCTION PROFILE

SISTER SISTER SISTER: HAIM DELIVERS ROCK REALITY IN THE UK

When HAIM - comprised of 3 sisters, Este (bass guitar and vocals), Danielle (vocals and guitar) and Alana (guitars, keyboards, and vocals), hit the road in 2018, the UK and Europe became the epicentre for a short stint of sold-out headline dates.

Having grown up in a musical family in LA, the HAIM sisters are the kind of multi-talented, feminist rock stars that record moguls and fans can’t get enough of. Their stylish music videos and live shows make HAIM a band in demand.

Production Manager, Jeremy Dubois, took up the story at Manchester’s O2 Apollo, the tour’s second largest venue after London’s Alexandra Palace.

“Over here, we’re playing some varied venues in terms of size, building age and room type,” explained Dubois. “The capacities range from 1,00010,000, so the production design has to be able to be scaled up and down depending on the venue. We also have an entirely different look in London at Alexandra Palace, where we add the element of video.”

Dubois was brought on board in January just before the US dates began. His challenge in the UK was manning a much smaller crew and gear list while still delivering a show that packed a heeled-boot kick. He continued: “We wanted to use one vendor who could set up and prep the majority of the tour. Adlib was a great choice for us as they could manage the lighting and audio requirements. Then, once we get to London, Siyan

handles the video and supplemental lighting.

“The tour is going really well, despite how tired we all are at this point.

It’s been 4 months of headline shows, festivals, and promo. I think morale is good considering all of that!” he stated. “The band does really well over here and the crowds seem to love their shows. So, even though it’s been somewhat of a tough schedule, the tour is going very smoothly, making it all worthwhile.”

Dubois’ office buddy in Manchester is Tour Manager, Sam Pauly. TPi first met Pauly in the same venue with Hozier’s crew some years before.

“Oh, that’s right!” she smiled, with a slight case of déjà vu. “I actually wasn’t meant to be here this time. I’d planned on taking a year off,” she noted, when pondering how busy 2018 has actually been. “I began touring with Kings Of Leon in 2014. Since then, I hadn’t really stopped and was in need of a rest this year. I was recommended to HAIM, and suddenly my planned break from touring spectacularly failed!” she laughed.

Although the majority of the 2018 Sister Sister Sister crew are new to HAIM, Pauly is well-versed in the world of powerful female rock stars. “I 81

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used to tour manage a female American country duo, so I’m familiar with trying to generate a mix as great as he does, but it helps that I’m familiar the strong, lady boss vibe on a tour. I think it’s great. with the desk. I’ve been using Avid consoles and ProTools for years now.

“As Jeremy mentioned, the 3 weeks in the UK has meant the routing has Scott is such a great mixer, and his setup is quite appealing. The mix is very been a bit of a grind. But, when you know you’re going to be in the thick of it much about melodic pop songs, so it’s vital that the mix centres around as a TM, you find the key is to counteract all the simple things that can make very clear vocals.” a team miserable. If you look after peoples’ basic needs like sleep and food, The microphone package is top of the range, with Shure SM58’s, it makes all the difference to their day. You have to Shure Beta 56a’s, Shure Beta 58a’s, Shure SM58 take care of each other, and I think we’ve managed SE’s and Sennheiser 604’s. to do that.

Adlib supplied the entire tour’s audio “2018 so far for HAIM has been an interesting requirements, bar the Shure endorsement pieces. one; we’ve played everything from Coachella right The rental house sent out an L-Acoustics PA before Beyoncé, to Stubb’s BBQ, to 2 sold out comprising elements of K2, KARA, ARCS-II and shows at Ally Pally. I did want a break from touring, KS28 subs, box count of course dependant on but you know, that’s a pretty cool run...” she said, venue. The K2 rig is also a big selling point for with a smile.

Daniel. “It’s personally my favourite PA at the “2018 so far for HAIM has moment; the K2 is a very musical box, and is great been an interesting one; SISTER SOUND for live shows like this because you get such a FOH Engineer Scott Adamson re-joined the band smooth and full spectrum of coverage.” we’ve played everything for the Alexandra Palace shows, asking long-time As for the UK audio supplier? “Adlib has been from Coachella right before friend Dana Daniel to fill in for some dates. “We use really great with us. They prep beautifully, tune up, an Avid S6L console, running on timecode to keep and leave us to it!” Daniel concluded.

Beyoncé, to Stubb’s BBQ, to 2 the show consistent,” said Daniel, who is utilising At the monitor station, Adlib provided a DiGiCo sold out shows at Ally Pally...”

McDSP and Sonnox plug-ins for the show.

SD12 for control, d&b audiotechnik Q Subs, and a “Obviously I’m only filling in for Scott’s role, and DiGiCo DMI Waves I/O Module. Engineer Thomas Sam Pauly, Tour Manager 82

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HAIM

Some of the lighting and visuals team: LD Parker Genoway, Lighitng Tech Adam La Femina, Siyan Account Manager, Tom Grant and Adlib’s Account Manager Jordan Willis; Tour Manager, Sam Pauly with Jeremy Dubois, Production Manager; Monitor Engineer Thomas ‘Chip’ Valentino.

‘Chip’ Valentino started with HAIM at the beginning of their second album LIGHTING AND VIDEO cycle in 2017 as a recommendation from FOH mixer, Scott Adamson.

Lighting Designer Parker Genoway took the design on the road after Chip began: “I prefer to mix on DiGiCo desks. If it was up to me, I’d use spending months creating the show alongside Creative Director Warren Fu. one for every gig!” Unlike at FOH, Chip doesn’t use plug-ins: “I find that I The duo have worked together since last August to ensure HAIM’s look is don’t need them with a console like DiGiCo, as it already has such stature.” true to style while remaining consistent. Genoway told TPi: “Lighting HAIM The band all use IEMs, with Ultimate Ears and Jerry Harvey Audio JH 16’s. means reinforcing their badass vibe with powerful and dynamic looks. I Shure is again the prime choice here, with the in-ear transmitter packs am always trying to find that sweet spot between classic rock ‘n’ roll grunge comprising of PSM 1000’s. “The band is Shure-endorsed, so we have their and new-age elegance. Knowing when to go big and when to hold back is microphones, wireless handhelds, and wired mics. The girls were happy essential. The girls value an expertly executed show and they spend lots of to start using in-ears when they could find someone that could mix them time with me expressing their ideas and vision. Our fun working relationship correctly.” allows for some silly, creative, and productive “All rooms are different, so things sometimes programming sessions.” tend to sound different in the ears. You’ve got to For most of the tour, HAIM travelled with the figure out what the room is telling you; with so ‘Panel Design’. This was perfect for small to large many different spaces, it can be quite hectic!” theatres. 3 custom fabricated frames upstage “They tend to shy away from from certain symbolise the trifecta of talent downstage. sounds. Danielle for example, shies away from Utilising ColorForce II units to uplight the fabric listening to too much of the other vocals as she’s frames, Parker creates contrasting 2-toned trying to lock in her sound. Alana and Este tend to gradients. Complementing these bold panels are listen to Danielle’s vocal to gather pitch. Danielle 14ft vertical pipes with SunStrips. “The SunStrips asks primarily for her guitar and vocal then adds are essential to the design as this brings the drums and keys to gather more of where her pitch tungsten warmth that that HAIM Girls love,” Parker should be. I’m very delicate with reverb as they added. “The inherent coolness of most LED “I prefer to mix on DiGiCo don’t like a lot of it in their ears. Other than that, I products scares this Artist and a punchy tungsten desks. If it was up to me, I’d just need to make sure they’re having a good time fixture such as the SunStrip with onboard dimming on stage; that’s the most important thing!” and DMX control is perfect.” Claypaky Stormy CCs use one for every gig!”

Musical Director Tommy King has a tech talk and Base Hazers top off this package to add the Thomas ‘Chip’ Valentio, back and a band talk back system to ensure HAIM’s necessary smoke and strobe FX that HAIM’s live multi-layered show is delivered to perfection. performance requires.

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For London’s Alexandra Palace, with a capacity of over 10,000, the crew needed to produce a show with a bigger punch. They opted to go with Fu/Genoway’s ‘PAR Design’ they had previously toured with in America earlier this spring. Standing strong with 144 PAR Cans as a wall of light upstage, there was no doubt he’d reach every last audience member. 34 GLP impression X4 Bar 20’s, 54 Martin Aura XBs, 25 SGM Q7s, and 24 Claypaky Scenius round up this look. Siyan provided a cutting-edge follow-spot system: The Robe RoboSpot with BMFL Spots.

“Doubling as both an aesthetic gain and a logistical advantage, these lights allowed us the opportunity to opt out of building spot towers at FOH. This freed up ‘seat kills’ and allowed me to experiment with a new type of key lighting system,” Genoway mentioned. “In tandem with the MA Lighting grandMA2, I was able to alter colour, beam, and focus parameters of the spots to tailor the look while the local followspot operators manned the offstage controller for position tracking. I was thrilled to have such an intentional system while the Siyan team kept the operators up-to-speed on operation.”

Genoway was thoroughly impressed with Adlib for supporting the Panel Design and Siyan for supporting the PAR Design. Siyan’s Tom Grant and his team resolved potential issues before they came up and Adlib’s Jordan Willis and team asked the right questions to make both designs a

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HAIM

complete success. He looks forward to using both companies in the future. was created in the rehearsal process for the US tour, specifically the Siyan also deployed a video package - yes, the London-based performance at Coachella. Hollywood director Paul Thomas Anderson is a company has opened up a video rental service as part of an impressive family friend of HAIM, and worked with the band to produce the content. £2m investment. HAIM’s double stint at Alexandra Palace proved to be the “We basically cloned our Coachella video show for London. Parker and perfect concert setting to reveal its new LED screen inventory.

I sat down and talked through the show, with Camera Director from Siyan, Video Director, Kate Leahy - who has a steady 20 years of lighting Chris Farrants. experience under her belt - came on board with HAIM in March 2018 “There were 2 key moments that were very successful in the show & when Dubois needed a lighting crew chief. “Jeremy and I have done many involved some IMAG trickery. The first was during Night So Long, when the projects together,” she began, “and this was a sisters appeared at the B-stage at FOH. It’s a very great opportunity to do something with a new slow, emotional song. Chris had switched his band.” camera feed to black and white, and we took an As video only made an appearance at the extreme close up of Alana HAIM and put her on the London shows, Leahy joined the team in the main wall halfway dissolved with the falling snow capital. The key elements of Siyan’s video package content. It was simple and magical. Even ‘Mama comprised a 15m wide x 6m LED wall (using a HAIM’, the girls’ mum, came up to me after the 6mm pitch), 2 20ft IMAG screens with Panasonic show and was very excited about it. That was one 21k Projectors, 6 Sony Pro Cameras - 3 manned, of those moments that I designed on the fly.

“The HAIM girls are extremely 3 fixed. But the fun doesn’t stop there, as Leahy “The second great moment of the night was the hands-on when it comes to explained: “I also built a PRG MBox Studio V4 drum outro. The sisters all take their place upstage portable system for the band. I used a new 2017 production design; not only do behind an expansive drum kit and play played MacBook Pro with a Focusrite SMPTE Timecode it together. They’re right in front of the LED wall. they green-light specific ideas reader and a Blackmagic Deisgn mini video Usually, camera ops are instructed to stay away recorder to capture the IMAG feed. I was driving all from catching their own shot behind the subject, but they are responsible for a the content on the main wall and incorporating but in this instance, we used the resulting ‘infinity’ lot of the original concepts.” live camera feeds.” effect. All 3 sisters were trailing all over the wall, As for the visuals, most of the show’s content banging away on their section of the kit. This idea Kate Leahy, Video Director 86

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came from the sisters themselves. It gave a great vintage, psychedelic rock feel to the big finale.

“The HAIM girls are extremely hands-on when it comes to production design; not only do they greenlight specific ideas but they are responsible for a lot of the original concepts. That being said, there are some moments that are open to interpretation and as a professional, I know what works and what doesn’t in the moment. It’s all about creating that ‘oooh!’ moment without pulling focus away from the performance as a whole.”

“Every show, venue, and crowd is different. There are unique challenges and rewards inherent in every different approach, but it was a real treat to play Alexandra Palace. It was great to be in a venue that has some real history.

“Plus, Parker doesn’t miss a trick!” she confirmed. “He’s an exceptional young talent & I’m honoured to count him as a colleague and friend.

The sisters are gracious and extremely talented, so it’s been a genuine pleasure to work with everyone on this tour.”

TPi Photos: Parker Genoway, Phoebe Fox Zac Mahrouche, Shirlaine Forrest www.haimtheband.com www.parkergenoway.com www.kateleahydesign.com www.adlib.co.uk www.siyan.co.uk www.crossland.ie

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SPONSORSHIP Want to sponsor the 2019 mondo*dr Awards? drawards@mondiale.co.uk

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MARKET FOCUS

IMMERSIVE AUDIO Already well established as the ‘next big thing’ in sound reinforcement, immersive audio has propelled our live entertainment experience into, quite literally, a new dimension.

Astro Spatial Audio (ASA) goes beyond traditional channel-based or 360-degree systems by offering objectbased audio for full 3D sound. The technology, based on the principles of adapted wave field synthesis algorithms combined with psychoacoustic measures, allows sound designers, producers and systems integrators previously unimagined productive possibilities. From mixing in 3D space within minutes of stepping up to the system, to sound localisation on stage with pinpoint accuracy and even the ability to sculpt your own acoustic space with a unique 3D reverberation algorithm regardless of the room in which you’re working, the only limit is your own imagination.

But don’t take our word for it - the results have already been used to great effect on Broadway with the Tony Award winning Broadway musical The Band’s Visit, in London’s West End for Tina: The Musical, in the new US production of The Who’s Tommy and even at the State Opera in Berlin.

Crucially, the ASA system is designed to empower the sound engineer by dispensing with brand affiliations – Astro Spatial Audio proudly works with every brand of loudspeaker and every console.

This approach can already be felt in the adoption of ASA technology as the heart of other manufacturers’

ASTRO SPATIAL AUDIO

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immersive audio solutions. A key example is the recently introduced Sound Adventures by Martin Audio, which is powered by Astro Spatial Audio.

Similarly, The Alcons Audio Pro Ribbon Immersive Experience has ASA at its heart. Further manufacturer relationships are set to be introduced over the second half of 2018.

At the core of the Astro Spatial Audio solution is the conversion of audio signals into audio objects. ASA’s SARA II Premium Rendering Engine - a 3U road and rack ready processor offering up to 128 MADI or 128 Dante configurable network pathways at 48kHz/24-bit resolution - utilises extensive metadata attached to each audio object. The result is a precise

calculation, updated 40 times per second, of that object’s position within virtual 3D space, as well as that object’s acoustic effect on the virtual space around it. The outcome is a truly 3D audio canvas with which engineers can unleash the potential of their show.

The system’s easy scalability also makes it particularly suited to touring applications. Moving from one location to another is as simple as entering the XYZ coordinates of the new venue’s set-up. Unlike more traditional systems, ASA adapts to the requirements of your show maintaining the fullness of tone - no fixed loudspeaker layouts are required. http://astroaudio.eu

D&B AUDIOTECHNIK

The d&b Soundscape has 3 component parts; a signal processing engine and 2 optional software modules. The processing engine hardware is a familiar format of signal processing and matrix, one that any sound designer knows and uses every day.

The software components firstly provide the En-Scene object positioning tool, which allows individual placement and movement of up to 64 ‘sound objects’. Secondly, the room emulation software En-Space, gives a means to add room emulation of reverberation signatures to any given space.

The d&b Soundscape is a 2-layered technology. The basic layer is the configuration, the setup, done as usual in the d&b ArrayCalc software modeling tool. Then, there is the creative layer, were the sources, the sound objects - the performers and instruments - are placed, where pan and room acoustic are set... And as with any d&b solution, the R1 Remote control software gives you all the control and oversight you need.

The d&b DS100 Signal Engine is a revolutionary audio system processor with Audinate Dante networking. A matrix to organise signal paths over large numbers of channels, incorporating extensive control in the 64 inputs and 64 outputs, with level and delay settings at all crosspoints. A matrix with many uses, including the beautiful yet true listening delivered by the d&b Soundscape with its 2 software modules d&b En-Scene and En-Space. A matrix that integrates into the d&b System reality, which in turn comprises loudspeakers, amplifiers, rigging, transport solutions and includes networking accessories, not least the DS10 Audio network bridge, an interface between Dante audio network and the AES3 inputs of the d&b amplifiers. d&b’s Ralf Zuleeg told TPi: “I think the reason for the different approach to sound reinforcement now was the lack of connection to what was happening on stage. When the acoustic source has nothing to do with the visuals, it gets really strenuous to listen. But if you satisfy the medial model in the heads of every listener, that means if the sound comes from where it’s expected, it’s much easier to flow with the music or follow the lecture

and so on.

“My personal unfounded theory is that the widespread poor reputation of loudspeakers comes from the unmotivated way they reproduce more or less good sound, totally decoupled from actual events. That’s why loudspeakers are seen as the necessary evil instead of an artistic extension. Why are loudspeakers pushed out of sight when lights are allowed to be seen directly on stage? Lights are not exactly more attractive.

“At the same time, mixing is much simpler when the sound event is distributed in space. While the traditional method mainly deals with the unidimensional bus world to unmask the main information, multidimensional methods give more freedom to look after the artistic aspects of single sound sources.” www.dbaudio.com 89

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In addition, Martin Audio has recently introduced Sound Adventures, a partnership with Astro Spatial Audio processing, which unites audiences in a fully 3D immersive sound field. It does so without audible artefacts and provides a solution that is more realistic for the audience. Martin Audio loudspeaker coverage patterns, in combination with Astro Spatial Audio’s algorithms, also enable fewer speakers than competitors to be deployed in order to still achieve an absorbing experience, thereby making the solution available to a wider market and more of a commercial reality.

For live sound events one facet of Sound Adventures that is likely to gain significant momentum is around the extension of the stereo image. In traditional sound reinforcement with left right audio, it is well understood that for much of the audience they do not enjoy the benefit of true stereo.

Now, it is possible to extend the number of sources at the stage area and with the technology of object based audio the output of these sources can be adjusted to provide a wider stereo image for the audience. Because the difference for the audience is a clear one, rather than subjective, then audio can make a commercial argument for the benefit of such a solution. Sound Adventures will also feature as part of Martin Audio’s next UK Open Day demonstrations in September. https://martin-audio.com

MARTIN AUDIO Immersive audio is becoming an important new trend across multiple applications, bringing with it an exciting and differentiated experience for the audience and new creative tools for sound designers and FOH engineers working at live events, performing arts facilities such as theatres and opera houses as well as theme parks and worship spaces.

Providing a spectacular curtain raiser to Barclaycard Presents British Summer Time, Roger Waters brought his Us + Them tour to the UK and in turn the biggest surround sound system built in the country. To create maximum impact at Hyde Park, Capital Sound were asked to provide an additional 12 hangs of Martin Audio MLA/MLA Compact on towers positioned through the concourse. This provided 12-point surround sound effects as part of the show to give the 60,000 strong audience an immersive experience that had them gripped from the beginning as the sound chased around the site.

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MEYER SOUND Meyer Sound supplies a comprehensive range of spatial audio solutions for theatre, themed spectaculars, electronic music and sound art as well as for concert performances from hard rock to classical.

At the heart of all Meyer Sound spatial audio systems is the D-Mitri digital audio platform. D-Mitri employs a fully modular approach for maximum configuration flexibility, offering dedicated modules for core processing, analog and digital I/O, multitrack recording and playback, and GPIO. The embedded SpaceMap multichannel sound control was first deployed in 1993 and has evolved to provide dynamic spatial sound control. The D-Mitri platform provides a comprehensive automation system that allows content creators and engineers to create dynamic spatial sound designs. D-Mitri’s Wild Tracks playback system provides embedded playback with creative control over looping and synchronisation to show control systems.

With addition of DVRAS modules that host the patented VRAS acoustical algorithms, D-Mitri serves as the processing core of Meyer Sound’s Constellation acoustic system. Constellation allows for room acoustics to be adjusted with the press of a button. This, for instance allows the rehearsal stage of the San Francisco Opera to be transformed to SoundBox, San Francisco Symphony’s acclaimed new music venue. Constellation’s active acoustics may be used in tandem with 3D spatial audio, cinema sound and other spatial audio techniques all within the D-Mitri platform.

In nearly all spatial sound installations, the D-Mitri digital audio platform

ASA TPi 1-2landscape v1.1 outlined.indd 1

is seamlessly integrated with Meyer Sound self-powered loudspeakers.

Meyer Sound loudspeaker systems that reproduce sound accurately and reliably, exhibiting a linear reproduction characteristic across the entire product line. Apart from immersive sound applications, these systems deliver the high SPL and extreme low frequencies demanded by touring artists such as Metallica, the versatility required for Cirque du Soleil’s permanent and touring productions, and the faithful multichannel sound reproduction essential for cinema post-production studios such as Skywalker Sound. For the all-enveloping sensation of a sound environment extending below the hearing threshold, Meyer Sound’s new VLFC very low frequency control element generates visceral subsonic impact - as low as 13 Hz - in addition to deep bass sound. https://meyersound.com

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L’ACOUSTICS’ L-ISA

L-ISA Hyperreal Sound is a technology that helps artists and productions deliver new multi-dimensional sound experiences to audiences of all sizes.

The technology combines powerful processing hardware, revolutionary software, and new sound design methods to enable intuitive sound object positioning and audio enhancement that redefine the boundaries of conventional sound reinforcement.

L-ISA frontal configurations provide natural and intelligible sound that expands panorama and matches what is heard with what is seen. This experience is called Hyperreal Sound.

L-ISA configurations can also include surround and overhead systems that further expand panorama and provide a sense of complete envelopment. This experience is called Immersive Hyperreal Sound.

The technology is enabled by a comprehensive hardware and software ecosystem that adds new tools - the L-ISA Processor and the L-ISA Controller - to the familiar performance and reliability of L-Acoustics loudspeakers, amplified controllers, and prediction and control software.

and Mac OS environments. Control information for selected parameters (pan, width, distance, elevation and aux send) for each sound object is transmitted to the processor.

ROOM ENGINE The proprietary room engine complements existing room acoustics by enabling the precise addition of the elements that are lacking. 3D multichannel processing spreads diffuse energy across many loudspeakers to more naturally enhance acoustics while automatic direct sound precedence control (patent pending) ensures localisation of all source positions for the entire audience.

CONTROL The L-ISA Controller workflow can be customised by choosing between integrated snapshots, the L-ISA Source Control Plugin or a wide range of 3rd party software and hardware devices via the Open Sound Control (OSC) protocol. L-ISA Desk Link1 and the L-ISA Source Control Plugin2 can additionally integrate all source controls into the familiarity of a mixing console, allowing engineers to access L-ISA as an integrated element of their existing workflow. This is available on DiGiCo SD Series and Avid S6L consoles.

L-ISA PROCESSOR The L-ISA Processor is a hardware solution dedicated to spatial audio processing. The multi-core architecture provides computational horsepower for the spatialization and enhancement of up to 96 sound object inputs and delivers up to 64 loudspeaker sends.

PROGRAMMING The powerful snapshot engine in the L-ISA Controller can support a wide range of programming options: multiple snapshots can be edited in absolute or relative mode to accelerate programming; snapshots can be used in combination with groups to create multiple simultaneous trajectories; and snapshots can be triggered with MidiProgramChange or Midi Time Code (MTC). The DAW compatible L-ISA Source Control Plugin is available in many formats to further expand trajectory programming capabilities. www.l-acoustics.com

L-ISA CONTROLLER The L-ISA Controller is an integrated software suite that serves as the hub for all L-ISA functionality. The controller enables object-based mixing and acoustic enhancement along with comprehensive control and programming capabilities in a single platform.

OBJECT-BASED MIXING L-ISA Controller offers positioning, manipulation, movement, and visualization of all sound objects in the 3D mixing space for both Windows

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d&b Soundscape – and a feast for the senses.

Hearing, seeing, feeling, joined up. A new listening experience.

Involvement with a most beautiful intensity. The interaction between artist and audience, more intimate than ever before. Enveloping sound reinforcement, succeeding so much more than right and left. d&b Soundscape is a revolutionary audio system processor, an object positioning tool, a reverberation system, akin to a musical instrument – a tool for artists, sound designers and engineers – to stage feasts for the senses.

dbsoundscape.com Soundscape_01_210x297_NEW.indd 1

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FESTIVAL FOCUS

PARKLIFE 2018 As is the annual tradition, we at Team TPi have packed our tents and wellies to bring you this year’s Festival Focus. Running every issue from July to October, the editorial crew will be speaking to the wonderful men and women who make the festival season what it is - legendary.

ER PRODUCTIONS Launched in 2010, Manchester’s Parklife Festival continues to be a popular annual music event, with this year’s incarnation welcoming around 80,000 partygoers to its grounds at Heaton Park. After successfully providing laser packages and a small amount of SFX to The Temple Stage at the 2017 festival, ER was invited back to supply the full site in 2018.

ER Productions was commissioned by Parklife as the official supplier of lasers and special effects, having worked with Parklife’s Production Manager, Ryan Esson, for a number of years, including on The Warehouse Project, and Snowbombing Festival.

ER’s crew of 9, supplied 6 stages and 7 artists with lasers and SFX. Grime artist, Skepta, who headlined the Parklife Main Stage on the Sunday night, required edgy special effects for his set. ER responded by filling the entire downstage edge with 14 G-Flame XL’s and 12 CO2 jets. The result was a striking contrast of a wall of flames, followed by a sheet of cold ice.

2 Cyro Fog HP/XL low smoke generators billowed from huge industrialstyle pipes, bringing another level of atmospherics to the stage. Controlled

by ER’s new Galaxis Control system, 6 long duration Gerbs and 6 Pyro boards fired Red Pyro FX which completed the show’s look.

At the same time US rapper, A$AP Rocky, headlined the brand new Valley stage. ER fitted a 14m Pyro Waterfall along the upstage wall. G Flame

XL’s, with 8m flames, 6 downstage edge Pyro Boards, and 2 High Altitude Firing Positions accompanied it. Cryo HP/XL and CO2 jets were used in conjunction with 6 Viper deLuxe 2600 Watt fog generators which were strategically placed for the 6 20w RGB ops laser heads, to create a stunning looking set.

ER premiered its Stadium Blasters, large CO2 powered, self loading, confetti blowers, on several stages across the festival, including the Parklife Main Stage, The Elrow Stage, and The Hanger. The Blasters can be preloaded with up to 10kg of confetti and activated using any DMX controlled lighting board.

In the VIP area, 2 Stadium Shots fired 48kg of pink and white confetti, by a Commander Control unit, and 15m single flame jets and CO2 jets helped to create a buzzing party atmosphere, over at The Temple Stage.

ER’s expertise in laser technology also played a large part in the festival’s performances. Indie pop band, The xx, was supported with a laser package of 8 Kinekts and 9 GLP laser heads.

Co-founder of ER Productions, Ryan Hagan commented: “We are now seeing the fruits of our labour. The SFX side of our company is really growing and that’s what we want to shout about. We have a solid reputation with our lasers; and we’re now delivering good quality SFX packages too.”

ER Productions is an award-winning, global, laser show and laser system design, and SFX specialist with credits spanning high profile events, advertising, television and international concert tours. www.er-productions.com 94

P R O U D T O S U P P LY

PARKLIFE FESTIVAL 7 A R T I S T S | 6 S TA G E S | 1 0 0 ’ S O F L A S E R S & S F X

Main Stage: Laser Package consisting of 8 x Kinekts and 9 x Moving Head GLP Laser Heads | 4 Stadium Blasters | 2 Cryofog HP/XL | 14 G-Flame XL’s | 12 CO2 Jets | 6 Long Duration Gerbs | 6 Downstage Edge Pyro Boards Firing Red Pyro FX | 1 Galaxis Control System The Valley: 2 Cryo HP/XL | 6 G-Flame XL’s | 18 CO2 Jets | 1 40’ Pyro Waterfall | 6 Concussion Blasts | 6 Downstage Edge Pyro Boards | 2 High Alt Pyro Firing Positions | 12 ER Storm Laser Heads | Live Beyond Control | 12 Viper Deluxe | 6 CO2 Jets | 12 CO2 Jets Temple: 3 15m Flames | 3 CO2 Jets | 2 Hazer Elrow: 4 Stadium Blasters with our new 4-Way Manifolds | 3 CO2 Jets VIP Area: 2 Stadium Shots | 1 Commander Control The Hanger: 4 Stadium Blasters |

For more information or a demonstration contact: info@er-productions.com UK +44 1322 293 135 | USA +1 214 2700665 | AUSTRALIA +61 403 703 731 | SPAIN +34 938 000291

www.er-productions.com

PARKLIFE HIGHLIGHTS

LUCID, VIDEO ILLUSIONS & DBNAUDILE 84 screens, 450m of LED lighting and 2 scorching hot days of unique video and lighting content...

The Valley Stage was Parklife’s incredible new stage for 2018, inspired by brutalist architecture and dystopian fiction, the stage hosted acts including A$AP Rocky, Carl Cox, Annie Mac, Giggs, Stefflon Don and Bicep.

Parklife Festival asked Lucid to design and build an iconic new stage with integrated lighting and video. The result was The Valley: a life size tower block complex.

Moving silhouettes of the inhabitants of the towers can be seen in every window while enormous billboard screens beam out dystopian public service announcements and adverts for futuristic products.

The new open air stage promises immersive production and spectacular visuals referencing the eye-popping neon signs and billboards of Tokyo, which inspired the setting of Ridley Scott’s 1982 sci fi epic, Blade Runner, and this year’s sequel.

Parklife is a 2-day festival with a curfew of 11pm. The festival directors wanted Lucid to create a stage with an emphasis on video and lighting design, but with the capability to look equally as impressive during daylight hours, as the festival was only under darkness for an hour of each show day.

The first step was to create the fictional world within which the The Valley would sit. The stage is a snapshot of life within a booming, technologically advanced, industrial city with a creative, hedonistic underbelly. The city has no defined location or nationality; it’s overdeveloped urban chaos, a melting pot of cultures, backgrounds, nationalities and status, all crammed in together.

During the day, this is a high-functioning metropolis where perfection reins, human interaction is unnecessary and problems are solved by technology. As night falls, the cracks in the perfect surface break open, and the city’s creative underdogs come out to play.

Lucid created a pair of tower blocks (with echoes of Trellick Tower) linked by a foot bridge running over the stage and flanked by shops selling odd, futuristic products (with teasing references to dystopian fiction) and topped with gigantic billboard screens.

Every window in the tower is a LED screen featuring moving silhouettes of the people living in the towers while the billboard screens continuously showed futuristic public service announcements (“algorithms for peace”, “everything is fine”), ads for weird futuristic products such as VR travel machines and meal replacement gels (“food is boring”), and scrolling futuristic landscapes.

solution to allow the crew to put up the entire set within 10 days of arrival on site to show opening. Every module was assembled on the ground, including screen and LED technology. Modules were then flown into position allowing each tower to be fully clad in only 2 days. Working at height was kept to a minimum and there was no crane usage. The company worked closely with Acorn to ensure the installation system worked seamlessly with its Layher structure allow us to roll out installation system across future designs. The modular system allowed Lucid to build upon the design, making it wider or taller without losing structural or design integrity.

The fabrication also had to be robust enough for a minimum of 5 years of use, and the modular design enabled the entire set to be easily stored in 6 shipping containers between shows.

THE TECH Lucid worked closely with a number of industry-leading tech suppliers to create a set with fully integrated and reactive video and lighting. dbnAudile provided the sound, lighting and on stage Kinesys system, accompanied by Lucid’s in house architectural lighting. Video Illusions provided and installed a total of 180sqm of its VI-L6, IP65-rated 6mm LED to provide IMAG, advertising billboards, and 82 individual ‘windows’ for the stage, with a total of 3.6 million pixels.

The Avolites Ai RX8 media server supplied by RES and operated

by Martin Harvey provided 3 full HD outputs of video to a rack of LED processors, mixing live camera feeds from the BBC with custom window content created by Zak Norman at Black Box Echo, and specially shot advertisements for unsettling futuristic products such as personal androids and virtual reality implants.

The set was highlighted with 450m of Lucid’s own LI bars, producing 21,600 controllable pixels run by Madrix software which integrated into the Ai media server, allowing fully integrated video and lighting. http://lucidcreates.co.uk/ http://dbnaudile.co.uk/ https://videoillusions.net

THE FABRICATION PROCESS Lucid designed and created every inch of the set, from developing an 8-layer process to turn ply flats into hyper-realistic aged concrete to designing and making over 40 illuminated shop signs by vinyl printing and CNC machine. The design had to be deliverable within the constraints of a very short on-site build time. Lucid created a bespoke modular installation

BPM SFX BPM SFX provided lasers for Swedish DJ, record producer, and musician, Eric Prydz’s headline set on the Hangar stage at this year’s Parklife on Sunday 11 June. The company supplied 16 of its 18W RGB Lasers and 208 Blue Beams, which were controlled with Pangolin Beyond FB4.

BPM SFX Company Director, Liam Haswell, commented: “We have had a busy year from the very start of January, with many European tours out all through to the end of April, then straight in

the summer season. Parklife has come in the middle of the hectic summer season for us, which we have been planning for a while with production.

“It was challenging to get so many lasers loaded onto the stage with only an overnight to do it in, but the festival and crew were very accommodating so we got through it.”

He continued: “Eric Prydz always has a tight show. Ross the LD is great to work with and he executes it well. It was great to once again be involved in such a high profile and laser-heavy production. Hearing the crowd roar when the lasers first came on was a particular highlight to Head Tech & Operator Toby MacKnight and the small team we had on site.” http://bpm-sfx.com 96

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PARKLIFE HIGHLIGHTS / FARR FESTIVAL

DECORDIA Company owner, Cordi Ashwell, began by discussing Parklife’s silver screeninspired theme. “Studio Moross had once again created this incredible launch video filled with nostalgic movie references, characters and dreamlike versions of film memories,” she said.

“It’s so much fun pulling out all those references and working out how to make them come alive on site. Along with the Parklife, team we decided to make the new home for the VIP area into an LA ‘downtown’ hang out. 6m Californian palms lined the the boulevard of bars, food trucks and neon signs. While sipping on a popcorn cocktail, a magic carpet would appear, or you’re suddenly surrounded by a group of toy soldiers who have just escaped from a film set! It was a great putting it together and the amazing weather over the weekend massively helped the Cali vibe!”

Decordia’s big pieces at Parklife this year were 2 huge entrance arches, a 5m Universal Studios-style Parklife globe and Ashwell’s personal favourite - a 6m wide Parklife blimp that floated above the central point on site with the ‘The World Is Yours’ emblazoned on the side.

“We also produced / designed the Palm House stage, the Utilita stage, and re-imagined Temple stage, complete with smoking chimneys and waterfall pipework,” she added.

“There was around 20 of the core Decordia team on site at Parklife, made up of decor crew, chippies, mural artists, lighting designers, prop makers, set dressers and our own engineer who fabricates and installs all our steel work,” as Ashwell explained.

The company started designing Parklife in November 2017, working closely with The Warehouse Project and Ground Control teams to ascertain the ideal look and feel for the site.

Ashwell concluded: “We start building all the set bits in March and go on site at the end of May. It’s a big part of our year and one that I and the rest of the Decordia team massively enjoy being a part of.” www.decordiaevents.com

FARR Hertfordshire’s Farr Festival is a special affair that embraces the soul of musical gatherings.

Seemingly devoid of obtrusive commercialism, it gives precedence to engaging environments & audio designs that let people feel the beat...

Dave Millard - Full Fat Audio’s founder and owner - has supplied the sound systems since the event’s early days, almost a decade ago. “I lived in the same village as promoter, Oscar Thornton, and we became friends. The first year was a birthday party in a caravan in the woods, with a couple of speakers. People enjoyed the setting so he decided to keep it going.

“It grew from 500-1,500 in a couple of years, so they felt confident and comfortable enough to invest money and get bigger acts here & it jumped to 3,000 attendees. AEG took it over and absorbed Oscar, who was basically the architect of the festival. He’s still involved, overseeing its acts and personality, and I’m involved on the audio side because we deliver bespoke and unusual system designs, which are

what this festival requires.”

As well as running FFA, Millard holds a sizeable stock of Funktion-One loudspeakers, which he pairs with his own amps for a variety of events throughout the year. Farr’s 5 stages are all equipped with this combination, with supplier support coming from Zion Audio.

Millard explained: “I’ve been using Funktion-One since 2001. I was using Tony Andrews and John Newsham’s designs when it was Turbosound. It’s just something that appeals to me, something I really get.”

The site is laid out like a mini-village that sweeps up from the entrance towards the woods. As attendees meander through the picturesque setting, they first reach the indicatively named House of Dinosaurs, where games, comedy, yoga and festival well-being accompany a mixed soundtrack. Sound reinforcement for the tented stage comes from 2 Funktion-One Res 2’s, a pair of F115 bass enclosures and 2 BR218 bass reflex speakers, which are powered by FFA-8004 and FFA-10000 amps 98

Evolution Series A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences.

Now featuring the recently launched Evo 7T mid-high and Evo 7TL-215 mid-bass speakers

www.funktion-one.com

FARR FESTIVAL

and controlled by NST Audio D48S matrix processors that feature DSP capability.

Campfire Headphase, the festival’s most experimental stage - is next on the Farr journey. Featuring a music programme from electronic music magazine Inverted Audio. With its Edison lightbulbs, it has an almost Darwinian feel. Millard and his team spec’d a system comprising 8 FunktionOne F1201 loudspeakers –4 at the stage and 2 pairs of delays. Bass comes from 4 BR121 and 6 BR118 bass reflex speakers, while power is again handled by FFA-8004 and FFA-10000 amps, with control from NST Audio D48S processors.

There’s a new addition to the wooded stages this year: Ma Dahu’s was hosted by DJ Mr G - Colin McBean - music programme curator for the

Smirnoff stage. The sound system here featured 4 Funktion-One Evo 7EH speakers, 6 Evo 6SH speakers, 12 F215 Mk2 bass enclosures and 16 F124s Funktion-One’s recently launched, ground-breaking bass enclosures - plus a pair of PSM318 DJ monitors onstage. The fidelity of the audio chain is kept at the highest level with the FFA-8004 and FFA-10000 amps and the trusty NST D48S processors.

Millard said: “Mr G specifically wanted the biggest and baddest bass.

The F124s give such depth to the bass - it’s such an abundant sound that’s immense but not aggressive. The tonality of it is such a pleasure to use; put it under any other Funktion-One speakers and it just sounds so natural and powerful - it’s quite magical.”

The Shack is nestled in the deepest corner of the wood, which was planted by the Farr family in 1980 as a way of supporting the area’s ecosystem. Sound comes from a deployment of 8 Evo 7EH speakers, 6 F215 Mk2 bass enclosures, 12 BR121 bass reflex speakers, 4 Evo 6SH and 4 AX88 for fills, plus 2 PSM318 DJ monitors. The system is powered by FFA-8004 and FFA-10000 amps and controlled using NST D48S processing.

Adventures in Success has been designed by Stables Creative - where the party kicks off on Thursday and continues until the early hours of Sunday. The audio set-up features 4 Funktion-One Evo 6EH speakers, 4 F215 Mk2 bass enclosures, 12 BR121 bass reflex speakers, F101 fills, a PSM118 with BR118 combo for DJ monitors, FFA-8004 and FFA-10000 amps and NST D48S processing. Despite the close proximity of the wooded stages to one another, the sound was successfully contained and focussed on the audience instead of spilling out and clashing. This was an important consideration for offsite noise levels. Funktion-One’s point source loudspeaker and horn-loaded bass technologies are renowned for their directivity and control, particularly when deployed by experienced technicians. Millard continued: “By using end fire bass and bass beam width control, we could control the low frequencies successfully without compromising the crowd experience. The use of point source with very precise vertical and horizontal control is all part of our system spec. The bleed between the stages was minimal, which meant they could be enjoyed independently.”

Farr Festival is something of a testbed for FFA. “I’ve always used it to try and improve the products that we manufacture at FFA. We launched the FFA-8004 at Polight+Sound and had them on the Funktion-One outdoor demo system. That was a big thrill - it sounded fantastic. Close customers that have taken them out in the past couple of weeks including Sound Services, Zion Audio and myself, “ he said. “With these amps we’ve really gone back to the finest detail. The technology isn’t new - everybody uses class D type technology - it’s how you implement it that matters. It comes down to how much you want to spend on components, because money does buy you quality & to get that tiny last bit at the top – the quality that gives you the edge - that’s what I wanted to aim for, and I think we’ve reached it.” With such a strong focus on sound quality and real attention on the festival’s design and programming, things are looking bright Farr into the future.

Photos: http://tidalmedia.co.uk www.farrfestival.co.uk www.funktion-one.com www.fullfataudio.com

Unforgettable Audio Experiences D48S: The Essential Audio Toolkit

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11:23

SUMMERFEST 2018

SUMMERFEST 2018 CLEARWING Productions deploys JBL VTX A12 loudspeakers, Crown amplifiers and Martin MAC Encore fixtures at world’s largest music festival

CLEARWING Productions, a nationally renowned full-service production company, deployed a stunning HARMAN Professional Solutions audio and lighting solution made up of JBL Professional loudspeakers, Crown amplifiers and Martin lighting fixtures this week at Summerfest 2018.

Known as ‘the world’s largest music festival’, Summerfest features over 1,000 performances across 11 stages and attracts nearly 1 million people annually. In order to provide premium audio and lighting for the world’s top music artists, CLEARWING Productions deployed full HARMAN Professional Solutions rigs at multiple stages across the festival, including the groundbreaking JBL VTX A12 loudspeakers, and the newly-released Martin MAC Encore fixtures.

“Summerfest is home to the world’s top artists and we’re thrilled to use JBL Professional and Martin lighting to provide an amazing experience for performers and audience members alike,” said Gregg Brunclik, President/ CEO of CLEARWING Productions. “The new JBL A12s sound incredible they allow the artists to put on their best performance, and they always get the crowd hyped. With so many different acts, our lighting needs can change drastically from set to set, and the MAC Encore fixtures make the performers look great every time.”

On the Harley-Davidson Roadhouse Stage, CLEARWING deployed a complete JBL audio system featuring 20 VTX A12 line array loudspeakers, 12 VTX S28 and 12 VTX G28 subwoofers, and 4 VTX V20 line array loudspeakers for fills. 4 VRack 4x3500HD and four VRack 12000HD power amps from Crown powered the rig. The lighting rig featured 8 Martin MAC Encore Performance fixtures and 6 MAC Quantum Wash fixtures to illuminate performances by Social Distortion, Buddy Guy, Cheat Codes and more.

On the Uline Warehouse Stage, CLEARWING deployed a complete JBL audio system featuring 18 VTX A12 line array loudspeakers, 12 VTX S28 and 6 VTX G28 subwoofers, and 8 VTX V20 line array loudspeakers for fills. 4 VRack 4x3500HD and 3 VRack 12000HD power amps from Crown powered the rig. The lighting rig featured 8 Martin MAC Encore Performance fixtures and 6 MAC Quantum Wash fixtures to illuminate performances by Plain White T’s, The Neighbourhood, Gin Blossoms and more.

On the BMO Harris Pavilion Stage, CLEARWING deployed a complete JBL audio system featuring 20 VTX A12 line array loudspeakers, 18 VTX G28 subwoofers, and 16 VTX V20 line array loudspeakers for fills. 4 VRack 4x3500HD and 4 VRack 12000HD power amps from Crown powered the rig.

The lighting rig featured 8 Martin MAC Encore Performance fixtures and 6 MAC Quantum Wash fixtures to illuminate performances by Pat Benatar, Steven Tyler, Cheap Trick and more.

On the JoJo’s Martini Lounge Stage, CLEARWING deployed a complete JBL audio system featuring 8 VTX V20 line array loudspeakers and 6 VTX S25 subwoofers. 2 VRack 4x3500HD power amps from Crown powered performances by The Screamin’ Cucumbers, Kings of Radio, The LoveMonkeys and more.

In the American Family Insurance Amphitheater CLEARWING deployed a complete Martin lighting solution featuring 20 VDO Sceptron 10 video fixtures, 20 VDO Fatron 20 video battens, 24 RUSH MH 10 Beam FX fixtures and 12 Atomic 3000 LED strobes to illuminate performances from James Taylor, Halsey, Dave Mathews Band and more.

“HARMAN continually provides outstanding sound and lighting solutions for the greatest performers in the world, and we’re very excited about our continued partnership with CLEARWING that positions our products at the world’s largest music festival,” said Andy Flint, Vice President of Live Entertainment at HARMAN International. http://dbnaudile.co.uk

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DECIBEL FESTIVAL

DECIBEL FESTIVAL Decibel Open Air Festival in Florence, Italy, featured a stellar line up of house music DJs performing 12 hours non-stop using a powerful Firenze system needed to dance the night away into the early morning hours.

Decibel Open Air Festival in Florence, Italy has quickly become a popular music marathon for house music lovers, boasting non-stop music noon to midnight from some of the biggest names in the electronic genre.

In its 4th edition, the festival registered a record number of 17,000 attendees, who converged upon the Visarno Arena on June 24 to hear performances by Carl Cox, Paul Kalkbrenner, Nina Kraviz, Marco Faraone, Nic Fanciulli, Uner and Monolink.

This year the festival’s audio system was supplied by K-array, so the festival-goers were not only treated to a stellar line up, but also a powerful sound. An impressive PA of 24 Firenze-KH8 line array element paired with 16 Firenze-KS8 subwoofers and 8 Mugello-KS5 subs provided the high pressure and clarity the festival needed to dance the night away into the early morning hours.

The benefits of the Firenze’s innovative Slim Array Technology (SAT) were clearly evident as the clusters on each side of the stage blended in perfectly with the stage décor. But the main advantage of SAT is that the frame’s compact design allows for a better impulse response with respect to a diffuser with a voluminous box and controls the horizontal directivity even at medium-low frequencies where traditional line arrays elements tend to be nearly omni-directional.

The loudspeakers also feature Electronic Beam Steering technology which ensures uniform sound pressure and frequency throughout the audience with the ability to digitally adjust the sound dispersion and, at the same time, limits the noise pollution in the areas where the sound must be kept at a minimum. Which came in handy at Decibel since the outdoor venue is located in the heart of the renaissance city and regional government officials had imposed very low decibel limits at certain hours.

“We were only allowed up to 95 dB until 10:00pm and then we had to lower the level to 93 dB until midnight,” explained K-array Sound Engineer, Klaus Hausherr. “That’s a little low compared to the power that the speakers could have expressed, so we focused on directivity and clarity.”

In this way, the audience was able to benefit from an excellent listening

experience thanks to an extremely enjoyable sound.

“For me, a live system must mainly guarantee uniform coverage and frequency response levels regardless of the SPL used,” said Marcello Mannini, FOH of the Decibel Festival. “And because of increasingly limited installation times, the ease of assembly and calibration of the system is extremely important, as well as an exceptional performance-to-size ratio.

“The Firenze system used at Decibel immediately impressed me with its extraordinary even frequency response both in the medium-high range and the subs. The fast and precise transient response, albeit with very restrictive acoustic limits at 95 dB, allowed me to maintain an SPL appropriate for this music genera.”

“And regarding the system’s coverage, its Electronic Beam Steering technology is definitely its biggest advantage, providing the possibility to digitally adjust the sound beam to the desired coverage area depending on the amount of public present, which makes it flexible to levels that were once unimaginable,” continued Mannini. “Overall, the system really impressed me and I look forward to using it again soon.” www.k-array.com www.decibelopenair.com

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BONNAROO

BONNAROO GETS MAGICAL WITH CHAUVET The 2018 edition of Bonnaroo Music & Arts Festival, which ran from 7-10 June 2018, pumped up the visual excitement even more than usual with a massive off-stage lighting display that wrapped around the stages and surrounded the audience in a sea of changing colours.

Looking like a magical tale come to life, the outdoor display, which was designed by David Weiner of David Weiner Design, swept up visitors with its rainbow of coloured trees, making it easy for them to set their imaginations free. Creating this captivating colour-scape were 1,000 Chauvet Professional COLORado fixtures, supplied and installed by The Design Oasis.

“Having the opportunity to bring the site to life with lighting is something that we have been interested in for a long time. The property is chock full of beautiful, giant trees just begging to be lit. When the producers came to us last fall and said ‘let’s do it,’ we jumped,” said Weiner. “There was no doubt in my mind that the result would be nothing less than transformative to the environment and elevate the fan experience.”

Weiner’s enthusiasm was echoed by Abbas Ritscher of The Design Oasis, who said: “When David told me about his vision of transforming the festival grounds into a wonderful colour canvas, I knew it was something I’d want to be involved with, so I jumped at the chance. It was amazing to see how the grounds took on a different life when the trees and the general surroundings became so colourful and full of life. I loved watching the audience react as they walked around in it. I think it made people lose themselves all the more in the festival.”

Ritscher installed 200 COLORado 2-Quad Zoom LED wash lights and 800 COLORado 1-Tri IP and 1-Tri Tour fixtures throughout the festival grounds.

“The COLORado 2-Quad Zooms was our workhorse,” he said. “We placed 8 of them per truss, with each truss spaced 100ft apart to light the 2,400ft tree line that wraps around the venue. The effect that we got from this was nothing short of awesome. Wrapping the festival with this ring of light really made you feel like you were inside a special place.”

To add to the immersive experience, every tree inside the grounds was uplit with five COLORado 1-Tri IP fixtures. These fixtures were positioned 8’ off the ground, depending on the location of the tree. “Given the output

from these fixtures, we had no trouble uplighting the entire tree,” said Ritscher. “A big factor in selecting the COLORados for this project was their bright output - that plus their low power draw.”

While most of the design was focused in Centeroo, which is the ‘downtown’ area of the festival, the team also tackled multiple satellite areas in and around the campgrounds. Some of these areas include the famous entry Arch; the Groove, which Ritscher described as “a chill out wooded forest;” and in the Roll Like A Rock Star for the highest end VIPs. In addition to the environmental lighting, Weiner and Ritscher teamed to light large scenic elements, the most notable of which was a large disco ball perched on the top of a repurposed 100ft tall fire tower at the main entrance to Centeroo and cast beams of light throughout the site.

This impressive far-ranging lighting display was controlled from one central point via a permanent power and data system that the festival recently installed at its Great Stage Park home.

“With the Centeroo area being over 100 acres and the whole site over 650 acres, this was no easy task. Russ LaPointe Electric permanently installed the bases for each truss, with power and data at each one, and also installed power and data to each tree being uplit,” said Ritscher.

“All of the power and data went back to transformers that are already installed onsite. The fibre was run and networked to each one of the transformers by Yellow Dog Interactive Media. This allowed us to create an MA2 Network and control the whole venue from one location throughout the festival. The integration of permanent data and lighting was a huge team effort that came together, thanks to the Design by David Weiner, the power installation by Russ LaPointe, and the networking created by Yellow Dog.” With the permanent power and data system now in place at the Great Stage Park, fans can look forward to seeing more spectacular lighting displays in the future at a festival that continues to push the envelope musically and visually. www.bonnaroo.com www.chauvetprofessional.com 104

IBC EXHIBITION RAI, AMSTERDAM | 14-18 SEPTEMBER

WHERE PEOPLE CONNECT AND IDEAS EMERGE

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05/07/2018 15:58

INTERVIEW

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GLEN ROWE

Opposite: Glen Rowe proudly announces the NEKO Trust.

NEKO TRUST Stepping away from his position as Touring Director for Muse, Glen Rowe is setting out on a new mission. In light of the dramatic number of small venues disappearing from cities across the UK, Rowe has created the NEKO Trust. The goal; to open 5 new venues up and down the UK for upcoming artists, while creating a central community for the industry to share resources and knowledge to develop the next generations festival headliners and crew.

A familiar face in TPi, Glen Rowe is perhaps best known for his 18-year involvement with UK stadium-fillers Muse. However, throughout his career he has been passionate about giving a helping hand to upcoming artists and crewmembers finding their feet in the live events industry. As Managing Director of Backstage Academy and a Governor at BRIT School, he has already worked with a selection of youngsters looking to break into live events. Under the banner of CATO Trust, set up in 2005, Rowe has been looking at ways to give something back from the lucky few that already work in this world. But now, “it’s time for something bigger!” stated Rowe as he proudly introduced the NEKO Trust.

This year at the TPi Daytime event, Rowe sat on a panel that included Adlib’s Andy Dockerty, Talks On Tour’s Estelle Wilkinson, UK Music’s Oliver Morris and Clock Your Skills’ Denise Stanley. The subject was education and the development of fresh talent. “It was at TPi Daytime that the NEKO Trust was really born,” stated Rowe. “It was during that panel and the subsequent conversations that night that it clicked. We talk about the ‘live events industry’ but there really is no collective space where we can all help to ensure that the grassroots of this world is still a vibrant place. I’m talking about the 300 capacity venues where bands and crewmembers cut their teeth!” Having already had the idea of opening new venues in the UK, Rowe is now on a “call to arms” mission to get each sectors of the industry to come together and share their resources.

The aim of the NEKO Trust is a relatively simple one. Open 5 new venues in the UK (London, Cardiff, Birmingham, Leeds and Edinburgh). Each venue will be run by students of the events industry, which are located in the area. Effectively, this gives bands a way to do a 5-date tour of the UK as well as giving students on the ground experience and perhaps even be taken on by one of the bands passing through. “Each venue with its fully stocked equipment and crew also means that band’s overheads will be significantly reduced. All they really need to do, is get themselves to each venue,” stated Rowe.

Simple in conception, complex in delivery. “There is a hell of a lot of work to do!” laughed Rowe fully excepting the long road ahead for him and the NEKO Trust. But the charity organisation has already made notable headway with the venue in London already being sorted, with construction taking place. “I’m afraid the location has to remain secret for the time being,” winked Rowe. “But what I can say is that it’s in an

amazing location, and it’s going to look and sound great!”

But Rowe can only do so much on his own. “At the moment I’m really just out spreading the word,” he explained. “My time with Muse has come to an end and I’m visiting everyone from rental houses to universities and colleges to explain how people can get involved. Whether that is a donation or even providing technical support once the venues are up and running, there will be plenty of ways people can be part of NEKO Trust.” But there is a grander goal for the trust - to become a central space where the industry can meet and work together to inject life into the grassroots, away from politics and competition. “We all want to see the events industry progress, but I think it’s going to take the collective weight of the industry to make it happen,” stated Rowe.

You don’t have to look very far to understand Rowe’s concern. Earlier this year the UK’s first live music census discovered concerning information, including that a third of Britain’s small venues outside of London are fighting to survive in the face of high business rates and noise restrictions.

“If you lose the small venues, you will lose the breeding ground for those headliners of the future,” said Rowe. “I always use Reading and Leeds festivals as an example. The headliners of the last few years are getting less varied and we need to start finding the acts who will start taking their place.”

As well as scoping out various plots of land for the next 4 venues, Rowe is also starting to organise various incentives to spread the word of NEKO. “The first is a bus tour,” he explained. “My plan is to bring several industry veterans out on the road to inspire students to seriously consider the life in live music.” Not only that but next year The NEKO Trust will put on a student run festival at the House of Vans in London called HULLAbALOO. “Again, giving the touring crew of the future a chance to showcase what they are capable of,” he stated.

As we eagerly wait to hear where the next venues will be and the first bands that will grace its stages, Rowe askes for one thing, “keep in contact”. He concluded: “At the end of the day, some of the bands that will come through the door are likely to be your clients of the future, and the crews in the venues will be your the employees.”

In the meantime, more information can be found at https://www.nekotrust.org/ TPi 107

IN PROFILE

AREA FOUR INDUSTRIES AMERICA – WEST To mark the official opening of Area Four Industries’ West Coast operation, TPi’s Stew Hume hopped onto an LAX-bound plane to meet Adrian Forbes-Black, Vice President of Sales & Marketing, to discuss the group’s latest venture.

Since 2016, one of the most recognisable names in trussing and rigging technology - Area Four Industries - has increased its presence in the US. Even with a successful East Coast Knoxville, Tennessee operation, CEO Franti Zykan knew further expansion was necessary to meet the demands of the American market. Under the watch of industry veteran, Adrian Forbes-Black, the group’s West Coast office was created. Nestled away in Thousand Oaks, California, the new branch is conveniently situated on the 101 Freeway. The region is a veritable hot bed for the live events industry, with Downtown LA, Hollywood and LAX all within a relatively short drive. Keen to catch some Californian sun, TPi caught up with Forbes-Black at the new facility to discuss the group’s reception in America.

Don’t be fooled by his Birmingham accent; Forbes-Black has more

than enough experience within the American entertainment industry having previously worked with Total Structures before moving to Area Four Industries. Thanks to his encyclopedic knowledge on the history of trussing, he is the perfect candidate to oversee this latest expansion.

“You could really think of this base as a hybrid,” began Forbes-Black as we walked the warehouse floor. “We have a small dedicated sales team here that represents Tomcat and James Thomas Engineering (JTE) as well as Area Four Industry brands Milos, Litec, EXE Technology, Mobiltechlifts, Xstage and Xtruss.” Working alongside Forbes-Black on the West Coast team are Sales Managers Douglas DeBusschere and Gene Matera. Another recent addition to the team is Devan Edwards, the company’s Warehouse Manager.

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Opposite: Adrian Forbes‑Black, Vice President of Sales & Marketing for Area Four Industries America - West.

for Litec, Milos, Tomcat and JTE. However there is still somewhat of a separation within the American market, as Forbes-Black explained. “Both Tomcat and JTE are leading brands in the US entertainment industry with a lot of history within the region,” he stated. “As far as we are concerned right now, Area Four Industries America is one incentive while Tomcat and JTE have their own market space.” That said, Forbes-Black outlined the longterm goal of replicating the European model, with all brands firmly under the Area Four banner while operating as separate entities. “The relationship is very clear if you look at both JTE and Tomcat’s websites, which both feature the Area Four Industries logo,” stated Forbes-Black. “People are becoming more aware of the relationship. For example at the last LDI show in Vegas we had 2 separate booths next to each other. At this year’s show we are going to be under one big booth with each faction having their own space.”

According to Forbes-Black the real advantage of the relationship is giving clients the choice to ensure they get the right product for the right event. “Obviously on the large, heavy custom jobs, Tomcat provides one of the best solutions. But there are certain markets where some of the other arms really have filled out their own niche.” He pointed to Milos as an example, which has become incredibly popular with the latest boom in Ninja Warrior assault course gyms. The sales managers situated in both the LA and Knoxville offices are able to sell Tomcat and JTE along with other brands under Area Four Industries. “It really gives us the opportunity to

offer the client the best possible solution for each job,” enthused ForbesBlack.

The growth of Area Four Industries has given the group an opportunity to introduce new products to the market. EXE Technology’s EXE-Rise Chain Hoists are one such example, which Forbes-Black was excited to bring to America. Engineered to comply with EN and DIN standards relating to lifting in the entertainment industry, this is one product that has certainly been creating a stir. Unfortunately, given the nature of the work, Forbes-Black had to be rather tight-lipped about where the chain hoists had been used - such is the joy of NDAs. “But they have been successfully received,” he asserted. “The market for them is growing and we are getting new customers every month as the word spreads about their quality and features.”

Forbes-Black went on to describe the immediate effect that the West Coast presence has had on the wider American operation following the first 6 months of business: “I think it’s unlikely we are ever going to be the same size as our East Coast operation, which is around 60,000sq ft with 75 employees,” he began. “The first goal for us was to make sure there was product on the shelf to start trading. If we have a customer that needs something custom built, our colleagues in Knoxville are able to create it in their shop.” With trucks traveling from the Knoxville office every 2 / 3 weeks, there is a constant flow of product crossing the country to keep the West Coast shelves plentiful. “We’ve already had experiences where we have 109

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been able to supply gear to clients the next day with our stock,” he stated. the need to impress the audience at every show. You cannot sell solutions “Before this West Coast venture, clients would have had to wait weeks. Now on the phone - you have to be there!” they can send their trucks round and drive away with stock that day!”

If the enthusiasm of the West Coast office is anything to go by, there are Its location has also been particularly useful to other entertainment hubs. exciting times ahead. “We just need to keep getting the word out!” asserted Early this year, the branch announced the sale of its first EXE DST (Dynamic Forbes-Black, clearly itching to take the branch to greater heights.

Stack Tracks) system to a customer in Las Vegas. This customer bought over With a fully stocked warehouse, even through busy summer months, Area 200ft of the truss and 6 of the motorised trolleys, Four Industries America - West is ready to take amongst other items - yet further validation for the the region by storm. “California and Los Angeles, new development. in particular, has a special place and role in the Chiming in to discuss the benefits of the new world’s entertainment industry,” he concluded. operation was Forbes-Black’s counterpart in “I’ve lived here for 12 years and it still amazes me the East Coast, Carmen Savarese, Vice President what the area can produce.” of Sales and Marketing at Area Four Industries But it’s the future that the Vice President is America - East, Tomcat and JTE. “From the first day particularly excited by - and you can see why. In I moved to the US, I realised a stronger presence the past months it has already been announced was needed on the West Coast,” commented that LA will be the home of the 2028 Olympics, not Savarese. Area Four Industries America - East is to mention becoming a host city for the 2026 FIFA located in Tennessee, which is a very strategic World Cup. Not wanting to rest on its laurels, the position for serving the East Coast in the most West Coast team is already in conversation with efficient manner. However, it is 5 days away a number of venues and designers who will be “Before this West Coast from the West Coast, as far as truck shipments involved with both events. are concerned. “If you add the time needed for So it’s a ‘watch this space’ moment for Area venture, clients would have manufacturing and product packaging, dealing Four Industries America, as its overall presence had to wait weeks. Now they with the West Coast from Tennessee is like being on the continent continues to grow. Californiain another country,” stated Savarese. She also dreaming no more, the group has yet another can send their trucks round highlighted the benefit of the face-to-face business territory on its global map. and drive away with stock opportunities the new venture could create.

TPi “Customers nowadays want to meet their vendor, Photos: TPi and Area Four Industries that day.” as the challenges are more and more demanding www.areafourindustries.com Adrian Forbes‑Black, Area Four as time passes,” concluded Savarese. “The need www.tomcatglobal.com Industries America - West for tailor-made solutions is growing together with www.jthomaseng.com 110

BILLY BRYSON This month, TPi chats to the Adlib employee who, after working his way through the ranks of the company’s apprenticeship scheme, has gone from warehouse tech to a fully-fledged audio system technician.

I think many of us remember our first round of work experience when we were 16; a glorious few weeks where you could essentially bunk off school - or was that just me? Thankfully Billy Bryson showed more foresight when he was offered a chance to spend 2 weeks in Adlib’s Liverpool warehouse. After impressing the in-house team, Managing Director, Andy Dockerty, offered the then-16 year-old Bryson an opportunity to join the company’s apprenticeship programme. Just 5 years later, he has already collected his fair share of tour laminates, working with the likes of Placebo, Flight of the Conchords and Russell Howard.

“For me, it all started when I was at school,” said Bryson, discussing where his love affair with pro audio began. “I was always interested in computers and IT, but this quickly turned into a passion for live music.” Between the age of 13 and 14, Bryson was already making strides into his future career, gathering a selection of PA equipment and offering his services for local events. “Admittedly, a lot of these were ‘village hall’ setups, but I would hire out the equipment, then take the profits to invest in more gear.” This entrepreneurial sprit served the young Bryson well when he was offered to step up to the plate at Adlib, exposing him to the higher echelon of pro audio equipment. “When I first started the apprenticeship, I used to spend my evenings after work pestering all the engineers who were prepping for tours. I just wanted to soak up as much information as I could, and they were happy to oblige.”

The apprenticeship scheme has been a keystone to Adlib’s success, training generations of UK engineers through the years. “The process generally takes 2 years,” explained Bryson. “The majority of that time is spent in the warehouse, building up your skills and knowledge of the technology from those in the field.” The company even incorporates a mentorship scheme, pairing newcomers with an experienced member of staff. “During my first 6 months, I worked in various branches of the unit, learning about everything from amplifiers, speakers and consoles,” stated Bryson. Through constant communication with the higher-ups at the company, each Adlib apprentice gets to find where his or her passion lies.

“It’s the mentorship scheme that really cemented my passion for this career,” admitted Bryson.

“After I found my feet, I got the opportunity to shadow my mentors on some of their shows. This on-theground experience meant I could pick up so many more skills and made me realise this is what I wanted to do.” The System Tech explained how this incentive also made the transition from warehouse hand to road crew much easier. “The funny thing is, it’s not really been much of a lifestyle shock,” said Bryson.

“It’s only when I look at my calendar I realise how much time I now spend on the road compared to the warehouse. Working all those small one-offs with various members of the crew, to shorter tours really sets you up mentally for the longer stints.”

As is the circle of life in the industry, Bryson has himself become a mentor to Adlib newcomers.

“It creates a wonderful chain of communication,” he explained. “The lad I mentor is free to ask me anything as he continues to progress as a system tech. But on the flipside, I’m still relatively new to the industry and know I can always call up some of the older guys if I want some advice about anything specific. There is no fear of asking a stupid question as we have all been through the same things and want to help each other out.”

The passion Bryson has for the live events industry is undeniable, and clearly his 5 years at Adlib have already given him a strong footing within the field. As our eagle-eyed readers will have noticed, Bryson is already making the pages of TPi with our latest coverage of Flight of the Conchords (pg. 76).

We’re sure it will not be his last…

TPi www.productionfutures.co.uk

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CLOCKING OFF

YOU CAN BE MY WING (WO)MAN ANY TIME...

One whirly bird and two daft birds take to the sky in the name of charity, as Kel Murray reports (having lived to tell the tale).

There’s few things the TPi team can’t get access to when we put our ninja-like journo skills to the test… Yet over the past few years, we’d heard murmurs from the world of our pro audio comrades about an annual charity quiz, and how it was strictly a no-press zone. Imagine! The reason being that the charity fundraiser isn’t an event intended for public consumption. It’s a discreet event aimed at, well, raising funds somewhat anonymously.

And, up until the end of last year, that was indeed the case until suddenly, we were allowed in, alongside a select group of industry press...

We saw the night unfold, and some of us were even accidentally wearing fancy dress - that’s a story for the pub, folks - and, both the bubbly, and the mockery flowed in equal measure as the nylon itch of a 10 quid Amazon purchase grew even more apparent.

The chosen charities were the PSA’s Welfare Benevolent Fund, Stage Hand, and Backup, both of which recieved 50% of the fund each. The PSA’s website reads: If disaster should strike - in particular, an injury or illness that prevents you working or forces an unplanned change of career - it’s good to know that emergency help may be at hand. Depending on your circumstances, the PSA Welfare Benevolent Fund may be able to offer you a small grant to help tide you over, or to help with re-training. It is not, of course, designed to be a substitute for full insurance cover. This charitable Trust was set up in 1998 as a

centre of support and resource to PSA members at times of personal crisis.

Backup - The Technical Entertainment Charity - provides financial support to industry technical professionals working in live events, theatre, TV and film.

Essentially, both foundations widely benefit freelancers and production personnel greatly, and the thousands of pounds raised have gone to some very worthy individuals.

One of the ‘prizes’ was helicopter flying lessons at Hertfordshire’s Flying Pigs school. This raffle raised £1,300 (GBP) to be split between the 2 charities, and was bid on by some kind rental houses. Myself and DiGiCo’s Maria Fiorellino were the chosen recipients of a Goose and Maverick style day out. Leaving our pilot suitably impressed* Maria’s navigation skills at 900ft were a sight to behold, as I was holding on, searching for the landing strip from above. Thanks to everyone who helped to make it happen. I’m more scared of flying than ever, but I’m also comforted by the fact that this is an industry that thrives on community and strength in numbers rather than boastful egos. *distinctly worried, if I was really going to guess.

TPi www.psa.org.uk/about/welfare-benevolent-fund www.backuptech.uk 113

GEAR HEADS

INTRODUCING POLECAM

Polecam is a product in demand. TPi speaks to MD Steffan Hewitt about this innovative camera system and its new-found popularity on live events...

Firstly, what is Polecam, and where does it sit in the production market?

Polecam Limited is a UK company based out of Bedford and for the last 20 years have and continue to design, develop and manufacture unique modular carbon fibre based, lightweight, low profile single operator camera platforms - proving the perfect match for any of the leading manufacturers and trending 4K, HD and super slo-mo/hi speed/hi-mo camera systems.

The precision electronic remote head provides smooth ramping and damping through complex transitions of Pan and Tilt, with a boom that can be extended anything from 1m to 8m, is capable of delivering previously unseen views and angles of the performers on stage and the crowd alike – uniting that strong atmosphere and allure between them whilst being unobtrusive.

The Polecam system is very versatile and is seen and used in a broad spectrum of productions from major sporting productions from around the world both winter and summer as well as football. Music tours, corporate and now medical are also becoming standard operating environments for the Polecam product range.

quick to deploy, quick to relocate principal; which give the Polecams the unique edge when used in the professional broadcast domains. These features were recognised early on and adopted by others outside of the traditional broadcast industry. Some of these early adopters were indeed the Live events, Music and Festival industries, seeing the benefits that the polecam offered meant a very smooth and rapid transition and integration.

Recognising the needs of the Live environment helped us develop the ancillaries’ needed such as RCP/OCP control. SMPTE fibre and twin monitoring as well as waterproofing and overnight storage negating the need for a de-rig each day.

Polecam rigs have been used for gigs with Muse, Kings of Leon, Take That, Lady GaGa and the TPi Awards. What does incorporating it add to the visual element of an event?

Probably one of the most recognised and visual interactions that we have seen is by Matt Bellamy (Muse) using 2 Polecam systems whilst on tour and integrating them quite intimately when singing Madness. The close quarter camera work being conducted by Matt when he actually physically holds and takes control of the polecam remote head and sings directly in to the camera; with the lyrics integrated to his glasses is certainly unique and adds that crowd participation twist that is typically unseen.

Was it a smooth transition from broadcast to live events?

The design and ethos of any of the Polecam systems are based on a 114

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A great example of this is during the set at Stadio Olimpico in Rome.

global use of Polecams in such diverse fields of use, we can be sure to receive a great deal of feedback which includes many “Would it be possible?

With increased interest in unique video for live entertainment, Polecam Could you just? It would be great if... Have you tried?” The list goes on. must be doing some interesting gigs. Can you tell us about a recent one?

Always wishing to add that new element, Polecam have recently Currently a Polecam system has been deployed by the team at Universal launched the Autopod Duo - a remotely operated, low profile, powered Pixels for the Roger Waters tour, UniPix selected the PSP+ system with the telescopic elevation unit with programmable pre-sets. When situated on Narrow head and extended reach. a stage next to the keyboard player, the drummer or strategically placed Phil Mercer, founder of video rental house Universal to the talent, gives great opportunity to locate any PTZ Pixels recently specified Polecam for a Roger Water tour. or similar in very close proximity without obscuring the He said: “We purchased a Polecam Pro Pack, to use with paying crowds view. our custom 3G block camera on Roger Waters’s ongoing In addition the latest development is the SkyJib tour, we are very impressed with the overall package, the simplified, this is an unmanned remotely controlled company behind it and the stunning camera shots that Polecam crane system which is suspended from a stage can only be achieved with a Polecam.” lighting or sound truss, giving unprecedented shots never seen before. The SkyJib is indeed an evolution from the What about other products in the line - is there recently launched IntelliJib remote Polecam, which most www.polecam.com/ anything else in development? of you would recognise from the Premier League and this muserome Certainly Polecam is never standing still when it comes summer’s FIFA World Cup. to new product developments, previously we have used TPi Darwin’s Theory of Evolution as a good adage; with the http://polecam.com

CHECK OUT THE VIDEO…

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FOR THE GREATER GOOD There’s a well-researched and widely shared theory that, for every 300 workplace incidents categorised as near misses, there are 29 minor injuries and 1 major injury. In order to prevent those major injuries, we really should be looking at reducing the amount of the minor incidents, the near misses. Of course, if we don’t know they’re happening, we can’t do much about them.

That’s where incident reporting comes in, and we don’t seem to be very good at it. Maybe it’s a time thing, maybe it’s a fear thing, we don’t really know. Luckily, Samantha Gruskin wanted to know more and researched incident reporting in theatre, we thought we’d better hand over the reins so she can explain her findings.

Working in stage management across a variety of theatres, I was always underwhelmed by the standard of incident report. In many instances, the report form didn’t exist.

If it did, it was totally inadequate, or sat on someone’s desk unconsidered. Although sometimes blown off as just another procedure, incident & near-miss report forms are valuable tools that, when acted upon properly, can directly improve the safety of a working environment. I saw there could be a lot to gain by improving this area of procedure, and went out into the industry to find out what was getting in the way of effective incident report. Why did people not report and what would make them more likely to do so?

What were the practical barriers? What were the cultural barriers?

Looking into the working practice of theatre and speaking to practitioners directly, I found that we must address both the procedure itself and the culture surrounding it. The report form must be well engineered, but of equal importance is cultivating an environment in which reporting is encouraged and valued. Luckily, there’s a lot we can do to improve incident report, most of it requiring very little effort. There’s useful research in psychology about how the brain processes information related to adverse events and how we notate that on something like an incident report form. Simply by incorporating these principles, we can improve the data we get from the report. I joined that research with the practical experience of those working in the industry, to come up with an understanding of what the issues are, what we can do better, and recommendations that anyone can apply to get the most out of their reporting procedure.

When I asked practitioners what they found most difficult about incident report, a common response was they felt that they needed to tell a story. Even if they weren’t sure of elements related to the event, or the cause, they felt they had to explain it. This is completely natural as the brain’s natural tendency is to form a narrative of information, especially when there’s been an adverse event and we feel there’s something to account for. Unfortunately, this need to form a narrative often results in the reporting of false information, which can taint the reliability of the data. The report should only concern factual statements, even if there is no clear link between them at the time. Assuring the respondent that they don’t have to connect the dots in the information they provide not only increases the reliability of the report, but puts them at ease, which also addresses the issue of anxiety brought about by blame culture.

Unfortunately, fear and blame culture are among the first things that come to mind when incident report is discussed. In a comprehensive Norwegian study, “fear of disciplinary action as a result of blame culture, or of other people’s reactions” was listed as the first of five primary factors in why people do not report. Speaking with stagehands and technicians across theatres in London, the same was true in my findings. Members of an organisation are afraid to report because of either the managerial or social implications. This is perfectly understandable, but unfortunate. The purpose of incident is not 116

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to point a finger, but to understand more about the working environment so that safety can be improved for all. While incident report relates to negative events, it is ultimately a positive thing. This purpose should be clearly explained to the respondent in the instructional text. Blame culture is the largest barrier to effective report, but in the end, it’s only a matter of perception. Framing the report as blame-free and adopting this tone throughout the text is an important first step in de-pressurising the situation. If a respondent understands that the information they provide only serves to improve the working environment, and will not result in the allocation of blame, they will be more comfortable and less defensive in completing the form which will then encourage a more thorough response.

In addition to the tone, the actual content of the form can be curated to produce the most accurate response. Remembering the specific details of an event is extremely important, but surprisingly difficult. This act of remembering carries a large cognitive burden for the respondent, especially if they’re emotional or stressed. This difficulty in remembering a complex event can result in the report missing valuable pieces of data.

However, the respondent can be given retrieval cues to help them access memories related to the event. For example, asking the respondent to think about the environment in which the event or near miss took place, the materials involved or the work activity going on at the time can help them access memories related to the event. Asking these additional questions helps the respondent remember essential information relating to the occurrence - information that might have remained dormant had the form

only asked “what happened”?

Asking about the environment of the event also helps uncover systemic, managerial and environmental underlying causal factors which are notoriously difficult to capture in incident reports. Managers have a tendency to neglect the fact that human behavior is always influenced by the environment in which it occurs. This tendency to focus on individual failings and human error, rather than situational factors, ultimately disservices the employee and organisation. Suppressing issues in the environment and working culture that may have contributed to a near-miss might, when left unchecked, result in an occurrence of an adverse event.

Whether it’s asking about the adequacy of the work space, the level of light, or the time pressure associated with the job etc - a consideration of these factors is essential in the report form.

Near-misses and minor incidents offer an opportunity to identify potential hazards in the working environment before any major incidents occur. However, there is only a singular chance and limited time to collect this important information. To this end, it is in the best interest of everyone in a producing organisation to have the most well-developed incident report procedure possible. By optimising these forms and incorporating the research mentioned above, we can create better personal awareness for the practitioner and better procedure; procedure which ultimately protects those doing the work, so they can carry on doing it.

TPi www.psa.org.uk

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INDUSTRY APPOINTMENTS

Sponsored by www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

Above: Jonathan Tingle and TSL Managing Director, Sam Tamplin; TSL Lighting announces the completion of its acquisition of corporate and event lighting specialist, Blinding Light; Introducing The Next Stage; DPA Microphones Regional Sales Manager, Pacific Northwest, Chris Brunhaver and Global Sales Support & Business Development Manager Paul Andrews.

London-based PA rental company Capital Sound Hire announced its acquisition by SSE Audio Group.

Capital Sound will continue to operate as a separate brand, serving its own client base and operating with its distinctive style.

SSE Audio Group MD, John Penn, explained: “We now have a clear template for joining forces with other leading players in the industry. With Wigwam, we were particularly keen to maintain its distinctive brand, while providing it with backup and support and that is what we have done.”

Keith Davis, founder and MD of Capital Sound added: “SSE’s successful takeover of Wigwam has shown that they will look after the staff and the brand and continue to let the business grow and flourish, which is really important to me and my lifetime’s work.”

TSL Lighting has invested more than £500,000 in new rental stock as it announces the completion of its acquisition of corporate and event lighting specialist, Blinding Light. The investment expands the company’s stock of fixtures from a range of manufacturers, including Chroma-Q, Claypaky, Luminex, Chamsys and Litepanels.

Both locations, Gatwick and Basingstoke, continue to operate under its respective individual brands under the overall control of Managing Director, Sam Tamplin. TSL Account Directors Dom Sheerman and Loz Wilcox will remain in their management roles at Blinding Light, working alongside Design Directors Anthony ‘Turbo’ Hall and Neil Harvey, and the rest of the Blinding Light team TSL has also welcomed respected Project Manager, Jonathan ‘Jonny’ Tingle, as a Senior Project Manager. His role will focus on expanding and developing the company’s work in the corporate and special events sector.

Tingle brings many years of experience working in the entertainment industry, where he has earned a reputation as a first-rate Project Manager.

He will be based at the Blinding Light office in Basingstoke, where his role

will be to support existing business and grow the company’s client base.

Signify Entertainment Lighting announced the return of Philips VariLite veteran George Masek. Based at the company’s Dallas office, Masek will look after Business Development for the Philips Vari-Lite, Philips Strand Lighting, Philips Selecon and Showline brands.

Brian Friborg, Head of Signify Entertainment Lighting, said: “We could not be more delighted to welcome George back to the Philips Vari-Lite fold.

He has played an important part in the Vari-Lite story over the years, and with his long experience and passion for the brand, I have no doubt that he will do so again in the years to come. There are exciting times ahead for Signify Entertainment Lighting.”

Penn Elcom in Germany has moved to a new 8,000 square metre premises in Elten, north Westfalen.

The German distribution centre is set to dramatically expand the number of Penn product lines with which it deals in the coming months due to the extra space. The new facility will assist the busy operation in continuing the efficient and fast delivery of products worldwide, which are manufactured by Penn in the UK. DPA Microphones has appointed Paul Andrews and Chris Brunhaver as the new Global Sales Support and Business Development Manager and Regional Sales Manager, Pacific Northwest, respectively.

“With the addition of Paul and Chris, we are adding over 23 years of industry experience and expertise to the DPA team in the US,” said Christopher Spahr, VP of Marketing and Sales, DPA Microphones. “We are excited to welcome these 2 highly qualified individuals and look forward to their many contributions as we continue to grow our market share and reinforce our commitment to the industry.”

Newly formed company The Next Stage, opened its doors as a design and manufacturing facility with a wide-ranging background in the live 118

www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

Below: RM Audio appointed as Martin Audio distributor in Greece; Bandit Lites welcomes Jacob Edge and Arie Zaky; Antycip Simulation Business Developer Amir Khosh and Account Manager Quentin Blancheri.

Fog is our passion!

Battery-operated fog generators to be built into costumes and props, powerful Haze- and Fog generators from 650 W to 3 kW, a 9 kW machine to fill big halls and stadiums, a powerful low fog machine as a low power or high power version and an attachment to produce low fog: We have the right machine for any effect.

Cobra 3.1 Fog generator, 3100W, extremely silent nozzle, Ethernet, Touchscreen available in Summer 2018 Tiny S, Tiny FX, Tiny CX, Power-Tiny Battery-operated fog generators, 30 W/70 W/400 W Unique 2.1

events industry.

The Next Stage brings together over 100 years of combined knowledge and experience within the exciting world of live entertainment. At the beginning of 2018, The Next Stage was formed, and the workshop opened in April. Within a month, the team had delivered multiple jobs in collaboration with Video Design. More recently some of the staff have provided on-site support at Wireless Festival.

Martin Audio has appointed RM Audio, specialist provider of sound, lighting, video and staging equipment for the live events industry, as its new distributor in Greece.

Marinos and Michalis Ressos founded RM Audio/Ressou Bros in 2006 and today they run the business, based in Moschato, Athens, with Giannikos Pavlos and Giorgos Kapolas.

RM Audio has already supported Martin Audio webinars, and in person at exhibitions while in September it will attend the manufacturer’s open day. “Any help we need, we know Martin Audio’s specialists are always on hand to share their knowledge with us,” said Kapolas.

Bandit Lites has welcomed Arie Zaky, Jacob Edge, Elizabeth Weller, Mark Scherer, Scott Wesson and Chris Noll as full-time team Bandit Lites members following its initial work with the company as Best Techs.

Zaky will be working as a Cable Assembly Technician and Edge joined Nashville’s Technical Service Department as a Moving Light Technician.

Bandit Lites Technical Service Director, Jake Tickle, said: “It is hard to find young quality talent these days and we’ve done just that with Arie and Jacob. They are

hardworking, dedicated and have a real intellectual curiosity for our profession. I’m excited to have them on the team.”

Elizabeth Weller is currently out on Rascal Flatts, Mark Scherer is a crew member on the Chris Young production, Chris Noll has joined Sugarland current tour and Scott Wesson is a crew member on Jason Aldean’s High Noon Neon Tour “These 4 techs that Bandit Lites have hired full time, bring diverse skill and personality sets that help us facilitate the numerous variables you face when staffing tours and one-offs,” said Nashville General Manager Mark Steinwachs.

Antycip Simulation, a virtual reality and 3D immersive solutions integrator, announced 2 key appointments to support its burgeoning business. Amir Khosh joins as Business Developer based at its Adderbury office in Oxfordshire, while Quentin Blancheri has taken up the position of Key Account Manager out of the company’s Paris headquarters.

In his new role, Khosh will focus on Antycip’s key suppliers including Lumiscaphe, TechViz and CM Labs, opening up emergent opportunities for immersive visualisation, construction simulation and collaborative design applications for the company, while also looking for VR prospects looking for immersive displays solutions.

Quentin Blancheri assumes the role of Key Account Manager for Antycip Simulation’s French office, dedicated to the simulation market for the defence, aeronautics and aerospace industries in France as well as in French speaking BeNeLux. TPi www.tpimagazine.com/category/industry-jobs/ 119

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BACK CHAT

PATRICK O’MAHONY NEWSUBSTANCE, Creative Director

we sit across a range of sectors.

Our most recent work with NEWSUBSTANCE was Spectra at Coachella, which is a 7-storey pavilion-cum-art installation that’s washed with changing colour - inside and out taking people on a journey in the process. It’s going to be there for at least 3 years, so people can experience it at next year’s festival and in 2020.

We delivered the drone swarm performance at the Opening Spectacular of the Great Exhibition of the North in Newcastle, marking the beginning of our joint venture with SKYMAGIC. That was the UK’s first largescale drone performance. In terms of what we can do, it was relatively small at 100 drones, but it became the main talking point of the opening event.

Other recent projects include adding 6,000 of our LED Falling Stars to the opening ceremony of Abu Dhabi Louvre, designing high detail, lightweight and tourable props for their world premiere of The Little Mermaid, and Spirit - a sculptural installation - in Leeds’ Victoria Quarter.

We also worked with Disney on Frozen the musical, creating 2m shards of ice that rose from a 2ft deep stage underdeck, which were layered in smoke, confetti and each one projection mapped.

How did you initially get interested in live event technology?

My interest first began in the live side. We ran club nights at university and I would always work on the set design side - keen to look at new ways of doing things, especially when it came to creating immersive environments. That’s how I ended up in this world. Event technologies are great, but I was looking for something more physical - like the ‘growing’ wild meadow we did for the first European Games, which is an analogue effect that has a high-tech solution behind it.

What does it mean to the company to have Spectra at Coachella for at least the next 3 years?

Spectra is one of those big pivotal moments for the company. The work that we’ve done over the last 2 or 3 years brought us to that project. Everyone knows what Coachella is, so to be one of 6 selected artists is something special - it’s a global badge of honour. That project gave us the opportunity to show the scope of what we’re capable of as a studio - from pencil drawing to fabrication - and how we can deliver across that entire process. The fact that Spectra will be there for at least 3 years means we can develop the narrative, allowing it to evolve as a proper installation piece.

How did NEWSUBSTANCE come to fruition?

My business partner at the time and I started club nights in Durham. We built big sets and had 1,500 people coming to our events. Things escalated but we soon realised that we didn’t have the nerve for promoting on a weekly basis.

Instead, we started working with aerial performers and street theatre people, creating big theatrical structures and bringing articulation to simple scenarios. That’s how we found our way into ceremonies and opening events.

Where do you think the future of physical special effects lies?

Drones is a massively interesting topic. If you look at SKYMAGIC, in 2016 we could produce a show with 40 drones, now we can have 2,000 in the sky at one time.

It shows the speed of development in that world. As a leader in the field, it’s an exciting time. We’re exploring the language, volume and level of control, and we’re talking to people about lasers, lighting, mirrors and pyro as we look at ways of amplifying the image. We’re really only on the first page of performance drone shows, so there are lots of exciting developments to look forward to.

What kind of projects do you undertake and in which sectors?

We occupy a space where design meets drama, utilising entertainment technologies in unique ways, which means 122

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