TPi February 2020 - #246

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • FEBRUARY 2020 • ISSUE 246

KAISER CHIEFS An adventure playground of production

WE ARE THE ANGRY MOB...

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JOHN MAYER • UNDERWORLD • GERRY CINNAMON • DIDO • FUTURE INSIGHTS: THE NAMM SHOW IN PROFILE: POWERSOFT • GEAR HEADS: L-ACOUSTICS KARA II • MARKET FOCUS: LASERS • PSA

FEBRUARY 2020 #246

B E

C O O L

N-SERIES

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A NEW ERA FOR KARA

KARA II: THE NEWEST MEMBER OF THE K SERIES Thanks to a winning design and powerful output coupled with light weight and diminutive form factor, Kara is a perennial bestseller. With the addition of Panflex, Kara II inaugurates a new era of added flexibility and directivity control. Kara II is a powerhouse with four-in-one directivity: one box meets the needs of any audience geometry. Kara II morphs to fit any design, offering consistent coverage and SPL distribution where you want it – and only where you want it. www.l-acoustics.com

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EDITOR’S LETTER

VISIT US! Hall 12.0 Booth D25 Would you like fries with that…

Whether you were starting a new fitness regime, struggling through Dry January or even attempting Veganuary, the first month of the year seems to go by quicker each time it comes around. I took Harley on his first ever trip to the US, for The NAMM Show, to get this year’s tradeshow season well underway.

For this issue, we bring you a collection of some early 2000s nostalgia, alongside one of 2019’s biggest success stories. Starting with our cover stars, Jacob took a trip to catch the Kaiser Chiefs in Hull, as part of their extensive Duck tour. With yet another set design created by Rob Sinclair, the band blasted through a selection of tracks from the new record as well as some gems from their back catalogue (pg. 30). While on the early 2000 hype train, Jacob also dropped into the O2 Manchester Apollo to witness Dido’s return to the world of live touring after a 15-year hiatus (pg. 48).

Meanwhile, I spoke to the Gerry Cinnamon camp. The Scottish artist last year became an arena favourite and now holds the record for Scotland’s largest ever indoor concert. With Cinnamon on track to make his stadium debut this summer, I spoke to some of the loyal crew, who have been with him through thick and thin (pg. 40).

February is already shaping up to be a busy month for us, with ISE just around the corner and, of course, our very own TPi Awards on Monday 24 February. Last year, our annual soirée saw more than 1,600 of the industry descend on Battersea Evolution, and this year’s event is on track to be even bigger.

We’ll also be growing Daytime TPi this year. Kicking off following the PSA AGM at the Pestana Hotel, both Justin and I will be presenting findings from the Industry Leaders survey. In collaboration with CGA – a market leader in business and consumer market research – we’ll uncover topics such as staff engagement, business investment decisions, trends for 2020 and potential risks to businesses. Not only that, I will also be chairing a panel on the ever-developing conversation about the environmental impact of live touring. More details to follow.

Till next time Stew Hume Editor

EDITOR Stew Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

STAFF WRITER Jacob Waite Tel: +44 (0)161 476 8352 Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

CONTRIBUTING EDITOR Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk

ADVERTISING ACCOUNT MANAGER Lyndsey Hopwood Tel: +44 (0)161 476 8360 Mobile: +44 (0)7800 557094 e-mail: l.hopwood@mondiale.co.uk

ADVERTISING ACCOUNT MANAGER Harley Daniels Tel: +44 (0)161 476 9119 Mobile: +44 (0)7854 087731 e-mail: h.daniels@mondiale.co.uk

ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk

DIGITAL EDITORIAL ASSISTANT James Robertson Tel: +44 (0)161 476 8360 Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

COVER Kaiser Chiefs courtesy of Dani Beck

COMMERCIAL DIRECTOR Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk

Issue 246 – February 2020

CHIEF EXECUTIVE Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Sonam Diki: s.diki@mondiale.co.uk

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TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Media Limited under licence. ISSN 1461-3786 Copyright © 2020 Mondiale Media 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 Media 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 Media Limited United Kingdom. The 2020 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Media Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

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ITINERARY

EVENT FOCUS

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John Mayer 4Wall UK provides an expansive lighting rig to the guitar virtuoso’s winter tour.

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Focusrite Acquires Martin Audio Martin Audio MD, Dominic Harter and Focusrite CEO discuss the acquisition.

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NAMM TEC Awards 2020 The winners of the 35th annual NAMM TEC Awards are revealed in Anaheim, CA.

16

Ghost Victory Event provides a turnkey solution for the Swedish rock band’s latest tour.

18

ADJ The lighting specialist opens the doors to its LA headquarters for a dealer event.

20

PSCo The company extends its Absen LED arsenal with a major investment.

22

Underworld Clair Global and Astro Spatial Audio provide immersive sound for the duo.

PRODUCTION PROFILE 30

Kaiser Chiefs Jacob reports on the band’s most adventurous tour to date.

40

Gerry Cinnamon Stew meets the crew keeping pace with the Scottish singer’s meteoric rise.

48

Dido The singer-songwriter returns to the touring circuit, following a 15-year hiatus.

FUTURE INSIGHTS

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56

A look through some of the latest product releases from NAMM 2020.

MARKET FOCUS 64

TPi takes a look at the leading forces in the dynamic world of lasers.

PRODUCTION FUTURES 70

PROVEN INDUSTRY-LEADING

IP65 MOVING HEADS

TPi Breakthrough Talent Awards’ Young Freelancer of the Year, Oli Crump.

IN PROFILE 72

40

Stew visits Powersoft’s Florence HQ to speak to the company’s founding fathers.

GEAR HEADS 76

An in-depth overview of the latest release from L-Acoustic’s K Series - the Kara II.

78

Out Board’s Dave Haydon talks through the TiMax D4Tracker.

PSA: THE BIGGER PICTURE 80

Andy Lenthall delves into the statistics behind mental wellbeing in the industry.

INDUSTRY APPOINTMENTS 82

48

The latest movers and shakers.

BACK CHAT 90

TPi Awards 2019 Monitor Engineer of the Year, Samantha White, takes the hot seat.

ELATION PROFESSIONAL EUROPE www.elationlighting.eu info@elationlighting.eu +31 45 546 85 66

EVENT FOCUS

JOHN MAYER

JOHN MAYER: WORLD TOUR 2019 The guitar virtuoso brings his smooth, sonic stylings to arenas across the UK and Ireland, with the UK contingent of 4Wall in tow, providing an expansive lighting rig to the winter tour…

Billed as An Evening with John Mayer, the 2019 tour was a nostalgic exploration of the American singer-songwriter’s back catalogue, featuring tracks including Waiting on the World to Change and Half of my Heart. Following the run, TPi caught up with the man providing visual accompaniment: Lighting Designer, Nate Alves.

A regular fixture on the John Mayer tour bus, Alves has devised the visuals for the artist for the past decade. “I’ve been involved in John Mayer’s past four album cycles,” reflected the LD, while discussing his long time collaboration with Show Desingers Sam Pattinson and Gareth Blayney from Treatment Studio along with Video Creative Director Damian Hale.

Treatment linked up with the camp again to help create the physical set, anchoring Alves’ design. “We created a portal into a scenic installation,” Alves said. “The idea was to have something physical that was primarily lighting and scenery based. As John put it later in an Instagram post, ‘your eye knows when you’re looking at pixels vs seeing something real.’”

With the concept in place, the team sat down with Upstaging to create a game plan for the flats and upstage scenery. “The idea was to hide all of the technology that lights the scenic especially,” explained Alves.

With a successful US run, both the artist and crew made the transatlantic trip to European shores. For the run, the flown lighting setup was changed due to the availability of lighting fixtures. The rig consisted of three Chroma-Q Color Force II 48s and 72 Color Force II 72s, 28 Martin by Harman MAC Viper Profiles, 34 VDO Sceptron 10s, 20 TMB Solaris Flares, 14 Robe BMFL Washbeams and 38 BMFL Blades. “You can’t beat these fixtures for lighting people,” commented the LD, citing the BMFLs as the main workhouse fixture of the European tour.

Alves mixed on an MA Lighting grandMA2. “Almost all of the lighting,

scenic and video moves are triggered by a human each night,” he stated.

“The sheer amount of material and the non-scripted nature of a lot of it keeps us from locking it down to any type of code.” There were, however, a few elements such as the intro, the video elements of the tracks New Light and Age of Worry, which featured a lyric video locked to code.

The tour involved a range of very specific scenic lighting fixtures. “4Wall was able to provide exactly what we had been using in the US,” commented Lighting Crew Chief, Chris Coyle.

Discussing the company’s involvement with the project was 4Wall Account Executive, Jordan Hanson. “They are all great guys and it was nice to work with them again,” he commented, having worked with the touring party in 2017 under the former HSL banner. “All the US team came to our warehouse in Blackburn to prep, and they hit it off with the UK team straight away. It couldn’t have gone better!”

The UK team consisted of Harry Brumpton, Stuart Wright, Simon Anderson and Ameer El-Eryan. Hanson went on to explain that this was the largest production 4Wall had been involved in since having a presence in the UK. “Having a lighting truss not only over the stage but out into the audience was massive for us,” he enthused.

The company also provided a Kinesys setup, which was installed within a mother grid. The size and intricacies of the set required a significant amount of preparation. “The use of scenery and a sort of traditional theatrestyle ground row strip light system took a bit of planning,” explained Coyle.

“Thankfully, we were able to build some clever bits to allow us to install a theatre rig in an arena at ‘rock show’ speed.”

Coyle praised Production Manager, Chris ‘Feelie’ Gott, for offering, “endless support over the years and allowing the team to do things their 09

JOHN MAYER

preferred way”. He commented: “The speed and success of this tour speaks for itself. Working with 4Wall UK was great. Jordan always goes above and beyond to see that our needs are met.”

For Hanson, it was a great opportunity to establish the brand in the UK. “The fact that 4Wall tours like Mariah Carey’s and Christina Aguilera’s arena tour in 2019 have been coming over to the UK helps get the 4Wall name out there,” he shared.

In video world, the crew employed the services of Creative Technology.

“We tried to use video in a way that complemented the overall stage aesthetic,” stated Alves. “John delivers a setlist anywhere from six hours to 30 minutes before showtime, and they are different every night. The video team will have a look and ask me what colour palette a song is in that night if it’s a new one to them. Our disguise tech, Clif, gives me cue triggers for the individual video looks and I trigger the entire show from an MA Lighting grandMA2.”

Having everything come through one desk allowed Alves to adjust levels in real time. “The left half of my console is a series of submasters for video, scenic, backlight and front light,” he said. “This keeps any one element from crushing the other.”

Creative Technology’s Nick Knowles shared his experience with the project. “Screenworks has been looking after this show for several years

and they approached Creative Technology to deliver video for the tour this side of the Atlantic – being a part of the NEP group, it was a logical choice,” he added. “Also, having a good relationship with Video Director, Jack Banks helped immensely.”

For the European run, Creative Technology provided ROE Visual CB5s for the rear screen along with the backend package consisting of Ross Carbonite PPU and disguise gx 2c media servers. The cameras selected were Panasonic UC4000 and Creative Technology mini cameras.

Along with the kit, CT also provided an LED Technician and prep to the existing crew from Screenworks at its headquarters to help with continuity.

“This was a great tour. It looked amazing and John Mayer is an incredible artist,” commented Knowles. “This show was a testament to our symbiotic relationship with Screenworks and an example of our ‘one team’ ethos as part of the NEP Group.”

TPi Photos: Luke Dyson www.johnmayer.com www.nathanalvesdesign.com www.treatmentstudio.com www.4wall.com www.ct-group.com 10

EVENT FOCUS

FOCUSRITE ACQUIRES MARTIN AUDIO Following the news of Martin Audio’s new ownership, TPi’s Stew Hume sits down with Managing Director, Dominic Harter and Focusrite CEO, Tim Carroll to see what the acquisition means for both companies.

The past 12 months in the live events sector have certainly been momentous, with a number of major acquisitions and mergers taking place. The latest announcement, released prior to the festive break, came from UK-based loudspeaker manufacturer, Martin Audio. One month on from the news of the company’s acquisition by Focusrite, TPi grabbed five minutes away from the busy NAMM Show floor to chat to Focusrite CEO Tim Carroll and Martin Audio’s Dominic Harter, to discover what the landmark move means for both businesses.

“The history of Martin Audio and Focusrite dates back before mine and Dom’s time with the companies,” began Carroll. “Our Founder and Chairman, Phil Dudderidge, knew Dave Martin back in the day and the two companies have had a close relationship ever since.” Dudderidge even acted as non-executive chairman for Martin Audio as it prepared for the eventual sale to Tannoy Goodman International in 1990. However, the most recent pairing of the two companies came to fruition last year.

“I joined Focusrite in January 2017 and my charge was to grow the

group,” Carroll stated. “Focusrite didn’t have a merger or acquisition strategy, so one of the first things I did was to put someone out in the field to look for potential investments. Although Focusrite has such a core share in the studio and live market, we weren’t participating in areas like reference monitors or in software development – something I was keen to change.”

One of the first acquisitions Focusrite completed with this new strategy was Adam Audio back in June 2019 – a move that inspired the company to then start looking into Martin Audio. “Adam Audio made a lot of sense as they specialise in reference monitors, and Focusrite is a staple of the studio world,” he said. “I connected the dots quickly and, due to RedNet’s presence in the pro audio market, I knew it was an area we needed to look into.”

“Take Martin Audio’s involvement with British Summer Time Hyde Park,” pointed out Harter, on the subject of RedNet’s presence in the live arena.

“That show has been fully RedNet for years and a product we are very familiar with.” Harter continued to state how this new ownership will have a positive impact on the progression of the company.

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FOCUSRITE ACQUIRES MARTIN AUDIO

Focusrite CEO, Tim Carroll and Martin Audio Managing Director, Dominic Harter.

“The fact that Martin Audio is now owned by an ‘audio’ company that understands what we’re about is going to make such a difference for our future,” he stated. “Previously, we spent a lot of time concentrating on raising money. However, under Focusrite’s ownership, we are now able to focus solely on our customers – something which we’re very excited about.”

Carroll concurred, adding that the criteria Focusrite set for the potential investment in another company was that it had to make “strategic sense”. He commented: “We wanted a company that had a similar culture, which Martin Audio has absolutely got. Most importantly, they had to be well-run businesses. Focusrite on its own is growing so fast, we don’t have time to clean up any messes. The great thing about both Adam Audio and Martin Audio, is that there is clear leadership within the teams and they both know what they are doing.”

Simply put, Focusrite could afford Adam Audio and Martin Audio the freedom to govern themselves. “Dom’s got his own a plan, and that’s what pushed us to go through with the deal,” Carroll explained.

“There’s no desire to say ‘we only need one R&D group’, or something similar. We’re keeping Focusrite as a whole different discipline and skillset.”

Harter concluded: “We now have an industry neighbour of the finest pedigree; a global leader in its own right. It’s a momentous occasion as the Martin Audio brand enters its 50th year. Working with Tim, Phil and the Focusrite team, I look forward to seeing all our staff and the wider family grow together, continuing to bring our unique optimised sonic experience to more and more audiences across the globe.”

TPi Photo: TPi and Martin Audio www.focusrite.com www.martin-audio.com

(r)evolution Every once in a while, something comes along that tears up the rulebook and revolutionises an industry. This is one of those moments: the Satellite Modular Laser System from the Visionaries of the display industry – Digital Projection.

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22/10/2019 15:35

EVENT FOCUS

NAMM TEC AWARDS 2020: THE WINNERS The ceremony acknowledges a selection of products and personnel in the live touring industry.

Presented by The NAMM Foundation annually, the TEC Awards continues to recognise the exemplary achievements and innovations behind the world of professional recording, live performances, films, television, video games and multimedia.

Overseen this year by compère Fred Armisen, the awards recognised the technical innovation, along with honouring artist Joni Mitchell, who was given one of the night’s most anticipated honours: The Les Paul Innovation Award. Also honoured during the evening was recording engineer, Dave Pensado and record industry veteran, Herb Trawick – the duo behind the weekly web series, Pensado’s Place – who were inducted into the TEC Hall of Fame.

Elsewhere in the ceremony, for the first time, the 2020 event saw three companies win two awards each in Outstanding Technical Achievement.

First was Genelec for its Aural ID and S360 A SAM product; Universal Audio also was successful with Apollo X16 and Capital Chambers PlugIn; and API 2448 Console and the 550A 50th Anniversary Edition 3 band EQ product.

In the Technical Achievement category, Shure picked up honours in Wireless

Technology for its Axient Digital ADX Transmitter. For audio consoles, Solid State Logic’s Fusion was honoured with Signal Processing Hardware award, while Allen & Heath walked away with Small Format Console Technology for its SQ Digital Mixer Series V1.3.

Avid was successful with Pro Tools 2019 for the Workstation Technology/ Recording Devices category. While in Large Format Console Technology, API was successful for the 2448 Console. The Microphone Preamplifiers category was taken by Rupert Neve Designs’ 5211 Dual Mic Pre, while from loudspeaker world, the winners included JBL Professional’s VTX A8 Line Array Sound Reinforcement Loudspeakers.

With all the winners announced, attendees were treated to a collection of musicians, including Weyes Blood, Kevin Ross, Suzanne Santo and band Venice performing renditions of a selection of Joni Mitchell classics, all in the presence of the legend herself.

TPi Photo: Jesse Grant/Getty Images for NAMM www.namm.org 14

EVENT FOCUS

GHOST Victory Event provides a turnkey solution for the Swedish rock band’s latest tour.

Famed for their theatrical and macabre stage shows, Ghost have become a force to be reckoned with on the live touring circuit, garnering the respect of rock and metal fans alike. With four albums under their belt, 2019 saw the masked Swedish musicians join non-other than Metallica on the European legs of the metal titan’s WorldWired tour.

For the band’s own touring schedule, the production called on Victory Event to provide a complete lighting, audio and staging package. TPi sat down with Victory Event Project Manager, Nicolai Svenningsen to reflect on the extensive European tour.

“We first started working with the band in 2015,” said Svenningsen. “Over the years, our offering has expanded a lot.” The PM explained that the latest European tour was slightly reduced, compared to what they had produced previously. However, the fact that Victory was able to provide a full touring

package for the band proved to be a huge plus point. “We deliver a ‘onestop-solution’,” he commented. “It really benefits the client, as they only need to speak to one company for all audio, lighting and staging queries.”

Svenningsen added that looking after multiple departments led to a more efficient workflow while out on the road. “Rather than having multiple companies delivering each part of the tour, we are able to oversee the entire process, so there is one point of contact for the client.”

For the lighting rig, Svenningsen worked closely with the band’s Lighting Designer, Erich Bertti. The LD oversaw the band’s arena production this year in collaboration with frontman, Tobias Forge – known by his current alter ego, Cardinal Copia.

Operating the show was John Niles, who utilised the MA Lighting grandMA2 for control. The rig comprised 64 Claypaky B-Eye K20s, 68 Mythos 16

GHOST

WELCOME 2020 Some show highlights from 2019

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2s, 38 Sharpy Wash 330s, 16 GLP impression X4 fixtures, 30 impression X4 Bar 20s and 28 JDC1s. Also on the rig were five Robe BMFLs for spots, controlled via four RoboSpot systems. A total of 16 Luxibel B-Blinded fixtures partnered 11 Antari Fogger M-7s to present atmosphere worthy of the theatrical show.

Victory Event also supplied audio infrastructure for the tour, delivering two Soundcraft Vi3000 consoles for control and the band’s preferred Meyer Sound PA system. The European rig comprised 24 LEO-Ms, 16 LYON-Ms and 16 LYON-Ws. The system also contained 24 1100-LFCs, eight LEOPARDs, two UPA-1Ps and two UPQ-1Ps. “The PA was a self-powered speaker system,” stated Svenningsen.

“This meant that there were no amp racks on the floor, so we saved a lot of floor space, as well as a lot of room in the trucks.”

Alongside lighting and the audio, Victory Event delivered an extension as well as a catwalk, which was deployed on the stage.

“It was great to see that venues were well prepared for this touringfriendly setup,” concluded Svenningsen, who was pleased to confirm that the 2019 winter tour went off without a hitch.

TPi Photos: Victory Event www.ghost-official.com www.victory.dk

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EVENT FOCUS

ADJ OPEN DAY In what has become an annual tradition, ADJ opens the doors to customers and the press, ahead of NAMM Show 2020. TPi reports from sunny Los Angeles…

For the past 10 years – in one form or another – lighting specialist ADJ has invited the industry to visit its Los Angeles HQ for Open House events.

For the past six years, this gathering has taken place prior to the first day of The NAMM Show, giving visitors of the tradeshow the opportunity to explore the company’s warehouse and discover some of ADJ’s latest products.

This year was especially notable as it was the first calendar event in ADJ’s 35th anniversary year. With more than 100 guests attending over the course of the day, customers had a chance to meet one-on-one with their reps and get a preview of some of the products that would be showcased at NAMM Show 2020.

Some of the highlights included the full Focus Series of moving heads, including the new Focus Spot 5Z, Focus Spot 6Z and the Focus Wash 400.

Also on display was the latest addition to the wider Vizi Series family, Vizi Beam 12RX. Despite the pleasant LA sun, the company also used the day as an opportunity to present its range of IP65-rated fixtures, including the new Hydro Wash X19.

In the main demo space, ADJ’s sister company, Elation Professional, also

showcased an array of fixtures. Elation’s Sales Director, Eric Loader, walked visitors through a variety of the their products, including the full Artiste range, the new Fuze SFX and the SMARTY MAX hybrid moving head.

ADJ also set up a demonstration in the car park for the Avante Imperio system – a mini line array system that is geared for the small to mid-size venues market.

Giving his thoughts on the day was ADJ’s Global PR and Communications Manager, Eddie Short. “For many ADJ dealers, this event has become an important part of their annual NAMM trip,” he began. “They enjoy the opportunity to get a sneak peek at new products, ask questions and spend quality time with ADJ reps and product specialists.”

Short continued by explaining that this open house was a great chance for customers and visitors alike to get a feel for the company’s ethos.

“Although the ADJ Group of Companies has grown to become a large multinational concern, it still retains the heart of a family business,” he stated. “This means that relationships are very important, which is why ADJ likes to organise events like this to thank customers and to deepen the relationship between the company and its customers.”

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ADJ

The Communications Manger went on to explain how ADJ had a very loyal customer base, but it was events like this that allowed the company to thank them for their loyalty and to make sure they knew about all of the products. Not only that, but it presented the perfect forum to find out if the customers have needs that aren’t currently being met – information that could then be fed to the R&D department.

ADJ USA’s National Sales Manager, Alfred Gonzales added: “Our pre-NAMM open house was a great opportunity to meet our valued customers right at the start of the new decade,” he said. “It not only allows them the chance to see our new products first, but it also gives them quality time with their sales reps and the chance to establish relationships with other members of our in-house team.

“I’d like to thank everyone who attended the event for investing their time to visit with us, and also the ADJ team for their continued hard work. Based on the exciting new fixtures we unveiled at the end of last year, combined with the additional new products we launched at NAMM, I’m confident 2020 is going to be a landmark year for ADJ.” TPi Photos: ADJ www.adj.com

UK Demonstrations

3rd - 5th March

Booth:

Proudly in association with TiMax

11th - 14th February

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7-X250

EVENT FOCUS PSCo Director, Stuart Holmes.

PSCO EXPANDS TRADE RENTAL FLEET The multimillion-pound Absen LED investment supports the company’s UK rental partners.

PSCo has made a large investment to expand its trade rental fleet. The deal will see the company carry huge volumes of matched-batch LED stock, available for both hire and sale.

“By purchasing LED in large volume, our partners across the UK can rent, purchase and cross hire from huge matching batches of best-in-class LED, ensuring they never run out of stock and never have to say no to a customer,” PSCo’s Head of LED, Liam Winter, commented.

The investment includes a comprehensive 1-2-3mm pixel pitch indoor line-up, comprising the Absen Aries AX1.5 (1.5mm) MiniLED, Polaris PL2.5 Pro (2.5mm) and PL3.9 XL (3.9mm). While for outdoor applications, the company has invested in Polaris PL3.9 Pro (3.9mm) and PL4.8 Pro XL (4.8mm) LED rental screens.

The new Aries AX1.5 1.5mm indoor LED stock follows a highly successful launch, which saw PSCo’s initial batch sell out. With a 1.5mm ultra-fine pixel pitch, 16:9 ratio, 4K resolution and HDR10 support, the AX1.5 is the first LED rental product to combine a four-in-one MiniLED pixel design and Common Cathode technology.

Having sold nearly 5,000 panels to trade rental companies in the UK, the Polaris PL2.5 Pro is also proving to be incredibly popular. With premiumgrade LED and high-precision mechanics, PL2.5 Pro delivers ultra-high performance and fast set-up.

Alex Couzins, Head of Brand and Marketing for Absen Europe, commented: “We have seen massive demand for the Polaris PL2.5 Pro and the new Aries AX1.5 1.5mm fine pitch LED within the rental market, and this huge investment by our partner, PSCo, will ensure that demand is fulfilled.”

Couzins added that PSCo is “uniquely placed to support the growth of LED in the UK”, due to the company’s “ability to supply matching batch LED either for purchase or trade hire” He added: “PSCo has a consistency in accessories and a complete service wrap, that includes UK repair, down to a single pixel.”

PSCo has expanded its 2020 LED offering to include larger size, lighter weight indoor and outdoor cabinets. For example, the new Absen PL4.8 Pro

XL is a super-lightweight outdoor panel measuring 500mm by 1,000mm – twice the size of a ‘regular’ LED panel, which reduces the per-sq-m weight by up to 40% and allows for fast setup.

Likewise, the new PL3.9 XL presents a larger, lighter indoor-only 3.9mm solution in the same 500mm by 1,000mm lightweight chassis and is available now in large matched batches to help deliver ultra-large continuous LED walls for indoor live events. With an increasing focus on sustainability in the event space, the lower per-sq m weight dramatically improves transport efficiency and helps rental partners to reduce their carbon footprint.

Also available for rental and sale is the PL3.9 Pro 3.9mm pixel pitch high-resolution outdoor LED display. Benefitting from Absen HBB (highbrightness black) common-cathode technology coupled with a premium black-SMD, the PL3.9 Pro delivers 20% higher brightness, with 20% lower heat than standard LED, making it capable of delivering extreme contrasts, vibrant colours, deep blacks and pixel uniformity with ultra-high brightness.

PSCo’s trade distribution model adds extra value for rental companies looking to purchase for their own rental fleets by offering rental-ready packages including LED displays, LED controllers, hanging and ground stacking systems, flight casing and more – as well as enhanced training and warranty options, matched-batch trade-only cross-hire and leasing and financing options. The new stock is on display now at Innovation House, PSCo’s new brand-new showroom in Bracknell, UK. “Absen LED offers premium performance at an affordable price, and with PSCo’s enhanced local service and support, we can ensure our customers get a great long-term investment and fast ROI,” Winter concluded. “We invite all customers to PSCo for a hands-on demo and welcome the opportunity to host a shootout against alternatives.”

TPi Photos: PSCo www.psco.co.uk www.absen.com 20

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EVENT FOCUS

UNDERWORLD The legendary electronic dance act hits the road for a series of arena shows around Europe and at Wembley’s SSE Arena, giving audiences a refreshingly new immersive sound experience courtesy of Clair Global and Astro Spatial Audio.

Underworld has created the soundtrack to so many diehard fans’ lives.

Always pushing the boundaries in the presentation of their iconic live shows, Rick Smith and Karl Hyde are deeply involved with the finer details of their productions, which ultimately has created a lasting impact on their followers.

The initial spark of an idea to expand their live sound into a more immersive landscape came from an Alexandra Palace show in 2017. In an innovation rarely seen at an arena show, Rick Smith performed a support set from FOH, which pulled the focus of the production away from the stage and into the centre of the arena, enhanced by additional hangs of PA down the sides of the room and creating an enveloping sound field.

FOH Engineer, Mark O’Neill explained how the immersive concept developed: “We didn’t have any kind of spatial processing at the time – although there were several systems out there, we didn’t have the time to implement one – but we succeeded in creating more of a club feel, even in such a large and impersonal space as Ally Pally.”

O’Neill recalled that they started using an Astro Spatial Audio system, which coincided with a show they were doing at the Ushuaïa Club in Ibiza,

where the system was also installed. “It gave me an insight into what was possible,” he commented. “I liked what Astro was doing to the soundscape, and I thought that would work well for the band.”

The idea progressed further when Underworld’s go-to PA provider, Clair Global, put a small-scale system with Astro Spatial Audio processing into the band’s studio, which allowed O’Neill to develop ideas that would eventually translate up to large-scale venues.

Clair Global’s Andy Walker, together with 2B Heard Director Dave Wooster, ASA’s UK distributor, then agreed to provide a full-scale Clair/Astro sound system for December’s arena shows in Europe and at London’s SSE Wembley Arena.

The immersive PA setup for Wembley was a full Clair Cohesion system comprising 16-deep CO-12 main speaker hangs at left and right, and 12deep CO-12 side hangs. The high-output, three-way CO-12 is Clair’s flagship stadium, arena and large-scale festival system with full frequency response based around dual 12in LF drivers. Flown behind the main hangs were fourdeep CP-218 dual 18in self-powered subs for VLF response, with a further 16 CP-218 enclosures configured in a cardioid-steered line on the floor 22

UNDERWORLD

giving directional sub-bass coverage. Six CP-6 self-powered point source enclosures delivered lip fill coverage for the nearest audience members.

Two L-shaped trusses enclosing the arena floor supported six hangs of six-deep CO-8 dual 8in line arrays to give surround sound coverage of the arena floor, and six hangs of eight-deep CO-10 formed the delay ring for the bleachers. The system was driven from a total of eight Clair PakRaks positioned under the stage each containing nine Lab.gruppen PLM 20k44 amplifiers, while control of the CP-218 self-powered subs and CP-6 front fills was managed by four Lab.gruppen LM26 system controllers, and a further two LM44s were utilised to take care of the fallback analogue back up.

In total, the show used 56 CO-12 large-scale line arrays, 48 CO-10s and 36 CO-8 compact line arrays, plus 24 CP-218 subs and six CP-6 fills. There are 46 one-tonne motors (26 for the surround truss and 20 for the main PA, side hangs and subs) as well as 180m of truss for the surround and cable bridge.

“The system design allows us to get the system within a normal load-in schedule,” explained Clair System Tech, Tim Peeling. “Since the CO-8 and CO-10 surround hangs are so small and discreet, they ride pre-rigged sixhigh and eight-high respectively, and simply roll in and clip on to the truss.

We’re only using two trucks for the entire PA, control and backline, including all the main and surround sound motors, while the surround sound truss travels in a separate rigging truck.”

Just one additional PA tech was required, and the impact on the rest of the production was minimal, with the truss for the surrounds shared with

other departments. Walker described the integration process as “really quick and easy”. He commented: “In Antwerp, we didn’t have to schedule a separate load-in day as the system went straight in on show day. We just turned it on, and it worked – and it’s been flawless ever since.”

The 12 hangs of PA were designed and fine-tuned with EASE Focus.

Once the system was all in and at trim height, two wireless microphone systems and SMAART analysis ensured that all the time alignment was completed well within an hour and a half, plus around 30 minutes of tuning time was needed to be ready for the band soundcheck.

The Astro Spatial Audio principle essentially combines audio signals into audio objects. Wooster explained the concept: “Astro Spatial Audio presents an object-based audio solution whereby the system is able to adapt and scale to each production, fitting to the venue and maintaining the fullness of tone irrespective of the loudspeaker layout.”

The loudspeaker setup is treated as a framework that provides an “acoustic canvas”, effectively creating the entire environment rather than playing back prescribed channels.

“The more speakers, the higher the resolution,” he continued. “Rather than optimising the signals between the loudspeakers (channels), sound engineers can now focus their attention on the audio objects – literally each strand of audio passing through the mix.”

According to Wooster, in any discussion of immersive sound in a live performance environment it is essential to experience and experiment. This

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is just what O’Neill accomplished developing his own unique application for Underworld, having heard Astro Spatial Audio at 2B Heard’s demo facility in Shefford, UK. “Astro Spatial Audio really is true object-based audio,” said Wooster.

“The SARA II Premium Rendering Engine takes care of the rest. SARA II calculates the position of each audio object in the 3D performance space relative to the loudspeaker framework in real time and at extremely high resolution – in the simplest terms, an intelligent audio file.”

To create this intelligent file, the system generates metadata: unique information that belongs specifically to each individual audio object, such as the gain, the type of source, its spatial position and more. The audio signals are then wrapped in this metadata to transform them into audio objects.

Using the principles of Wave Field Synthesis (WFS) combined with advanced psychoacoustic processing, during reproduction these audio objects are recalculated in real-time relative to the specific speaker layout at hand. The result is creative freedom for the sound engineer during production and reproduction, with no artificial audio effects such as a loss of fullness of tone or colouration.

The SARA II Premium Rendering Engine was housed in O’Neill’s rack at FOH and connected directly to the amplifiers via Dante. There was also a Dante send, straight from the console to the amplifiers, which provided two layers – an Astro layer and a non-Astro layer.

O’Neill’s personal interpretation of the Astro Spatial Audio system led him to settle on a hybrid application as the centrepiece of Underworld’s audio production. “There are two layers,” he explained. “One layer was fed from traditional left, right, sub and front fills sends; and a spatial layer with discrete outputs from the Astro system.” This allowed O’Neill to get the fundamental mix together and then start to pull aspects into the spatial mix. “It made it very quick for me to create and manipulate the spatial mix,”

he said. “The speaker system presented the spatial mix in two different ways to give the experience over the whole audience area.”

The CO-8s faced into the arena floor and gave the spatial image on the arena floor, along with the main L+R CO-12; the CO-10 arrays faced outwards and acted initially as a ring delay of the main system – then there was a layer of the spatial information over the top. “I think of this as an inverted spatial image from the inwards-firing arrays,” he commented. “It worked very well.

I felt it was the most difficult part to overcome in the system design.”

O’Neill’s console of choice at FOH was a Solid State Logic L100 and a 12-fader Remote Tile extension. “The flexibility of the architecture of the SSL allows me to easily get routes to and from any part of the signal chain, and this really helps integrate with a system like Astro. I can do what I want to do rather than have to consider the limitations of the console.”

SSL consoles, both live and studio, are a big part of the Underworld workflow – O’Neill described them as “central to anything we do with audio”. He commented: “They use an L500 Live console on stage as a performance tool and it is also integrated with KLANG as a monitoring system. All audio between the consoles is via Dante, and this gives us flexibility in not only the show audio but easy routing to recording systems and talkback systems. Of course, I love the SSL sound – things just sound right and alive, in a way that it takes a lot of work to achieve on other consoles. The console on stage lives in the studio when we aren’t on the road and is used for recording and mixing.”

O’Neill revealed that there are 12 stereo sends coming from the stage, which can – and often are – completely different for every track. “Having things in scenes is quite important,” he commented.

“The flexibility of the scene scopes leaves me open to decide what I want to recall and what I don’t. All of the FX are part of the performance on stage, so I get effects feeds from stage to use in the mix. I also have variously processed versions of the vocal which, for me, is a big part of the 24

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UNDERWORLD

Underworld sound.” He continued: “The Astro aspect of the mix is not rigidly programmed and the way the spatial mix is done, I can easily adjust with shortcuts I have on User Keys and Quick Controls of the console. Most of the objects within Astro are static – some are specific sources off my console, and others are driven off aux sends.

“This keeps programming within the console and gives me freedom with Astro to concentrate on the spatial aspects of the mix. My sends to the Astro positions are recalled in scenes for songs in the console, so that when I recall the next song the spatial mixes change.”

Time spent in band rehearsals and production rehearsals has clearly paid off. “We’ve got very good results with this system, a great combination of the depth of the Astro sound field and the coherence of the Clair PA. The imaging and space left within the mix was impressive. Andy has succeeded in making this system both scalable and tourable. His design for enclosing the arena meant that the floor could be completely within the Astro sphere while the bleachers could still have plenty of movement and feel more involved with the sound experience through the ring delays.”

Audiences reacted positively to Underworld’s innovative production.

“The reviews from the Belgian show were amazing – everyone loved it,” Walker commented.

“It was great to see people’s heads start to turn in Amsterdam as they noticed what was going on. It’s not an over-dramatic production, but what Mark is doing is creating a solid left and right image with discernible depth of field. What has been achieved here is that everyone has a very impactful show, in fact, I’d say there isn’t a person in the room who isn’t going to have

a very, very good experience.” O’Neill commented on the “very positive audience reaction”. He said: “I never set out for people to notice things swinging around my head – that was never the point, although that sort of thing can have its place within the production. We just wanted every member of the audience to feel like they were in the sound and part of it, not watching a show they could hear coming from the end of the room.

“I’m really happy with what we’ve achieved so far, but there are other ideas that we could explore further. The Astro system is a whole world of possibilities and I can see many different applications for it in the future.

O’Neill described the Clair Cohesion as “an exceptional system”. He commented: “It puts a big smile on my face every time we turn it on and the support from them is exceptional – they go above and beyond at every stage. Andy made sure that everything happened smoothly and, although it’s a big system to put in and out in a day, it hasn’t been a problem.”

Walker concluded: “I think Astro is a fantastic tool. For any kind of dance act this would be the way to go as it has so many possibilities. You can really see how Mark has created his own unique perception for Underworld and made it his own. I love the fact that it’s easily tourable, and the really cool thing about it is the scalability, which has allowed us to play in various venues of differing sizes without the need for reprogramming.”

TPi Photos: Martin Reid www.underworldlive.com www.2b-heard.com www.astroaudio.eu 26

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BREAKTHROUGH TALENT

PRODUCTION PROFILE

KAISER CHIEFS: DUCK TOUR Famed for their theatrical and raucous stage shows, Kaiser Chiefs embark on a string of sold-out dates across the UK and Europe. TPi’s Jacob Waite reports from Hull’s Bonus Arena…

Following Kaiser Chiefs’ landmark homecoming show at Elland Road – celebrating 100 years of the group’s beloved Leeds United – the multi award-winning Yorkshire outfit embarked on a tour in support of their seventh studio album, Duck. During the early stages of the tour’s UK leg, TPi caught up with the crew gearing up for a second consecutive sold-out show at Hull’s Bonus Arena.

In the production office, TPi was greeted by Chris Markland. A veteran of the touring circuit, having curated the band’s past two arena tours, the Tour Manager recounted the “radical change” to Kaiser Chiefs’ live show.

In order to keep the audience engaged, Markland underlined the importance of balancing both performance and production. “The band performs in a range of venues, so it’s about keeping a happy medium.”

The supplier roster, comprising fresh and familiar faces, was spearheaded by Adlib, providing a ‘one-stop shop’ of audio, lighting and video kit and crew. “Having just one point of contact has been a dream,” Markland enthused.

Hauling the kit and crew across a series of pit stops were three csuk buses and four Fly By Nite trucks. “csuk has been a fantastic addition to this tour,” said Markland, adding that Fly By Nite had been with the tour “since day one”.

The Pantry Maid provided sustenance on the road, while Pyrojunkies rounded off the supplier roster, providing confetti and CO2 jets.

Earlier in the year, the crew spent four days rehearsing in Production Park, in Wakefield. “The band are based down the road in Leeds,” Markland explained. “Brilliant Stages has built the set and fabrication pieces, so it made sense for us to use Production Park’s fantastic rehearsal facilities.”

The TM praised Production Manager, Phil Murphy, Tour Rigger, James Wright, and Set Carpenter/Stage Manager, Nigel Dobson. “They have been instrumental in fitting the production into the variety of different sized venues.” Without them, he said, “it would have been virtually impossible”.

MODERN WAY The lights darkened and the curtains were drawn to reveal frontman, Ricky Wilson sitting on a deck chair on the roof of a building, surrounded by neon lights with the band in situ, who gleefully belted out People Know How to Love One Another. The location, dubbed Stage B, was a clear nod to the Duck album artwork, an abandoned beach hut torn straight from the pages of Martin Parr’s Think of England.

Lighting and Production Designer, Rob Sinclair explained the concept behind the show’s scenic elements. “Ricky Wilson sent a beautiful pencil sketch of the stage last summer,” he recalled. “It’s pretty recognisable to where we ended up. My job was dealing with scale, helping it fit and attaching the show elements.”

The main stage was adorned with abandoned fairground fodder, fabricated by Brilliant Stages and The Scenic Labs. “We wanted to do something more theatrical, that was more of a set and a little less rock ’n’ roll. It can never feel too contrived, but the stage always needs to be a bit of an adventure playground.”

Sinclair then handed over the design to the touring team, led by Lighting Director, Jason Hyne, who Sinclair described as the ideal candidate to run an “unpredictable and timecode-free” show.

Hyne’s nine-year working relationship with Sinclair comprises lighting credits including MARINA (FKA Marina and the Diamonds), Jessie Ware, Will Young and The Queen Extravaganza. “He keeps me busy,” Hyne joked.

“Every Kaiser Chiefs show is different. The lighting changes to keep the audience and the band interested.”

During Modern Way, a crooning Ricky Wilson declared Kaiser Chiefs as “the greatest band on the stage, at the moment” – candour which struck a chord with Hyne during rehearsals. “They’re a really fun band to work with,” he shared, and as if to prove his point, four inflatable air men were wheeled on to the stage – “this is the first time I’ve seen them,” he laughed. Despite 31

KAISER CHIEFS

the contrast in lighting design between older tracks and newer material, Hyne ensured that there was a continued narrative. The LD pointed out the strobes on Na Na Na Na Naa and aggression of the faster numbers such as The Angry Mob and I Predict A Riot, as well as Oh My God as key looks. “It’s an energetic and fast-paced show,” he commented.

The lighting rig was adaptable for the wide variety of spaces that the production visited throughout the tour. “Our main challenge is the transition between each room,” Hyne acknowledged. In smaller venues, video elements are removed, and the back wall was scaled down. “Every day is a challenge, but that’s why we do the job.”

Moving lights came in the shape of 55 Martin by Harman MAC Quantum Washes, 10 Viper Profiles and four Viper Performances. LED lighting comprised 36 GLP impression X4 Bar 20s and 16 JDC1s, along with Astera AX3 LightDrop spotlights.

A pair of HazeBase Base Hazer Pros provided atmosphere and haze, with the dynamic movement of frontman Wilson tracked by a Robert Juliat Merlin 2,5000W followspot.

For control, the LD turned his hand to a MagicQ MQ500 Stadium. “I’ve got this console on demo. It’s ideal for the larger shows, but I still love the compact MagicQ boards because you can carry on as luggage and plug and play,” he gestured to his personally owned MagicQ PC Wing Compact board. “It fits in a peli case and goes on as hand luggage. When you run off to play clubs, you never know what desk you’re going to get, so it’s easier to take your own.”

He praised the support of Adlib Account Handler, Jordan Willis, commenting: “I can’t fault Adlib’s gear or staff. They have got a hardworking mentality, which trickles from the top down.”

I PREDICT A RIOT Video Director, Dan White joined Kaiser Chiefs team after supporting them as a guitarist in his old band, Tribes, where they hit it off instantly. Now, in addition to playing a key role in producing and directing visual content for Kaiser Chiefs, the designer (and founder of the record label, Buff Records) has swapped his six-string for a video switcher. “My old tour manager was Chris Markland,” he reminisced. “That was four years ago, and the rest, as they say, is history...”

White worked closely with Ralph ‘Grainfreeze’ Fuller to devise surreal motion graphics and video content, which tied in with the album artwork.

A giant on-stage billboard housed 75 Unilumin Upad III H05 5.9mm pixel pitch LED panels in Unilumin brackets, powered by a HD LED processing rack. During the opening two tracks, the video content flickered and entered with the Kaiser Chiefs’ logo from the album’s back sleeve. The old, wooden distressed sign then peeled away to reveal a live camera, smashing on the opening of Na Na Na Na Naa. With the band keen for the video content to have a sense of otherworldliness, the video team worked on a striking rock ’n’ roll theatremeets-abandoned-carnival concept. “When the screen blows, the audience is transcended into the live world.”

The designer drew inspiration from the iconic Saul Bass title sequence for Alfred Hitchcock’s Vertigo, with scenes such as the characters falling through a wormhole and rotating heads. “The wormhole motif is revisited on a number of songs,” Grainfreeze explained.

“Initially, characters were designed to fly through the wormhole as a nondescript representation of the audience as colourful morph shape characters.” In line with Grainfreeze’s penchant for vintage overhead 32

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Video Content Designer, Ralph ‘Grainfreeze’ Fuller; Lighting Director, Jason Hyne; Systems Engineer, Alan Harrison; Tour Manager, Chris Markland; Camera Operator / LED Technician, Rob Bickerstaff with Camera Director / LED Technician, Mark Taylor.

projectors and ’80s analogue video, the design duo ran the bespoke video content through Adobe After Effects and Premiere Pro, which was then “spat” into VDMX, and triggered by MIDI keyboards. This allowed the designers to separate assets to be set in time.

During The Angry Mob, content flowed with rich shades of red, with newspaper headlines spinning, closing with Record Collection’s photo montage world of cut-outs from ’60s, as well as ’70s Top of the Pops-style tube camera filters, desert landscapes and stars. “I expand on what is already there and take it to the next level,” White said.

Using simple stop frame animation techniques, pop art half tones and mod-like ’70s looks – a nod to lyrics in Everyday I Love You Less and Less – from a static billboard, the duo presented a portal into a bygone era.

“There’s tonnes of depth from a conceptual point of view,” White stated.

The enigmatic nature of Wilson’s stage presence provided the designers a platform to expand on. “They’re quite a lyrical band,” Grainfreeze added.

“Ricky crafts surreal stories with the lyrics, which gives me the opportunity to go in multiple directions. During our first night in Hull, we filtered some of the live content through a monochrome filter and it looked amazing.”

A live camera feed and animation was imported into a Blackmagic video switcher, enabling White to layer and cut between the two. “The most important thing is having the ability to respond to the performance – it really contributes to the energy of the show.”

During the set, drummer, Vijay Mistry was urged by the frontman to play hook a duck, with each duck revealing a mystery Kaiser Chiefs deep cut for the band to treat the audience to.

“The great thing about Kaiser Chiefs is their willingness to invest in their show,” White concluded. “They enjoy the theatrics and putting on the best show they possibly can.” Adlib’s Camera Operator and LED Technician, Rob

Bickerstaff manned a PTZ camera system under the direction of Camera Director and LED Technician, Mark Taylor. “With only four cameras and quite energetic songs to contend with, it was imperative to keep the shots moving as quickly as possible,” Taylor commented. “Thankfully, Rob does a great job, always giving me something to cut to.”

One of the challenges for this tour, Taylor explained, was finding a solution for the fourth, wireless lipstick camera during Target Market – a track which saw Wilson roam around the perimeter of Hull’s Bonus Arena, immersing himself in the gleefully recipient crowd. “We wanted something for Ricky to carry – something subtle but that still provides a good-quality shot.” The solution, largely down to Adlib Technical Manager, Nick Whitehead’s input, was a Marshall CB200 lipstick camera, which was mounted onto Wilson’s mic and run by a Wireless Broadcast system.

“Our main aim is to make it look like there are more than three cameras,” Taylor explained. Of equal importance was making the screen look like an authentic billboard. “Trying to get the right rigging elements while hiding the truss was a challenge. We worked closely with Brilliant Stages and The Scenic Labs to get the rigging, including the set pieces, to look as authentic as possible.”

Bickerstaff commended the Adlib warehouse team for making their lives easier, all while maintaining the high standards that clients expect.

“Engineers and the warehouse both have high expectations, and they don’t get the recognition they deserve,” he commented. “It’s a service from the very start until the finished article.”

RECORD COLLECTION Minutes before the Kaisers hit the stage, TPi tracked down a familiar face behind the faders, FOH Engineer, Chris Leckie. Having mixed the band’s 36

KAISER CHIEFS

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live sound for over a decade, Leckie was also familiar with supplier, Adlib, having been one of the company’s founding touring engineers back in ’84.

“It’s the longest I’ve ever been with a band,” he explained. “We don’t often talk about sound because we’ve got such a strong level of understanding, which has developed over time.”

Leckie’s brief was to both replicate the sound of the records and make sure the band’s lyrics were intelligible.

“If somebody has gone to the trouble of writing lyrics that mean a lot to the audience, it’s essential that I carry that message – it must be dynamic and loud, while also not sending people home with ringing ears. It’s as simple as that.”

For control, the engineer debuted an Allen & Heath dLive. “I tried out this desk on the recommendation of other engineers I trust, and it’s been brilliant,” he explained.

“Having Adlib on my doorstep meant I could go to the facility and test out the console… it does everything I want it to do and more.”

As the band doesn’t really soundcheck or rehearse for very long, Leckie explained that often the live show doubled as the soundcheck, which he then fine-tuned. “I do multitrack recordings every day for virtual soundcheck, but every show

is different,” he noted. “With 34 to 36 channels of live music, if Ricky’s running around, he isn’t going to be singing the same way – so there’s not a lot of room for automation.”

The extensive CODA Audio setup comprised 56 AiRAYs, four HOPS8Ts, eight APS’, 16 ViRAYs, 24 SCP-Fs (12 wide, two high sub array) and a pair of SC2-F subs. Sidefills came in the shape of six APS and four SCP-F subs.

Systems Engineer, Alan Harrison, extolled the virtues of the PA system. “It’s half the weight and size of other boxes,” he said. “It’s a cabinet where they’ve made it sound as good as it possibly can be, so you don’t have to over-process the system.”

The transition from venue to venue was where the CODA AiRAYs came into their own. “You are absolutely guaranteed to have the right number of speakers for the job in even the smallest of venues with the lowest weight loading in the roof, because it’s so light and versatile,” he beamed.

“You’re guaranteed to have the right sound regardless of the space. It’s also great for rock music where there’s a lot of low-end content.”

Harrison utilised CODA control software to tune the box, while the front-end system control was achieved by Outline Newton.

“It is a ridiculously good piece of kit,” Harrison commented. “System EQ is even more 37

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KAISER CHIEFS

transparent with Newton.” The engineer’s main challenge was ensuring the PA was set up and tuned in such a way that as the band got louder, it didn’t change the tonality of the speakers, as with any box.

Wilson also performed in front of the PA from time to time, however, due to certain characteristics of the CODA system, Harrison believed the distortion was much lower. “Feedback is much less of an issue thanks to CODA’s special driver technology,” he explained. “It’s super clear along with the amps, so there are almost no feedback problems, even when he is stood 10ft from the PA.” Leckie recalled the last time the band were in Hull, when they played the 120-capacity New Adelphi Club as part of the venue’s 30th birthday celebrations. “It’s not generously equipped,” he reminisced. “I brought along three vocal mics and a paddle board, and the band used the support act’s drum kit, and did a stripped-back, punk rock show.”

Six years on, and the band’s latest drum kits were housed on different parts of the stage – one on a riser, the other on top of a 9ft B stage – and although they were different models, Leckie had to ensure that the sound carried like the same kit.

“This band is so successful because they always put on a good show – they don’t skimp on production,” Leckie said. “There’s a good mixture of hits and fresh material. That keeps it interesting for the band and the crew.”

but this is by far their most ambitious tour to date.” While most of the band utilised Sennheiser g3 in-ears – except for guitarist, Andrew White – the majority of stage sound came via four CODA SC2-F subs, eight Adlib MP5 wedges and a pair of MP4 subs. A mixture of Sennheiser and Shure e935 mics were used for vocals.

Like FOH, an Allen & Heath dLive was the engineer’s desk of choice.

“It’s a desk that a lot of touring engineers have helped design and their feedback has shaped its creation,” Andriantos commented. “The best thing about the dLive is having the ability to get around the board – especially for an old engineer from the analogue world.”

Thanks to his longstanding relationship with the band, Andriantos understood their requirements perfectly. “A monitor engineer’s job is being a technician, a friend of the band and, sometimes, a psychologist,” he summed up. “It’s very important for a band to look stage left and see a familiar face there.”

With seven studio albums, a spate of awards and countless soldout tours, Kaiser Chiefs are showing no sign of slowing down. “They enjoy playing a sold-out O2 Arena date in London just as much as the 675-capacity Bridlington Spa,” Andriantos concluded. “They are a band who love to tour. Anywhere there’s a stage, they’ll play.”

TPi Photos: Dani Beck & TPi www.kaiserchiefs.com www.adlib.co.uk www.brilliantstages.com www.csuk.coach www.flybynite.co.uk www.pyrojunkies.com www.thepantrymaid.com

NEVER MISS A BEAT A stalwart of the KC camp, Monitor Engineer, Ilias Andriantos has witnessed the progression of the band, having toured with them since 2005. “The band has evolved massively, touring on a bigger scale nowadays. It’s not just a simple rock ’n’ roll, plug ’n’ play show like the early days,” he laughed.

Adlib Audio Crew Chief and Monitor Technician, Kenny Perrin chimed in: “I’ve been involved in a number of Kaiser Chiefs tours as a technician, 38

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PRODUCTION PROFILE

GERRY CINNAMON With the singer-songwriter making the seismic jump to the world of arena touring, TPiâ&#x20AC;&#x2122;s Stew Hume speaks to the crew behind this independent artist about their most recent arena run to get the inside story on this close-knit touring family.

GERRY CINNAMON

Production Manager and Lighting Designer, Pete Hutchison.

In the ever-changing world of live events, artists are breaking the norms and conventions more than ever. Take Gerry Cinnamon; armed with an acoustic guitar, a loop pedal and raw lyrics sung proudly in his native Scottish accent, this independent artist has defied expectations by making the leap from academy favourite to headline arena act – all without the backing of a label or management. Despite his rocket ship success, Cinnamon has kept his small team of loyal crewmembers along for the ride.

With a successful 2019 behind them, TPi caught up with Production Manager and LD, Pete Hutchison to discuss life in the GC camp. “I started working with Gerry when he became the first unsigned artist to sell out two nights at the Barrowlands in 2017,” began Hutchison, reflecting on the past three years.

“He then got in touch with me to see if I’d be interested in designing and operating a show for him – I’ve been on board ever since.” Since joining the team, the PM/LD has witnessed the artist’s meteoric rise first-hand, culminating at the end of 2019 with Cinnamon playing to Scotland’s largest ever indoor crowd in Aberdeen’s P&J Live Arena.

The Production Manager was the first to admit that the Cinnamon team is not exactly the traditional touring hierarchy. “There’s no management or label in this camp,” he asserted. Not only that, but the list of key personnel in this tour party is incredibly small. A collection of individuals have several job titles to their name – with Hutchison holding LD and PM titles, and Sam McIntosh handling FOH Engineer and Tour Managing responsibilities.

“It often comes down to the fact that there is no one else to fill the role,” laughed the PM. “I don’t mind handling both roles. The days can be long but, if you’re a good PM, you should be able to walk into each venue

and everything is done and ready to go.” On the note of organisation, the PM outlined the list of suppliers he’d brought on for the latest run, which included Adlib for lighting, video and rigging; Wigwam for audio; and BPM SFX. Also on the road with the team were Stardes trucking, Radiotek, as well as Sugar and Spice keeping the crew well fed throughout.

DARK DAYS Changing tack, Hutchison discussed the set design for the latest tour.

“We had a completely new design for the run of shows at the end of last year,” said the LD. He explained that the whole concept of the show revolved around the juxtaposition of “large” and “small” looks – all of which were achieved with an automated Kinesys rig, with three large hexagonal lighting pods, provided by Adlib.

“Gerry’s songs tend to range from really relaxed intimate numbers to big sing-along tracks. Especially for those big moments, I wanted to make sure that even those sitting in the gods felt involved with the production.”

He detailed that the design of the show was created to keep up with the singer’s soaring popularity. “While we were still putting everything together for the tour, all the dates were selling out so I knew we would need a set that would be visually stunning for these large audience numbers.”

The PM already had a long history with Adlib that dated back to his time in Glasgow before taking up the PM mantle for Cinnamon. Discussing the collaboration was Tom Edwards, Adlib’s Head of Lighting and Video. “I first met Pete last year while we provided the package for Gerry’s headline slot at TRNSMT Festival,” said Edwards.

“We began working on the designs for the tour straight after the summer. There were a few back and forths, but one thing that remained 42

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GERRY CINNAMON

constant throughout was the Kinesys hexagons.” Handling the automation on the road was Operator, Mike Blundell, working closely with Tour Rigger, Jon Barlow. “There were some challenges while designing the tour, especially due to the size of the automated elements,” stated Edwards.

“Luckily, at Adlib we’re equipped to do all our designs with in-house CAD Designer, Simon Pettitt, who was able to model the set in Fusion 360 to work out how everything would fly.”

Hutchison’s decision to have hexagonal automation pods was part of a wider design theme that recurred throughout the stage. “I am quite particular about the symmetry of a set,” he explained. “Everything about the design had repeating hexagon shapes – from the floor package to the video wall. It’s something you might not notice at first glance, but once I mention it to someone, they see the theme recur throughout the set.”

The rig consisted of three automated hexagonal “chandeliers” each holding four GLP JDC1s, four Ayrton Khamsin-S, four Martin by Harman MAC Aura XBs and 12 CHAUVET Professional EPIX Strips. Many of the same fixtures also featured in the floor package, with 16 Ayrton Khamsin-S and 16 Martin by Harman MAC Aura XBs. Finally, to ensure the audience was well lit for the number of singalongs, the LD used 12 Ayrton Boras alongside 20 four-cell liners and 12 two-cells. “As you might imagine, it’s quite a blinder-heavy show,” he commented.

He was keen to praise the Ayrton Khamsin-S he used on the automated rig. “I had originally spec’d a different fixture but, before the plans were finalised, I got a chance to visit Ayrton’s facility in Paris to see their latest products. I was blown away with what I saw,” he enthused. “The fact that I can turn on all 48 fixtures on this rig first thing in the morning and all the colours are exactly the same is ground-breaking.”

Each of the Khamsin-S fixtures used on the automated rig were mounted on a Doughty Engineering Swivel Coupler, which meant the fixtures stayed level for the whole time – even when the hexagon tilted up to 65°.

This was also the LD’s first time using the Robe RoboSpot system in conjunction with four BMFLs. “I really like the idea of having spots in amongst the rig. It removes a major headache of figuring out each venue’s spot positions and giving me overall control from the desk is fantastic,” he revealed. “We ended up having our Lead Truck Driver do some training on

the RoboSpot, which he just kept on Gerry.” Aiding with the lighting setup throughout the tour were Lighting Crew Chief, Dave Smith; Dimmers and Systems Technician, Kev Byatt and Lighting Engineer, Alex Bratza.

Hutchison was pleased with the level of control he had, with lighting, video and even SFX going through his MA Lighting grandMA3 full size console. Having used the MA3 light on the previous run, he admitted that he will now only spec the new model. “I prefer the layout of the buttons and the feel of the desk,” he stated. “There is no timecode for Gerry’s show, so I’m running about on the desk quite a lot. I find the soft keys and quick tap back options on the MA3 make it better for this type of show.”

Integral to this intricate aligning of departments was Video Systems and Integration, Charlie Rushton. Edwards elaborated: “The entire control system was built around grandMA3 and disguise.” Adlib supplied three grandMA3s on the tour – two for lighting and the other effectively working as a vision mixer for Video Director and Video Crew Chief, Rob Bickerstaff.

“It’s directing in a very different way than you might expect,” admitted Bickerstaff. His setup had been an evolution from a more traditional PPU system, which was seen on the academy run, compared to the new disguise package consisting of the gx2c media servers. “The fact that disguise can take an eight-camera setup was a massive selling point,” he added, discussing Adlib’s recent investment in the media servers.

Edwards agreed: “Due to the amount of information and destinations for the content, disguise was really our only option,” he commented. “In total, we had a long lens at FOH then a selection of PTZs and block cameras on stage. Rob would then take all those feeds and, at times, be producing five cuts that would be shown on the rear LED wall. It’s something that simply couldn’t be done using a traditional vision mixer.”

Due to the nature of a Gerry Cinnamon show, with the singer’s tendency to change set list or extend songs, many of the camera cues were triggered

by Hutchison at FOH. The LD had actually been involved in the prerendered content for the screens that were overlaid on the IMAG shots, having created Notch blocks with Notch Programmer, Nick Whitehead.

The screen in question was a ROE Visual Vanish 8, which was overseen

by Mark Taylor, Head of LED. “We suggested the product for the tour due to its high resolution and how quickly it flies,” said Edwards. “In total, we provided over 170 sq m. One of the considerations we had was that the tour 44

GERRY CINNAMON

Video Director and Video Crew Chief, Rob Bickerstaff.

tour was going through a variety of venue sizes and the screen needed to be scalable. As the product is so lightweight, it meant we could still deploy the screens in the variety of venues rather than having to travel with a completely different system for these dates.”

Collectively, the company provided a complete d&b audiotechnik PA with left and right hangs consisting of 12 GSL 8s and two GSL 12s per side, along with six KSL 8s and two KLS 12s. There were 12 SL Subs, with four per side and four in the pit. Fills comprised eight Y10Ps. On stage, Wigwam provided four M4 wedges and two M2 wedges, with one C4T and two C7s for side fill per side. Finally, completing the audio package was one DiGiCo SD12 for monitors and one SSL L100 provided by Wigwam as back up to the one already owned by the artist. Hire Manager from Wigwam, Tom Bush, spoke of the experience: “We were originally called in for a show in Manchester as Sam [McIntosh, FOH Engineer] had been interested in using d&b’s GSL/KSL system.”

According to Bush, the biggest consideration wasn’t necessarily the kit, but getting the right crew. “We sent in Nick Mooney, Rob McCourt and Don

BELTER Wigwam was brought in to provide the audio backbone for the tour. “We haven’t had an audio supplier for the past few runs,” stated Hutchison.

“Gerry bought his own SSL console, so we never had to hire a desk.”

In fact, it was only in 2019’s festival season when the touring party brought in a full-time Monitor Engineer, Martin Capaldi, having made use of in-house engineers for a number of years. With the demands of Cinnamon’s tours, the PM took his FOH Engineer’s advice and brought in Wigwam.

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GERRY CINNAMON

Parks to crew the show,” he stated. “Rob in particular – who took on the role of Monitor Stage Engineer – became integral and fitted in very well with the crew as they had come from the same area of Scotland as Gerry.”

The Hire Manager described how the goal was to provide a PA that fitted in with the package that the Cinnamon team was already carrying to ease the jump into the arena setting. The PA rig remained consistent throughout the tour, with additional side hangs added for the record-breaking Aberdeen show.

Wigwam also supplemented the singer’s Sennheiser Wireless IEM package, so the whole crew were able to communicate. “The only other major change was with his onstage sound, which went through a few alterations,” explained Bush. “There was a demand for there to be more bottom-end, which Gerry uses to keep in time, leading us to come up with several renditions of the wedge mix.”

He also commented that Cinnamon took a real interest in the audio setup for the show. “For the last date before Christmas in Glasgow, Gerry had asked for the YP front fills and sub array to be ‘beefed up’ to give the front rows more energy. Our ground SL subs were increased from four to six and the YPs front fills were swapped to VPs. It’s always good to hear about an act getting involved and caring about their audio.”

Bush gave some of his lasting thoughts on the show. “It was great to be involved in this type of tour with such energy from the crowd. Although we had to send out more tarpaulin to cover the consoles than your standard show!” he laughed. “It was a different type of project; with an independent artist, there are fewer people for you to contact to make decisions. We hope to work more with him and the crew in the future.”

off a gig that had a massive confetti blast. “He saw the picture and said, ‘I want that’,” laughed the PM, who was then tasked with finding a way of producing the gag with a day’s lead-time.

“Our tour rep from Live Nation made the call to Katie at BPM SFX,” said the PM. “She sent a member of the team to London from their Burnley base to bring all the equipment for the show. We ended up keeping him on for the rest of the tour and I’ve worked with the company ever since.”

For the last tour, the BPM offering expanded exponentially from the initial confetti blast, now offering the singer-songwriter a package comprising CO2 jets, streamers, stage pyrotechnics and flame FX. “It’s always exciting working with an artist who is always looking at new ways to integrate SFX and watching their shows grow,” stated Katie Strickland, Senior Project Coordinator for BPM SFX. “Our first show with Gerry was a confetti hit at the forum, and we ended the year with an array of pyro, flames, confetti and streamers throughout his arena tour. It’s been a pleasure to work with Pete and the team through the year.”

With 2019 being such a bumper year for the Scot, it’s clear that both he and his crew are set to take full advantage of the attention and draw Gerry Cinnamon has on the UK. In fact, as we enter this new decade, the artist has already confirmed a stadium show at Hampden Park this summer alongside a slew of other arena dates – it seems this is just the beginning for the straight-talking Glaswegian.

TPi Photos: Anthony Mooney, DAS Film, by tomphotography www.gerrycinnamonmusic.com www.illuminationcreative.co.uk www.adlib.co.uk www.sseaudio.com/wigwam www.bpm-sfx.com www.stardes.uk www.sugarandspicecatering.net www.radiotek.co.uk

ERRATIC CINEMATIC Completing the visual feast was BPM SFX. Hutchison explained the “rather amusing” origin of the relationship: “After playing a show in Cardiff, we showed Gerry a picture of the London venue we were heading to the next day,” he began. The picture – of the Kentish Forum – happened to show 46

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PRODUCTION PROFILE

DIDO After 15 years away from the touring circuit, the multimillion-selling English singer-songwriter hits the road with a setlist of era-defining hits and new tracks from her latest album, Still On My Mind.

TPi’s Jacob Waite chats to the crew along for the ride at O2 Manchester Apollo.

The last time Dido booked a tour was 2003, following the unprecedented success of smash hit singles Thank You, Here With Me, White Flag and Life For Rent – all of which became ubiquitous during the mid-Noughties.

At the time of writing, the singer’s first two records are still among the best-selling albums in UK chart history. Following an intentional 15-year hiatus, the hitmaker returned to the touring landscape with a selection of familiar back catalogue hits alongside some fresh tracks from her latest album, Still On My Mind.

Greeting TPi at the O2 Apollo Manchester was Global Touring Office’s Keely Myers, who oversaw both the tour management and production elements. The Tour Director was first introduced to Dido in 2013 by her manager Craig Logan, having offered her services to a number of live performances for TV and radio stations for the best part of six months.

“The music industry and live touring has changed dramatically in the past 15 years,” Myers said, reflecting on the operation at hand. “For this tour, Dido wanted to make an impact, so we have introduced a range of cutting-edge technology.”

However, having been away from the stage for such a long time, the rehearsal and preparation period was stretched over a longer period to acclimatise Dido back into the rigours of live touring. Thankfully, appeasing financial ramifications was a speciality of Myers’.

“To make sure this tour is financially feasible, on the first leg we fit everything one truck and added a 30ft truck on the second leg, which goes into both large theatres and small arenas.”

Another challenge Myers faced was ensuring the showcase translated in different markets without compromising all the hallmarks of a Dido concert. Myers commented: “There were a couple of options available to us early on in the design stage, which we couldn’t make work without redesigning different shows and eating away the budget.”

The team managed to find ways around it by designing a flexible rig that could deal with the fluctuating venue sizes as well as deal with any potential international fly dates where freighting was not an option.

It was important for Myers to maintain the relationships Dido held from prior touring cycles, which coincidentally turned out to be a selection of her

preferred suppliers. Neg Earth supplied lighting and rigging, while Liteup handled projectors. J&C Joel provided soft goods, Eat to the Beat ensured the crew were well fed, and Clair Global provided audio – a new vendor specified by Myers.

“GTO has a great team on the road,” Myers said. “The support of our suppliers means we can make challenging things come together easily.”

Tasked with transporting the kit and crew from A to Z was Stagetruck, one Phoenix bus and one Beat the Street bus. “We’re in a truck and a half at the moment,” commented Stage Manager, Dom Dryburgh, while discussing the logistics of this run.

The smoothness of the load in and out was dependant on the venue, Dryburgh delineated. He then pointed out the additional storage at the O2 Apollo Manchester. “Some other venues aren’t so luxurious,” he said.

“We’ve geared up according to the spaces we’re at. It has been much quicker in arenas but, equally, some theatres spaces are close to the door, so it’s not too much of a push.”

HURRICANES Dido was interested in expanding the visual elements of the live performance, towing the line between theatricality and intimacy. “She was keen on having some visuals, which was difficult to start with at theatre-sized venues,” commented Myers. “Thankfully technology has come on leaps and bounds in recent years, allowing us to experiment with various visual techniques.”

TPi Award-winning Lighting Designer, Oli Metcalfe was brought onboard to harness his Blacktrax capabilities to create a more immersive experience. The 10-camera Blacktrax system tracked all members of the band on stage, keeping Metcalfe’s hands full.

“It’s been a proving ground for me,” Metcalfe began. “Making sure the images line up with the media servers, running the show and operating the Blacktrax – it’s how you’d tour it back in the day.”

For Metcalfe, the brief was simple. “The master remit was to give her something that was a little bit more theatrical as opposed to a glitzy pop show with 100 beams across the back of the stage.” Instead, the LD created 49

DIDO

more of an organic performance environment, allowing him to be much more theatrical with projection.

Generative content was provided by Notch and Blacktrax – the latter solving the issue of lights on the drapes. “I’m familiar with using the technology and this was a nice way of using a couple of projectors in a simple environment with a relatively simple Notch platform within the budget.”

Importantly, the design was adaptable. “For the larger arena spaces, we’ve added two additional projection coils to make eight, stretched out with additional floor lights.”

Overseeing the production design as well as the setup, Metcalfe specified 25K Epson laser projectors on to opaque materials hanging on stage. “It’s given some nice openings for stage entrance as well as the accessibility for the band to be behind it,” he explained. “It allows me to focus on Dido. This was essential as the bulk of the show’s narrative is largely focused on her performance.”

Metcalfe’s rig comprised of a full LED moving heads setup, comprising a total of 15 Ayrton Khamsin fixtures, 36 Martin by Harman MAC Aura XBs and VDO Sceptron 10s. The latter were flown in 1m sections in-between projection voiles, presenting Metcalfe with plenty of layers and depth of field to utilise. He elaborated: “The Sceptron 10s are backed with 25mm pipes so you don’t see any backdrop,” which were custom bought and fabricated by Neg Earth.

Metcalfe utilised six Elation Professional Chorus line fixtures for sidelight, conscious of being able to control the output so it doesn’t go onto the voiles.

“Dido prefers to be lit in a traditional way with key light,” he commented. “There are some silhouettes and moments where she falls

into shadow, but when she’s on the mic, she wants to be warmed and well key’d.” The workhorse fixtures of the rig, according to LD, were the Ayrton Khamsin fixtures. “They generate nice colour and their colour control is ideal due to the fact that it’s a well-balanced white source from the LED; it also has linear CTO, which I use for the front light quite extensively.”

Lighting vendor Neg Earth has been Metcalfe’s go-to lighting provider for many years. “They’ve given me the opportunity to play with these Ayrton Khamisins and they’re fantastic. I won’t go back to other LED-driven fixtures having used these.”

Metcalfe pointed out the efficiency of front truss and reminisced back to two previous shows. “Each fixture only had cumulative 26 hours on it, but when it’s in blackout, the hour meter is stopped because the light engine is off,” he said. “This is efficiency. The whole system is only about 38 amps.”

For control, Metcalfe mixed on a High End Systems Hog 3. “I’ve been using High End Systems since the first Hog console,” he commented.

Networking was handled by Luminex. “It’s an integral part of Blacktrax tying in,” asserted the LD. “It’s the best networking kit out there for the show environment.”

As well as manning the tracking, Metcalfe supplied two personal disguise gx1s, which he purchased at the end of 2018 to process a Notch block. “There are two outputs to projection and VDO Sceptron 10; it’s lightweight enough for the media server to manage it.”

Notch interacted with Blacktrax to generate a series of abstract and organic looks based on the band’s position. “It’s more subtle than you might expect, but you get a different show every night, based on the vibrancy of her performance,” Metcalfe commented.

Metcalfe worked closely with Bild Studios’ Rowan Pitts to utilise Dido’s stage presence on stage as input to Notch’s generative tracking content.

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DIDO

FOH Engineer, Davide Lombardi; Tour Director, Keely Myers; Stage Manager, Dom Dryburgh; Projectionist, Simon Horn.

Pitts commented: “The main reason for using Notch is the software’s extremely fast workflow and real-time capabilities, which enables designers to change visual content on the fly.”

Using disguise gx1s, Metcalfe was able to make slight changes to the colour of various effects, Pitts enthused: “With Notch, you can programme beyond the media server and update content instantly.”

Metcalfe cited Lighting Tech, Luke Radin as “instrumental,” to his delivery. He continued: “I’ve been working with Neg Earth for 15 years and they know the way I do my control system. It means I can not only use it in advance of the tour for programming, but I know what I’m getting in South America and the US.” Summing up his experience, Metcalfe said: “It’s been dreamy to do a two-truck tour with a nice team of people. The main thing is, we’ve been able to deliver Dido a show, which is fresh and simple looks.”

making sure you’ve got the right lenses and angles to cover all the areas,” he commented.

The fixtures had to be lightweight yet powerful enough to work in a range of creative spaces. “We were quite specific on what type of projector we needed. It’s quite a bright projector that can also be handled in and out of theatres,” stated Horn, who waxed lyrical about the “amazing” Epson projectors. “These are state-of-the-art laser beam projectors, so they don’t get as hot as some of the old discharge lamp types – a real advantage when it comes to operating them double stacked. They’re nice pieces of kit.”

One of Horn’s favoured looks was during the track Sand in My Shoes.

“When that kicks in, you see sand falling from the sky and then it runs around her – it looks really cool.”

Linking back up with Liteup was somewhat of a reunion for Horn, harking all the way back to his early tech’ing days. “I used to do a load of shows with Director, Marc Callahan and we’ve been friends for years. He’s a good laugh and has been more than helpful on this tour.”

Providing Horn with the projection canvas was J&C Joel. The company supplied eight drapes of its Silver Voile fabric to create a seamless, iridescent backdrop for the tour. A 1.8m by 4.5m Silver Voile drape was hung at the rear of the stage, with the production benefiting from its lightweight, durable fabric along with its high-quality, translucent and shimmering finish, making it an ideal projection surface.

SAND IN MY SHOES Carrying on the visual conversation was Simon Horn, who focused primarily on dealing with video projection. “It’s a bit of a different role to me as I’m used to being behind the console and designing shows,” began Horn.

“However, I was really interested in focusing on video and playing around with touring projectors.”

The project marked Horn’s first tour alongside Metcalfe. “It’s been quite exciting,” he commented. “I’ve never worked with Blacktrax before. It’s great to examine it more closely and get some hands-on experience.”

Horn’s primary challenge was setting up the projectors day to day, which either had to be flown or stacked. “The biggest challenge is sometimes getting the information that you need to work this out and

QUIET TIMES “It was a case of picking up where she left off,” began Monitor Engineer, Stefano Serpagli, talking from the caverns of crew catering, a short pitstop between monitor world and showtime. “Immediately I realised how 52

DIDO

Lighting Designer, Oli Metcalfe; FOH Engineer, Davide Lombardi, Systems Technician, Alessandro Cestaro, Monitor Engineer, Stefano Serpagli; The Eat to the Beat catering crew.

sonically aware Dido is as a performer, having not toured for 15 years.”

Serpagli was struck by the singer’s “supersonic” hearing. He remarked: “If you make any change, she notices straight away. It’s fascinating to work with someone who is so clinical about their delivery.”

The engineer’s main task was reacclimatising Dido to in-ear monitors, tweaking as the tour progressed. “Her confidence was built-up on the

rehearsal periods and has only continued to as she interacts with the audience,” he stated. “On my end, it’s a case of hitting the ambience mics at the right times and creating a balanced mix to make sure she’s comfortable. She still pops it out to chat to the audience now and again.”

A DiGiCo SD10 was chosen for control, with no plug-ins or effects. “She likes a full mix, which is really satisfying,” the Engineer explained. “You

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DIDO

give her the full canvas and she listens out – referencing the albums a lot – and latches onto those conventions when she’s singing. It’s a nice wellbalanced mix with an odd push here and there.”

On this tour, Serpagli opened Dido’s eyes to condenser mic options.

“She opted for the Neumann KMS 105s and, with her voice, it’s fantastic – it picks up all the subtleties.”

Serpagli also handled RF scanning and tuning on the road. “Dido sits down on the edge of the stage for one of her numbers, so the biggest challenge was trying to get the RF settled.”

The Monitor Engineer worked closely with FOH Engineer, Davide Lombardi on the audio front. “We’re both working with the same objective, to make this the best show possible, and we’re quite particular with our packaging,” stated Serpagli. “On this tour, our gear is immaculately prepped with a really good team and service. Having Clair as a worldwide service makes such a difference.”

Lombardi echoed these sentiments: “Clair’s service is perfect. We can travel the world and still receive the same package regardless of the region.

We also liaise with the same account handler – in this case it was Andy Walker, who has been brilliant and has never said no to anything we’ve asked for.”

Walker offered Lombardi the chance to try his hand at a Clair Cohesion PA system. Lombardi said: “I’m up for trying new technologies to get out of my comfort zone. However, it was crucial for me to employ somebody who I’ve worked with before and knows how to fly the system.”

Step forward System Engineer, Alessandro Cestaro. “There has to be a strong relationship between FOH and systems engineers – and I’ve certainly got that with Alessandro,” asserted Lombardi.

Lombardi had to slightly adapt his mix to fit the speakers’ power. “It’s taken me a few shows to get control of the PA. It’s an incredibly powerful system, so there is a lot of low-end and headroom,” he told TPi. “You could very easily keep turning the dial and it’ll give you more and more.”

The PA comprised Clair Cohesion CO-10s on the side hangs and main, with 16 boxes of CO-10 per side on the main and eight by eight on the side hangs. “The Clair system flies extremely quick. It’s up and ready to run within half an hour every day,” the engineer commented. “The subs are really tight and I love them – they’re really good.”

Lombardi specified an SSL L300. “I love the sound of the SSL, I think it has superior sound to other desks, you don’t need any outboards.

Although it’s not very intuitive to use, as a FOH Engineer I need to deliver the best sound quality and SSL helps me achieve that.” During the

rehearsals, Dido’s brother, Rollo Armstrong – who is one half of trance titans Faithless – was heavily involved in the musical arrangement. “Having both of them in the same room was an interesting experience,” Lombardi continued. “They know their music inside out and, because they come from the studio world, they’re very specific in detail. We’re talking half a decibel sometimes.”

The FOH Engineer said it was “very refreshing” to work with musicians with a detailed approach to their musical arrangement. During the rehearsal process, Lombardi sent his board mix to Dido so she could listen back and make notes. “She wanted to reproduce as close as possible to the album sound, while remaining natural in her delivery.”

Lombardi concluded by explaining how much he’d learned working side by side with Armstrong and Dido. “After the first show, they were happy with our delivery so we could relax a bit,” he laughed.

WHITE FLAG With her Manchester show drawing a close with the hit White Flag, the partisan crowd – made up of diehard fans of some 15 years as well as fresher faces to the Dido fold – certainly seemed elated with the performer’s return to stage. “This show surprises people because there are a range of emotions involved as a listener,” Myers summed up. “The set list flows really well – at one moment it will have everyone out of their seats dancing, before transitioning seamlessly to her slower-tempo tracks.”

With the artist’s fanbase rekindled and a strong creative team behind her, the British songstress is already set to continue her return to the live stage with an extensive European tour later this year.

TPi Photos: Shirlaine Forrest www.didomusic.com www.globaltouringoffice.com www.lmeworldwide.com www.negearth.com www.liteup.co.uk www.clairglobal.com www.bildstudios.com www.jcjoel.com www.beatthestreet.net www.phoenix-bussing.co.uk www.stagetruck.com www.gigcatering.com/what-we-do/eat-to-the-beat/ 54

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FUTURE INSIGHTS

FUTURE INSIGHTS The latest product releases and announcements from The NAMM Show 2020.

64 AUDIO 64 Audio has launched the flagship A18s custom in-ear monitor. Built off the company’s existing 18-driver A18t platform, the A18s incorporates 64 Audio’s LID (Linear Impedance Design), ensuring a consistent frequency response, regardless of the various sources it’s plugged into – especially relevant for artists today that frequent both the studio and stage. www.64audio.com

LD SYSTEMS LD Systems, part of the Adam Hall Group, unveiled its new range of ICOA-series active coaxial PA speakers. Due to its coaxial design with rotating, BEM-optimised CD horn as well as the DynX DSP presets, ICOA full range systems are highly flexible, while the BT versions enable wireless Bluetooth streaming to play entire songs or backing parts from a smartphone or tablet. The ICOA series active coaxial PA speakers comprise a 12in and a 15in version and are available with accessories for installation and transport. www.ld-systems.com www.adamhall.com

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FUTURE INSIGHTS

ADJ ADJ has launched its new Entour Chill high-output low-lying fog machine, which uses standard water-based fog juice and ice cubes to generate an effect similar to that of dry ice. The latest addition to ADJ’s range of wireless LED up-lighters, the Element ST HEX, has also been released. The Focus Spot 2X is the company’s new moving head fixture, while the MOD STQ is the latest addition to ADJ’s range of LED-powered par-style wash fixtures. www.adj.com

ALCONS AUDIO Alcons Audio has debuted its new line-array system: the LR24. A three-way, bi-amped mid-size format line-array system, the LR24 is loaded with Alcons’ patented pro-ribbon technology for mid and high frequencies. The system features an unusually high dynamic range with a fast impulse response with up to 90% less distortion. This results in an intuitive linear response, with optimal intelligibility and non-compressed identical tonal balance at any SPL. www.alconsaudio.com

AUDIO-TECHNICA Audio-Technica has expanded its 3000 Series Frequency-agile True Diversity UHF Wireless Systems with the addition of a network port. The ATW-R3210N receiver now allows network control and monitoring along with the same setup, versatile operation and detailed high-fidelity sound as standard 3000 Series components. www.audio-technica.com

D&B AUDIOTECHNIK d&b has introduced its new SL-Series subwoofer. The KSL-SUB provides a small, lightweight format that extends the frequency response of a KSL system down to 36Hz. Available in both flown and ground-stacked versions, the subwoofers operate with two forward-facing 15in drivers and a single, rear-facing 15in driver, driven with two-way active amplification. www.dandbaudio.com 57

FUTURE INSIGHTS

DAS AUDIO DAS Audio has released two new models for its EVENT Series: the EVENT-26A and EVENT-115A. The EVENT-26A is a two-way, symmetrical, self-powered line array in a double 6.5in V-shaped configuration that provides uniform 100° horizontal coverage. The EVENT-115A is a birch plywood cabinet, self-powered, front-loaded bass reflex subwoofer that uses a single, 15in, low-frequency transducer specifically designed for use with the EVENT-26A and compatible rigging hardware to be flown. www.dasaudio.com

DBTECHNOLOGIES Upgrading its arrayable loudspeaker offering, dBTechnologies has launched VIO C – a complete series of two-way active line-source speakers. The series encompasses three enclosures housing premium neodymium components (VIO C12, VIO C15 and VIO C212). Designed to create horizontal or vertical line-source arrays and featuring a simple yet rapid rigging system, VIO C is equipped with latest-generation 1,600W RMS Class D Amp module Digipro G4, driving a powerful DSP. www.dbtechnologies.com

ELATION PROFESSIONAL Elation Professional has revealed the Smarty MAX, Fuze SFX and Paladin Cube, Brick and Panel fixtures. The company has also released new water-based hazer, Magma Prime; high-volume snow machine, Crisp; and advanced series of IP65-rated UV LED lighting, Prisma. Obsidian Control Systems has revealed Neutron, which encompasses Ethernet to DMX gateway, DMX splitter and DMX/RDM splitter solutions; pixel composer, DYLOS; and ONYX lighting control software. www.elationlighting.com

DIGICO DiGiCo has revealed its new generation of Quantum consoles as well as an immersive in-ear mixing expansion. The all-new Quantum338 is based on seventh-generation FPGAs and includes 128 input channels, with 64 busses and a 24 by 24 matrix – all with full channel processing. While the new in-ear mixing expansion, the DMI-KLANG, can be mounted directly into DiGiCo consoles, equipped with DMI slots. The first hardware product since KLANG and DiGiCo joined forces, the DMI-KLANG can deliver immersive mixes of 64 inputs for 16 musicians from a single device. www.digico.biz

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FUTURE INSIGHTS

L-ACOUSTICS L-Acoustics has launched the new Kara II modular line source, with the addition of Panflex, giving Kara four-in-one directivity. Morphing to fit any design, the line source offers consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70° or 110° symmetrical and 90° asymmetrical, steering to either the left or right. The company also debuted its new LA-RAK II AVB flyable touring rack, offering 12 channels of amplification in a 9 U frame. www.l-acoustics.com

POWERSOFT Powersoft has announced the latest update to its audio system management software, ArmoníaPlus. HealthPlus, which replaces the software’s previous ‘Events’ tab, gives sound engineers a streamlined monitoring environment of all elements in a given sound system with improved communication, control and reporting. The new software is available now for all ArmoníaPlus users. www.powersoft.com

RCF RCF has extended its range with the release of the three-product TT 4-A series. TTL 4-A (line array), TTW 4-A (wide dispersion) and TTP 4-A (point source) are equipped with two 10in LF woofers and high-performance 4in compression driver on a rotatable/swappable waveguide. The TTL 4-A waveguide is 100° by 25°, the TTW 4-A offers 100° by 50° dispersion and the TTP 4-A is 60° by 25°. All models are powered by two 1,600W Class D amplifiers. www.rcf.it

SENNHEISER Sennheiser has introduced the new Link Density (LD) Mode for Digital 6000. The new LD Mode significantly increases the number of links that can be operated in congested RF environments, meaning up to 40 links can be accommodated in an 8-MHz TV channel in Europe, and up to 30 links in the smaller 6-MHz TV channel in the USA. www.sennheiser.com

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SENSAPHONICS Sensaphonics has released its 3DME Music Enhancement IEM system.

This new concept from ASI Audio x Sensaphonics adds powerful sound sculpting tools to Active Ambient technology, combining universal-fit ambient earphones and subcompact bodypack mixer with the powerful ASI Audio smartphone app. Features include a seven-band stereo equaliser and limiter and the ability for settings to be saved as presets for future recall via the app. www.sensaphonics.com

WAVES AUDIO Waves Audio has launched the Waves FIT Controller for the eMotion LV1 Live Mixer. Aimed at live sound engineers who prefer the tactile response of faders, knobs and buttons for console operations, FIT is an intuitive control surface designed to function as a fully integrated 16-fader bank with the LV1 mixer. This is made possible with 16 + 1 motorised 100mm faders, each featuring Mute, Solo and Select buttons, a multifunction rotary control and a bright display for each channel. www.waves.com

The next generation of wireless mics 62

MARKET FOCUS

This month’s laser market focus is sponsored by MDG. A familiar sight at live events around the globe, with atmospheric effects from fog to haze as well as low fog generators, the company’s products are known for quality, reliability, durability and quietness. Based in Montreal, Quebec, MDG is proudly Canadian and represented on almost every continent through its worldwide network of partners. www.mdgfog.com

LASERS

ER PRODUCTIONS The ATOLLA range of RGB Diode Lasers, named after the ‘luminescent jellyfish’, comprises the AT-10, AT-20 and AT-30. All AT series lasers have FB4 built in as well as gigabit network switches for linking of systems. Network and DMX allow the user to add a Kinekt, Strike-ER or Beam-ER easily and efficiently. All AT bodies have the Kinekt bracket on the top and bottom, so you can add fixtures quickly and easily.

ER aimed to compliment the Kinekt series with higher powered scanning options to provide its clients with versatile design options, as well as excellent functionality in programming. Combined, the Kinekt and ATOLLA series is the most advanced modular laser system in the world.

The AT range was launched in time for Tame Impala’s mesmerising set at Coachella in April 2019. Thirty-four AT30s made up part of an astounding 1,020W laser show, one of ER’s most powerful shows to date. Twenty AT-20s were also part of an incredible laser light show for Metallica’s HardWired Tour, which kicked off in May 2019 at Estádio do Restelo, Lisbon. www.er-productions.com 64

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KVANT RGBY labelled KVANT systems come with an extra laser module, which outputs 577nm yellow laser. There are three significant advantages over most conventional RGB lasers. Atom and Spectrum laser projectors include an additional 5W of 577nm yellow laser, increasing their total luminosity by 80 to 110%, depending on the model.

The 577nm yellow laser increases the brightness and visibility of the white light beam, while at the same time, not altering the appearance of the beam. Furthermore, the addition of the yellow laser significantly increases the Colour Rendering Index (CRI) from 30 (RGB) to 75 (RGBY), making KVANT RGBY systems ideal for most laser graphics and laser mapping applications.

Most KVANT RGBY systems are available in two different versions, where the low-divergence derivative called LD – RGBY offers unparalleled visual intensity on long-distance projections.

Together with Saturn9 scanning, built-in FB4 control system and optional motorised dichroic filters used for remote alignment of colours, these systems are the state-of-the-art laser projectors.

The KVANT range of LD 33 Spectrum RGBY offers full-colour RGB lasers with the output of up to 80W. www.kvantlasers.sk

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modules are also built in a way that there is no need for realignment.

Each module is built encapsulated and sealed, so they are completely maintenance free. The form factor is standardised, like with the well-known Coherent OPSL heads, and thus can be easily combined and fit into slottype housings. Due to their size, they fit into the currently more common OPSL head-sized slots.

The new modules add a great deal of additional performance to the new generation of RTI and tarm laser systems now, with lower pricing compared to conventional knife-edge diode modules due to the new manufacturing processes. www.raytechnologies.com www.laserworld.com

RAY TECHNOLOGIES The RTI Semiconductor Laser (RSL) module is designed in a way to keep laser beam spot size as well as divergence equal on both x- and y-axis.

This is advantageous over solutions used in standard knife-edge diode modules, creating higher visibility and great even colour mixing. RSL

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are used in the tarm 18 to create an equal beam profile on x- and y-axis and also the divergence, even for very high laser power to create matched colour size and brighter beams. This is nearly impossible to achieve with standard knife-edge diode laser modules, especially due to alignment issues when using on tour.

The tarm 18 specifically targets production and rental companies that need professional equipment in a small compact housing for a variety of different applications. So, not only is the tarm 18 suitable for use at festivals due to the advanced visibility, but it can also be used for corporate events, mapping applications or graphics projections.

The tarm 2.5 is available for professional lower-powered requirements, like in nightclubs and smaller indoor events or for upscaled use with multiple lasers over DMX in combination with the effect generators of a console. www.laserworld.com

TARM The tarm 5, tarm 12 and tarm 18 cover the major span of professionally used laser systems in the most common power ranges. They come with the new multi-feature mainboard and can be directly hooked up to professional lighting desks for control via DMX or ArtNET. In addition, they have all the other control features of the ShowNET laser mainboard, which makes them easily controllable depending on the type of application. The latest RTI Semiconductor Laser (RSL) modules

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PRODUCTION FUTURES

Oli Crump TPi Breakthrough Talent Awards’ newly crowned Young Freelancer of the Year, Oli Crump sits down with TPi’s Jacob Waite to recap a whirlwind season of festivals and arena tours.

“A lot of my work is one-off or short-term shows, so there’s a lot of jumping from job to job,” he said. However, his career highlight so far was taking care of the audio on the Lion’s Den stage of Boomtown Fair last year, closely followed by Rick Astley’s tour in 2018.

At Boomtown Chapter 11: A Radical City, Crump assumed the role of both Audio Project Manager and System Engineer for BCS Audio – a feat which involved weeks of work designing the system, co-ordinating logistics and preparing the equipment before it was loaded and transported to site.

Once on-site, he worked closely with the Stage Production Manager, David ‘Pev’ Peverley and the other heads of department to ensure that the load-in, show and load-out were completed efficiently and with time to spare. “This included managing a team of up to 10 audio crew and dealing with the last-minute scheduling changes that added hours of extra programming to our stage,” he commented.

Listing the growing number of projects on his CV, Crump reflected on some of the biggest lessons he has learned during his formative industry years. “Early in my career I got very used to saying ‘yes’ to everything,” he said. “As I was being offered more – especially in the busier months – I needed to learn how to manage my time so that I had some time off and could recover mentally and physically. This is sometimes tricky as it can be difficult to know when and where your next job will come from,” he acknowledged. “It’s very easy to burn yourself out when you add the financial pressures of freelancing into the mix.”

What advice might he give to someone following in his footsteps? “You can go a long way with the right attitude. I think it’s particularly important to remember that when we’re all working to tight deadlines on limited sleep.”

While he acknowledged the value of having good industry contacts, Crump was also keen to stress the importance of staying up to date with technological advancements.

“The audio side of the industry seems to have changed significantly in recent years,” he commented. “If you can get your head around the technology and its associated software, all while being personable and easy to work with, you’ll be able make the contacts along the way.”

Having capped off 2019 working with SSE Audio to supply an L-Acoustics K1/K2 system for Dermot Kennedy’s hometown shows in Dublin, Crump is looking forward to another Rick Astley arena run in March.

“I’m not sure I could have predicted my current position five years ago,” he said, looking towards the next five years. “If all goes to plan, I guess I’ll be making a lot of noise somewhere...”

TPi Photo: Mark Cunningham www.productionfutures.co.uk www.olicrump.co.uk

At the age of 25, burgeoning Southampton-based audio system engineer Oli Crump has already played a significant role in a range of projects during his brief time in the live events industry. His work as an audio project manager at the Lion’s Den stage of Boomtown Chapter 11: A Radical City saw him go on to win Young Freelancer of the Year Award at the TPi Breakthrough Talent Awards last year. Following the trophy scoop, TPi checked in with Crump to discover what’s next on his bucket list.

Like many of his peers, Crump’s passion for audio dates back to his school days, born out of a desire to be “anywhere but on stage”.

Devoting most of his spare time to volunteering at the school theatre, this extracurricular drive was pushed even further when he arrived at the University of Southampton in 2012 to study Acoustical Engineering.

“My professional career really started off in Southampton’s Nuffield Theatre, where I worked as a casual tech alongside studying,” Crump recalled. “Within a year or so, I was beginning to pick up bits of freelance work from BCS Audio, which is based just down the road.”

These days as an experienced L-Acoustics System Technician, Crump has kept himself busy on a range of productions in 2019, including many festivals and a stint as Monitor Tech for The Streets’ UK tour. In 2018, he was the System Engineer on Rick Astley’s Beautiful Life tour; and Gilbert O’Sullivan’s 50th Anniversary tour, and prior to that he was the Audio Tech for Tom Odell in 2017.

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IN PROFILE

IN PROFILE: POWERSOFT From its humble kitchen table beginnings to becoming one of the most renowned names in power amplification, it’s certainly been a journey for the Italian tech company. At the tail end of its 25th year in business, TPi travels to Powersoft’s Florence HQ and speaks to the three founders – Luca Lastrucci, Claudio Lastrucci and Antonio Peruch – to look back on the past quarter of a century.

Famed for its culture and beauty, Florence attracts millions of tourists each year, thanks to its stunning architecture and high-end fashion – not to mention some of the world’s most iconic artworks. It’s not exactly a city where you’d expect a plucky technology company to thrive.

However, for the past 25 years, Powersoft has established itself as one of the leading names in power amplification, with the company’s boxes now powering loudspeaker systems across the globe – via both its own brand and OEM work.

Once you scratch the surface, it’s clear to see that there is so much more going on under the Powersoft roof than first meets the eye, with an unprecedented level of technological innovation reaching much further

than amplification. During TPi’s visit, we got to speak to the three cofounders of the company: brothers Luca and Claudio Lastrucci, along with mutual childhood friend, Antonio Peruch.

“Although the company has existed for 25 years, to understand the history of Powersoft, you have to go back to our school days,” said Luca Lastrucci, the company’s CEO. “We were always working on projects together – a passion that lead us all to pursue careers in electrical engineering at university.”

With the trio’s educational pursuits complete, they began working on a selection of software projects from an apartment in central Florence apartment. “Our first real success was in the development of software for 72

POWERSOFT

Opposite: Powersoft three founders; Claudio Lastrucci, Luca Lastrucci and Antonio Peruch

busses, which was used in Milan,” said Lastrucci. “We launched the product in 2000 and the idea was to create flexible bus routes that would create the most efficient route to pick up passengers – think of it like an early version of UberPool.”

Although getting its first real break in software development, the three men’s passion for pro audio soon became the company’s main focus. “The idea of power amplification was quite a new concept when we started to look into the sector,” said Lastrucci. “Once we got the patent for our first product, we started speaking to various companies in Italy to generate some interest.”

It was around this time that Lastrucci’s father, Carlo – who to this day is Chairman of Powersoft – introduced the young men to a business acquaintance of his who allocated them some space at an upcoming trade show in Milan to showcase their first amplifier. It was during that first show that the Powersoft team formed its long-running connection with Outline.

“Off the back of that show, we got an order for 30 units – all of which we built on our kitchen table,” chuckled Lastrucci.

Since that first order, the company has gone from strength to strength.

This came to a head at the end of 2018 when Powersoft floated on the stock exchange. “This move was important to take Powersoft to the next level, moving it from the family organisation to one we can take into the future,” Lastrucci commented.

“The changing mentally has meant we have attracted more talent and resources from outside the company as well as giving us the option for growth via a potential merger or acquisition. The fact that we are listed means that all of our information is clear and public.”

THE ASSEMBLY LINE The duty of overseeing the manufacturing process at Powersoft falls to Antonio Peruch. Having witnessed the move from the kitchen table to automated work benches, Peruch has fine-tuned the Powersoft manufacturing process every step of the way.

“We have made a real effort in recent years to bring the majority of the in-house manufacturing to our Florence base,” said Peruch. “We have the chassis of the amp at the start of our production line then, 15m along, we have a finalised product.”

Peruch explained that bringing everything in-house has been helpful for two reasons: “First, it gives us the flexibility to meet the demands of the market,” he said. “Second, it means we are the last point of contact before the client opens the box, so we can ensure everything meets our standards.”

Walking through the warehouse, we experienced first-hand the meticulous build process each Powersoft amp goes through – from bolts to box. In the past few years, Peruch and the team has made significant investment in automation on the production line, as well as testing software to ensure that each product – which is made up of approximately 16,000 individual components – is in perfect working order. Peruch reported that each production line is able to produce 100 pieces in a single shift, every day without fail.

It was an exciting time to be discussing the Powersoft manufacturing process, as the company has recently purchased a new plot of land to begin developing its new HQ. This will mean the entire facility, which currently comprises five buildings, will move under one roof – something the company hopes to complete in the next two years. Peruch was also keen to 73

POWERSOFT

Claudio Lastrucci, Luca Lastrucci, Carlo Lastrucci and Antonio Peruch.

outline the wider network of service centres across the globe. “We have 31 service providers worldwide that can help our customers with any issues they might have. Some of these service centres are distributors, while some are independent facilities. We invest a great deal of time and resources on training courses to certify each facility and constantly keep them updated as and when new products or updates are created.

We also have an individual who is continually checking in with each facility to ensure everything is up to code.”

market fully as it’s a change in the mindset with the hope to abolish the bottleneck produced by more standard transducers.”

Lastrucci continued to make the distinction between the two branches of Powersoft’s R&D departments. “Over the years, we have created products that have not been led by demand, but off the back of exploring new technology to hopefully push the market into new directions. This is why we keep the R&D department and Ideofarm quite separate, with Ideofarm focussing purely on innovation over market demand.”

One of the most recent successes from Ideofarm’s drawing board – shown at last year’s ISE and InfoComm – is Mover. Utilising moving magnet linear motor technology, similar to the one found in M-Force, Powersoft created a small cube that allows audiences to experience the sound through haptic perception by vibrating the surrounding environment.

You might expect applications for this product would be confined to the likes of 4D cinemas and theme parks, however, Lastrucci explained that Mover had a chance to help enhance the live events sector.

“An issue we often see in Europe is venues facing closure due to noise complaints from surrounding residential areas,” he outlined. “Mover has the ability to give an intense live experience without having to reach high dB levels. People were not asking for this product, but it offers a solution to a real problem within live events.”

It was clear from these two examples of Powersoft’s innovation that there is much more going on behind the doors of its R&D facility. Despite some gentle probing from TPi, Luca Lastrucci, Claudio Lastrucci and Antonio Peruch remained tight-lipped on what could be coming next.

Aptly, for a company situated in a city associated with the Renaissance, Powersoft is very much pushing its technological output into the future.

The company is constantly refining its flagship products, while keeping a weather eye on the horizon for how new technologies may shape the events of tomorrow.

TPi Photos: TPi & Powersoft www.powersoft-audio.com

NEW REALMS Admittedly, up until this point in TPi’s visit to Powersoft, our focus had been on the company’s work within power amplifiers. However, this is only part of the story of the Italian tech innovators. Enter, Claudio Lastrucci – the company’s R&D Director. As well as being responsible for leading the R&D team in the creation of its latest products – such as the X4L fourchannel high-performance amplifier platform that was released last year – the R&D Director also leads the team that works in Ideofarm; Powersoft’s innovation hub where ideas and concepts are explored.

“Close to 20% of our workforce works in our R&D department,” said Lastrucci. He went on to explain that, in broad terms, his R&D team work on two types of projects. “The first is very much driven by market demand,” he explained. “The goal is to produce a product that we don’t have or are looking to renew. When it comes to these projects, we also ensure we add our own ‘spice’ so we are not creating a ‘me too’ product.”

The other type of product innovation comes outside of market demand. “You can’t ask a customer for the future of audio, as they need to focus on the demands of today,” stated Lastrucci.

A good example of setting its products apart from the crowd has been with M-System. Comprising of the M-Force, Powersoft’s moving magnet linear motor structure and the M-Drive amp module, M-System was originally launched in 2013 then updated in 2018. “M-Force is a good case study of producing a product and then proving its benefit of application,” explained Lastrucci. “It’s a product that will take some time to breach the 74

CONFERENCE: JUNE 13-19 EXHIBITS: JUNE 17-19 LAS VEGAS CONVENTION CENTER LAS VEGAS, NEVADA

“AVIXA represents a vibrant community of passionate professionals who create memorable events every day.

InfoComm is the only event that brings them all together.”

John Leposa, CTS, CMP Vice President PSAV Select/MVP International

infocommshow.org

GEAR HEADS

L-ACOUSTICS KARA II Following its highly anticipated launch at The NAMM Show, Product & Technology Outreach Manager, Scott Sugden explores L-Acoustics’ latest Kara line array, Kara II.

When did you start working on the update to the Kara model?

The R&D process began in earnest over a year ago, although the discussions go back much further. The whole process will culminate at the end of this year, when we launch an install-specific version.

Did you encounter challenges during the R&D process?

We kicked off the project with the basic tenet that we wanted to bring Panflex to our most popular loudspeaker, evolving it to allow for one enclosure to have four different directivities: 110° or 70° symmetric and 90° asymmetric left and right. We really wanted to bring Panflex to Kara in a way that allowed for existing owners to upgrade their current inventory and this posed a few unique challenges that engendered several iterations to get to the right formula.

Kara II not only has Panflex and four different directivities, but we were also able to increase the output of the system by 2dB and improve the polar response in 110° vs Kara, which was was a best seller because it fulfilled the needs of many clients and projects. Kara II has exponentially more flexibility.

What were some of the main goals from the outset?

We knew that offering the four-in-one directivity that Panflex allows was a big leap forward for a best-selling product that will now be able to customfit any audience geometry.

For the install version, we’ve re-engineered the enclosure specifically for this market to provide better mechanical strength and improved aesthetics, as well as adding the Panflex.

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L-ACOUSTICS KARA II

VL2600 SERIES “Great openness and incredible focus… the masterpiece of the effects.”

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What does Kara II offer to system designers with Panflex technology?

The most important spec is the variable directivity, which allows you to set the Kara II coverage angles to 70° or 110° symmetric or to 90° asymmetric, left or right. This allows you to set the top boxes of a hang to 70° to give a maximum throw of 100m and SPL of 142dB, then the lower boxes can be set to 110° for wider audience coverage. The 70° left/right angles allow you to avoid reflective surfaces when needed.

It’s a two-way active enclosure, weighing in at 26kg. Any application demanding premium sound quality, long throw, light weight and flexibility would be a prime project for Kara II. Houses of worship, performing arts centres, stadiums, as well as both regional, national and international touring companies will look to Kara II to fit the bill.

Lighting Designer Ignition Creative Design

Is it important that Kara II owners and stockists are able to update pre-existing Kara models?

The idea was always out there, ever since we introduced Panflex to the market in 2014. We evaluated many different possibilities before finally deciding that the upgrade kit would be a part of the rollout. This decision meant that we tested different ways to achieve our goal.

What was the response from the visitors at The NAMM Show during the product’s launch?

The response at NAMM was overwhelmingly positive, especially from clients with existing stock who were satisfied that we are taking the product forward in a way that allows them to evolve their existing stock.

Kara II ships in March, so it’s hard to predict tours at this point, but we already have orders both from rental partners and for install projects.

TPi Photos: L-Acoustics www.l-acoustics.com

VA R I - L I T E .C O M

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GEAR HEADS

TIMAX TRACKERD4 Out Board’s Dave Haydon discusses why the TiMax TrackerD4 is set to change the resolution and accuracy of spatial audio as we know it.

When did development for the TiMax TrackerD4 begin?

The TiMax TrackerD4 is a next-generation evolution of our original TiMax Tracker system, which was introduced around eight years ago. It has been very successful and is still running on many stages worldwide, but we noticed the technical and commercial environment changed. The 6-8GHz UWB RF signal bandwidth it occupies was beginning to get encroached on by other control technology– ie. for triband DMX, comms, and stage machinery. We could filter those out but it was getting increasingly crowded and we were looking for greater robustness in the digital RF data.

At the same time, we identified potentially significant market growth if we could get it cheaper and even more accurate, not least because a new wave of spatial audio was increasing demand for a practical, viable stage tracking system for audio.

How does TiMax TrackerD4 integrate with TiMax SoundHub? The stage tracking control talks to TiMax SoundHub via industry-standard OSC XYZ Pan messages. Individual desk channels or group direct-outs feed the TiMax inputs, usually via Dante or MADI. The TiMax SoundHub spatialisation delay-matrix has special HARDCore FPGA delay-morphing algorithms that allow it to localise and pan moving sources and effects transparently using varying delay as well as level, to make the immersive imaging effective across an entire audience whilst still ensuring even coverage. TiMax has a cueing system that allows this to be managed manually or remotely from external show control such as QLab, and many shows are blocked and cue’d this way, but if it gets really busy with a high number of moving sources, TrackerD4 is the holy grail as it liberates half the sound engineer’s brain from cueing to focus on the mix balance.

What are the primary mechanics of the stage tracking control system?

Using the same UWB digital RF science as our original Tracker system with completely new technology – the TiMax TrackerD4 has a robust tag ID-transmission system that allows us to pulse each tag at potentially up to 40 to 50 times per second leading to a high degree of accuracy and responsiveness. Actors wearing the Tags are picked up by six or eight sensors around the stage and auditorium, which analyse their transmissions to locate them using both Angle Of Arrival (AOA) and Time Difference Of Arrival (TDOA) analysis.

Only two sensors need to see a Tag for accurate tracking to occur, so having multiple Sensors provides a high level of redundancy to mitigate blocking by performers’ bodies or chunky and metallic scenery elements.

How does TiMax TrackerD4 compare to other immersive sound products?

Most other immersive audio processor manufacturers do not also offer their own tracking solution, although they may have alliances with one or more other third-party systems. TiMax offers the only fully integrated solution, however at both ends of the pipe, our TrackerD4 Translate application allows us to control other brands of spatial processors, as is happening currently in the West End and Broadway, and also our TiMax SoundHub audio can be controlled by other, predominantly lighting, control tracking systems, as is happening now on our first of several cruise ship installations.

A major impact TrackerD4 has on spatial mix outcomes is it allows the mix engineer to concentrate on the balance and not the show blocking 78

TIMAX TRACKERD4

Fog is our passion!

Cobra 3.1

and real-time cueing. This also significantly reduces this overhead during rehearsal. The enhanced speed, accuracy and redundancy of TrackerD4 ensures a reliable and repeatable spatial outcome in challenging environments.

How does the TiMax TrackerD4 address the current price/performance gap in the immersive sound market?

The TiMax TrackerD4 is 40% cheaper than the original TiMax Tracker system, bringing it more in line with the TiMax SoundHub audio processing price range. It is also around a half to a third of the pricing of the other serious stage tracking product offerings, and both of these factors make it a no-brainer for projects considering live immersive spatialisation.

We have also added PosiStageNet signal interfaces so we can do some lighting and video tracking control, and so TiMax SoundHub can be controlled from external sources such as manual followspots.

Lighting control is new to us, but it has been mentioned from when we first introduced TiMax Tracker. We believe at our price points, the ROI arguments for lighting tracking, such as reduced rehearsal time, are quite tempting at all budget and performance levels in the production industry.

What makes TiMax TrackerD4 ideal for the live touring market?

TrackerD4 setup is elegantly simple to set up.

Measurements from a couple of points on stage create X,Y,Z locations for each sensor, then a tag placed on the stage allows the

system to self-calibrate in a couple of minutes.

If the sensors go in the same places in the rig every night, self-calibration is quick, with new measurements only needed to accommodate different grid trim heights. Standard CAT5/6 connects to the sensors, which are IP-rated for outdoor use and fitted with Ethercons for durability, and TrackerD4 provides an Ethercon POE switch and distribution hub.

What has the reception been like?

TiMax SoundHub became something of a norm in the West End, Broadway, Scandinavia and worldwide, along with TiMax Tracker to automate it, pushing sound reinforcement standards beyond just the fidelity offered by phenomenal loudspeaker systems available today. This led others to join the game, which stimulated the spatial/immersive discussion, and interest has grown rapidly as a result.

TiMax has responded by both upgrading its spatial audio platform with the new HARDCore FPGA dsp, and also the multipurpose, multiplatform TiMax TrackerD4 system, which also addresses the broader market with lower price points. TrackerD4 sales have consequently ramped up to more than double the previous system since its introduction in Spring 2019. Systems are in use on theatre shows on Broadway and the West End, as well as Germany, Australia and Switzerland. New sales have also been made to the USA, China and Japan. TiMax TrackerD4 is here to stay.

TPi Photos: Ripple Media www.outboard.co.uk 79

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PSA: THE BIGGER PICTURE

MENTAL WELLBEING: QUESTIONS, ANSWERS, ACTIONS The PSA’s Andy Lenthall delves into the facts and figures behind mental wellbeing in the industry.

Research, it has been said, is like a lamp post; some people use it to lean on, while others use it for illumination. When it comes to mental health, we’ve all been charging ahead with well-meaning initiatives, most of which already exist and simply required adoption by our industry. We’ve also looked to the pioneers, the exemplars who have improved their approach and are more than willing to share ideas. Something that we hadn’t really done is research the people in our industry to see if there’s more we could or should be doing, or if we could just lean on a lamp post and watch things improve.

Back in September, at PLASA London, we joined together with PLASA, ALD, ISD and ABTT to launch a co-funded research project into mental wellbeing amongst backstage workers. The response was fantastic; more than 1,300 completed questionnaires, with PSA members providing the most completed questionnaires.

The data, presented to Dr Paul Hanna, Senior Lecturer and Research Director in Clinical Psychology at the University of Surrey, was developed into a report and a series of recommendations.

The main aims for the project were to evaluate the prevalence of mental health issues, assess perceptions of working conditions and mental health, appraise mental health attitudes and stigma and establish perceptions of support for mental health problems, all within the context of the industry. The first point to address is that, when asking a group to

complete a survey, you can expect a greater level of response from people with a personal interest in the subject matter.

The working group behind the survey decided to divide results between those stating that they currently, or have previously, had a mental health problem and those who didn’t. That figure was 58.7% of responders – far higher than NHS figures at 25% average over the general population.

Concerning, too, is the 71.1% of females reporting a current or previous problem. Vested interest, and the proportion of female responders (26.7%) may account for some of the disparity, but the figure is still found to be statistically significant.

Looking at the PSA’s workforce survey, the shocking 90+% male dominance is perhaps a contributing factor, both to the response ratio by gender and the disproportionately high prevalence of problems amongst female workers. Of those issues reported, depression and anxiety made up the majority, 50.7% and 26.9% respectively.

Over 90% of responders were in the 18 to 54 age bracket, with reported problems in the majority between 18 and 44 age groups. This seems to correlate with the worrying national statistic that mental health issues are the biggest killer of males in that age group.

Setting aside the need to address the gender balance in our workforce, a predominantly male demographic in the age range at most risk does suggest that we are right in making efforts to improve our approach. Do 80

PSA: THE BIGGER PICTURE

working conditions in our sector contribute to mental health issues?

Interestingly, amongst those that reported current or previous problems, 53% said yes and 37% maybe; that contrasts with those not reporting issues, who said 64% yes and 32% maybe.

It could be said that some with mental health problems are managing their condition whilst working in the industry. It might also be said that those without problems might be suggesting that the industry is not a place for people with them. Attitudes and stigma were matters that we were keen to investigate too.

The survey questioned whether participants had experienced or observed negative attitudes towards mental health; 59.8% said they had, with 69.8% saying that they believed there is stigma associated with mental ill health within the industry. Again, the data could be further split into those reporting and those not reporting current or previous mental health problems. Unsurprisingly, those not reporting an issue saw associated stigma less than those that had.

This trend in the perception of attitudes and stigma from individuals reporting current or previous mental health problems as opposed to the participants that didnâ&#x20AC;&#x2122;t report a mental health problem was consistent throughout the measures.

For example, in the questions concerning how confident the participant would feel disclosing their (for those who reported a current or previous mental health problem) or a (for those who did not report a previous or current mental health problem) mental health problem to a line manager, only 50.4% of those with a mental health problem said they would, as opposed to 58.2% of those without a mental health problem.

Help-seeking behaviour was unusually high within the participants that are currently or had previously experienced a mental health problem, with 70.9% stating that they had sought support for their mental health problem. This help-seeking behaviour was significantly higher amongst females, with 78.3% of the females who responded to this question stating they have sought support as opposed to 67.3% of the males. The majority of participants (84.7%) that sought support did so through the National Health Service and Private Healthcare providers as opposed to the support offered within the industry.

Recommendations arising from the report included further work to explore the link between mental health, working conditions and the possibility that the industry attracts individuals with existing mental health problems. Research into the gendered difference in the prevalence of mental health problems, perhaps including more in-depth qualitative research exploring experiences of being male and female in the industry is also suggested. Also, the perennial substance misuse and addictive behaviour question would seem to be something that is readdressed. Of course, it is widely accepted that substance misuse is a self-prescribed coping mechanism for people with mental health problems, so prevalence of one may lead to above average appearance of the other.

In the face of the findings, the group of backers gathered under their illumination, to find pathways to some solutions. Discussions are at a very early stage but already we can see the need for moves towards embedding industry-specific mental health awareness modules in all areas of industry education, expanding these to all points of entry to the industry, seeding the next generation with a more positive attitude to colleagues with issues.

Thereâ&#x20AC;&#x2122;s also the need to enable sharing of wellbeing, coping and recovery tips amongst the current generation of workers, perhaps utilising current social media platforms and communication channels to encourage better physical wellbeing.

For those who are already receiving treatment, there is the possibility of creating more industry-friendly group therapy sessions or online therapy for those away from home for long periods. The need to look at better ways to deliver effective, long-term treatments is obvious. Perhaps none of the measures are anything new, but with a joint effort, joined-up thinking and a good look at what is available to similar industries, we should be able to find a way to improve our approach and ensure further surveys will reveal improvements on this benchmark we just set ourselves.

Hints, tips and advice are always welcome. Stay well.

TPi www.psa.org.uk

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INDUSTRY APPOINTMENTS

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INDUSTRY APPOINTMENTS

Absen welcomes SQM to Value Added Distributor Network; d&b audiotechnik unveils its new support and training facility in California; AVIXA names Joé Lloyd Senior Director of Communications.

Absen has named SQM as the company’s official distributor in Poland. SQM will have exclusive rights over the sale and distribution of the Aries AX1.5 in the Polish rental staging market. “Quality is the most important factor for us and the AX1.5 delivers on so many levels,” Michal Górski, CEO at SQM, commented.

AC-ET has been appointed as the exclusive UK distributor of Calibre’s HQUltra700 series of universal live events switcher-scalers. Sister Company, A.C. Entertainment Technologies Ireland, will handle distribution in the Republic of Ireland. Stuart Burdett, Video Sales Manager commented: “I’m very excited to have Calibre in our portfolio, as it complements our existing brands from the source through to the end display technologies.”

NicLen has expanded its Cameo portfolio, investing in OPUS X P profile moving heads, OPUS H5, EVOS W7, and the new F4 series in the 2kW class.

“Cameo’s portfolio of lighting technology grows increasingly diverse each year,” commented Nico Valasik, adding that “an extremely trusting partnership” has also blossomed over the years with the Adam Hall Group.

ASI Audio has made two key appointments, bringing in Evan MacKenzie as VP Marketing and Sales and Charlene Clements to the position of Manager, Client Development. “We feel very fortunate to add Evan’s experience and skillset to the ASI Audio management team,” said Co-Founder and Chairman of the Board, Dr Michael Santucci. MacKenzie

added: “Charlene comes to us with 15 years of experience. Her wide-ranging capabilities in sales management are a perfect fit for us.”

AVIXA has hired Joé Lloyd as Senior Director of Communications. “We’re delighted to welcome Joé to our team,” said Dan Goldstein, Chief Marketing Officer. “As well as deep knowledge of the role media relations can play in modern marketing and communications, she has terrific AV industry expertise, the ability to think and act strategically, and an enthusiasm for her work that is both motivating and infectious.”

Biamp has promoted Niclas Brattberg to the position of General Manager for the Middle East and Asia-Pacific. “Biamp continues to invest heavily in international growth by hiring talented people and opening local offices in select markets,” said Rashid Skaf, President, CEO and CoChairman. “Niclas’ background and experience leading international sales organisations is exactly what we need to bring focus and growth to this mission.” d&b audiotechnik has opened a new office and training centre in Signal Hill, California. “Accessibility to our growing base of customers and partners in the US is critical,” said Amnon Harman, CEO. “This new facility demonstrates our desire to build strong, long-term partnerships with both the audio technology and broader entertainment community.”

Digital Projection has appointed Thierry Ollivier to the newly created 82

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INDUSTRY APPOINTMENTS

Follow-Me’s new Backoffice Manager, Sandra de Gooyer; HARMAN Professional Solutions’ Division President Brian Divine; Hi-Tech Audio Systems becomes Claypaky’s new distributor for the Indian subcontinent.

role of EMEA Business Development Manager. “Thierry brings a wealth of knowledge and experience into this strategically important role,” International Sales and Marketing Director, Chris Axford, commented. “We are very pleased to welcome him to Digital Projection.”

Follow-Me Tracking Solution has appointed Sandra de Gooyer as Backoffice Manager. “We’re delighted to welcome Sandra to our team,” said Sales Director, Gary Yates. “Sandra’s energetic, positive-minded, hands-on

mentality will help our company to move to the next level.”

Harman Professional Solutions has appointed Brian Divine as President of the Professional Solutions division. “I am honoured to accept this role, and do so with great humility and awareness of the awesome responsibility of carrying forward Harman’s iconic brands that were built over the course of, in some cases, nine decades,” he commented.

Hi-Tech Audio Systems has become Claypaky’s new distributor for the

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INDUSTRY APPOINTMENTS

Thomas Lindgren to head operation for RCF in Denmark; LEA Professional’s new Director of Application Engineering and Consultant Relations, Bradley Drummond; NEXO appoints Hely Chirinos for Latin American sales; Portman Lights wows Fisher Hires with P1 Mini LED.

Indian subcontinent. “The Indian market is very large and varied,” Alberico D’Amato, Claypaky Sales Director stated. “Claypaky can now offer an equally wide, varied range of products, which can compete with all major brands in terms of final cost to the customer.” Rajan Gupta, Managing Director of Hi-Tech Audio Systems, added: “The partnership with Claypaky will significantly expand our offer. We are confident that we will begin to see the results shortly.”

K-array has hired Sam Spennacchio as National Sales Director, USA. “Given Sam’s breadth of experience in the market, I’m looking forward to him expanding K-array’s reach across all of the US,” stated Rusty Waite, President of K-array USA. LEA Professional has appointed Bradley Drummond as Director of Application Engineering and Consultant Relations. “Bradley’s deep technical knowledge will be invaluable to support our customers in the broadest range of applications,” commented VP of Marketing, Brian Pickowitz.

NEXO has hired Hely Chirinos as Sales Manager for Latin America. He commented: “I look forward to encouraging our excellent distributors, strengthening the NEXO philosophy with our pro-audio users in the industry, so that our network continues to grow throughout the continent.”

Optocore has appointed United B as its new German distributor. “With the expansion of our product portfolio, such as Festival Box, AutoRouter and our Madi series, United Brands was a perfect match,” commented Tine Helmle, Director of Sales & Marketing.

Outline has hired Paolo Calza as Pro Applications Engineer and Outline Array Trainer. “I hope to be able to offer my support and experience to Outline, its distributors and its clients worldwide, and manage to communicate them with the same passion that I put into my work,” he commented.

Gabisom Audio Equipment has made a major investment in Outline’s

unique Newton FPGA processor. The investment comes shortly after Outline appointed São Paulo-based Audio Systems as its Brazilian distributor. Outline’s Business Development Manager, Fernando Rey Méndez commented: “This important new order was achieved thanks to Audio Systems’ excellent reputation and professional on-site support. Their commercial and logistical expertise is of significant value in our relationship with Gabisom.”

POLAR has promoted Will Turney to the position of National Sales Manager for its Integrated Solutions Division. “We have complete confidence in Will’s ability to further enhance our business and continue to drive success,” commented Integrated Solutions Director, Stuart Leader. “He has always led by example and is well-known and highly respected across the sector.”

Fisher Hires has invested in Portman Lights’ recently developed P1 Mini LED. “Portman Lights has quickly established itself as a high-quality brand with some very exciting and innovative products, and we’re very happy to be in partnership with such an outstanding manufacturer,” commented Fisher Hires’ Rob Baker.

PROLIGHTS has appointed D&T PROLIGHT & SOUND LIMITED as distributor for Hong Kong and Macau. “Our vision is to provide state-ofthe-art professional lighting, audio and video solutions to our partners and users,” explained Dominic Cho, Regional Sales Manager. Paolo Albani, International Sales Manager for PROLIGHTS added: “We’re thrilled about this partnership. Having D&T PROLIGHT & SOUND LIMITED among our distribution network will help us to meet the needs of the Hong Kong and Macau market.”

Prolyte Asia Pacific (PAP) has become SIXTY82 Doughty Asia (SDA).

“For the past 15 years we have operated under the name PAP. However, due to recent events in the industry, PAP has decided to take a step forward 84

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INDUSTRY APPOINTMENTS

Prolyte Asia Pacific (PAP) becomes SIXTY82 Doughty Asia (SDA); SIXTY82 appoints DP Music as its exclusive distributor for Hungary; Jason Moss Joins QSC as Vice President, Alliances and Market Development; Thomas Lindgren to head operation for RCF in Denmark.

and start a fresh chapter with new partners,” stated Menze van der Sluis, Managing Director of PAP. “SIXTY82 was the best and only choice for catering to the high standards of the extensive PAP customer base.”

The move follows SIXTY82’s appointment of DP Music as its new representative in Hungary. “We look forward to working with a company of DP Music’s reputation,” Date Jonkman, SIXTY82’s Executive Account Manager, said. “Our partnership will help meet increased local demand for technical know-how from experienced people.”

QSC has hired Jason Moss to the role of Vice President, Alliances and Market Development. Joe Pham, President and CEO, commented: “Given his industry leadership experience, broad field of view, and deep market insights, Jason is poised to expand our existing partnerships and cultivate new relationships for QSC.” RCF has appointed Thomas Lindgren as National Sales Manager for Denmark: “This is a newly created position,” International Sales Manager Luca Ombrati explained. “Since having previously been in partnership with a local distributor, we intend to start a direct operation with Thomas.”

Lindgren added: “It’s great to be working in a company, with colleagues that are equally passionate about high-quality sound.”

Unlimited Productions BV has acquired MY Productions. “We are very pleased with the acquisition of MY Productions,” Olivier Monod de Froideville, CCO of Unlimited Productions, commented. “This acquisition fits well with the growth ambition of Unlimited Productions and the projects of MY Productions fit seamlessly into our operation.”

VUE Audiotechnik has appointed Victoria Ploesch as Accounting Manager and Kevin Smith as Operations Manager. “We were instantly impressed by Victoria and Kevin upon meeting them,” stated CEO Kenneth Berger. “Both positions can be challenging, so we had high expectations during the hiring process. Bringing Victoria and Kevin onboard with VUE has already yielded improvements in our day-to-day operations.”

Wigwam has appointed touring engineers James Gebhard and Francoise Le Moignan as Hire Managers in the Hire Project team.

Spencer Beard, Solotech UK Group Live Productions Managing Director commented: “In Franc and James, we’ve added two highly respected people in our industry to the Wigwam Hire operation. They bring further experience to our brand and the wider group.”

TPi www.tpimagazine.com/category/industry-jobs/

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INDUSTRY APPOINTMENTS

Unlimited Productions acquires MY Productions; VUE Audiotechnik welcomes Victoria Ploesch as Accounting Manager and Kevin Smith as Operations Manager; Wigwam appoints touring engineers James Gebhard and Francoise Le Moignan as Hire Managers in the Hire Project team.

87

DAYTIME TPI RETURNS WHEN

MONDAY 24TH FEBRUARY BEFORE THE TPi AWARDS

VENUE

FLOOR ONE PESTANA HOTEL, LONDON 354 QUEENSTOWN ROAD LONDON SW11 8AE

TIME

11:30 - PSA AGM (members only) 13:00 - LUNCH 14:00 - TPi INDUSRY LEADERS REPORT

IN ASSOCIATION WITH AVIXA 14:45 - COFFEE BREAK 15:00 - TPi TALKS: ENVIRONMENTAL

IMPACT OF TOURING 11:00 - 16:00 - CHAUVET AND CHAMSYS SHOWCASE

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BACK CHAT

SAMANTHA WHITE TPi Awards’ 2019 Monitor Engineer of the Year.

How did you fall into the world of live touring?

Touring came after around a five-year real-world apprenticeship of pushing boxes, patching and fixing cables, plugging-in speakers and generally hoofing around the pubs and working men’s clubs in the North of England. I spent years working with a Nottinghambased PA company, MerlinPA, starting at the bottom of the audio rental ladder, and worked hard until we got onto the corporate ball circuit. That’s also when I got the chance to mix my first big artists, including Liberty X, Hear’Say and S Club 7.

What are some of your career highlights so far?

You’d probably think that mixing Mariah Carey, Whitney Houston or Beyoncé would be the highlights for me.

However, while each of them were amazing gigs, the reality is, I didn’t grow up listening to these artists. My early career highlight was actually mixing FOH for a much smaller UK band from the ’80s and ’90s called The Christians. My dad used to listen to this band in the car all the time, so when I got the chance to mix them, I couldn’t say no. I already knew every song like the back of my hand. I felt relaxed and completely in control of the mix, even though I’d never met them.

You’ve worked as both a live sound engineer and a tour manager. How do you balance both roles?

Some people only know me for TM’ing and have never seen me behind an audio console. Recently, I have been Tour Managing for Nicole Scherzinger, which is non-stop. She demands 100% from everyone as she’s such a focussed person. It’s a demanding job, but I enjoy the random requests. From the 11th-hour bookings for helicopters, to diverting private jets to pick us up, after-show parties and meeting royalty… it’s all in a day’s work.

What advice would you give to women hoping to follow in your footsteps?

I try to encourage as many ‘shadow opportunities’ as possible for women looking get into the industry. We try to have at least one female newcomer looking to enter the industry on every tour date. Typically, these shadows might be girls who are already in the industry, but they want to experience a big gig, to see what it’s like on an average day. I wish I had something as accessible when I was starting out. I would recommend shadowing to anyone genuinely interested in moving into this industry professionally.

Does that take away from your love of audio?

My passion will always be in audio. Since I started out, things have got way more complicated and way simpler at the same time. Consoles are now so complex, show files can be incredibly complicated if you so desire.

For more information visit: www.facebook.com/groups/ShadowMeWomen 90

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1995 - 2020 DRIVING HUMAN AUDIO EXPERIENCE

YEARS ANNIVERSARY

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