TPi June 2015 - Issue 190

TOTAL PRODUCTION INTERNATIONAL

TOTAL PRODUCTION INTERNATIONAL

WWW.TPiMAGAZINE.COM JUNE 2015

ISSUE 190

LIVE EVENT DESIGN & TECHNOLOGY • JUNE 2015 • ISSUE 190

JAMES BAY STAYING INTERNATIONALLY GROUNDED: THE AWARD-WINNING MUSICIAN AND HIS CREW ON THE IMPORTANCE OF EGO-FREE TOURING IF I TOLD YOU ABOUT MY FAVOURITE DREAM...

RADIO ONE’S BIG WEEKEND • PSA • IN THE SPOTLIGHT: ELATION PROFESSIONAL TAKE THAT • ROCK LITITZ • TEENAGE CANCER TRUST • BJORK FROM FOH • ULTRA MUSIC FESTIVAL

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PRELUDE

PROTOUCH STAGEOPERATOR

8,4“ Colour Touchscreen

THE HUMAN ELEMENT It’s with great sadness that I must start this issue’s leader with a farewell to Max Lindsay-Johnson. The pro audio veteran passed away suddenly in May, and will be greatly missed by his countless friends and colleagues. Our thoughts are with his family and the Community Professional team.

As you’ll see from our cover story this month, British singer-song writer - and expert hat wearer - James Bay let us hop on board his recent UK tour in order to chat to his crew about life on the road. It’s a slightly unusual story for TPi, in that James himself sat down to talk about getting to grips with tour production. The show was so minimal that the story took on an altogether different angle. Sure, there’s some interesting tech in there and the show itself looked and sounded great at the gig we visited, but much more than that, it’s a story about people. About how they operate and why that method works for them. It’s something that I see at every level of touring of course, but it’s comforting to see such a genuine bond between crew and artist. If you’re working on a show of this ilk, then I’d love to hear from you. After all, the emerging talent in the industry won’t be working on stadium shows just yet...

So here I am (what can I say, people just have a habit of passing me cold beverages) with Tour Manger Ross Lewis, James Bay, and our lovely photographer Jade. Make sure you check out one of his gigs this summer to see the vibe in action.

In contrast, this issue also brings the insider tale of Take That’s Live 2015 tour, and we even manage to wangle exclusive access to BBC Radio “Sure, there was tech...

1’s Big Weekend. The festival style event played but it’s comforting to host to Foo Fighters and Taylor Swift. Read about see such a genuine bond the restructure of the team and the success they enjoyed this year on Pg. 60. between crew and artist...”

We also bring you a charming scene from Pennsylvania which uncovers the story behind the new purpose-built rehearsal studio servicing some very high profile productions. Last month’s cover star Usher was the first artist to enjoy the space, and it seems to be going from strength to strength.

Back in Britain, I’m sure some of you are aware that it was recently announced that I’ll be joining the judging panel for the 2015 Knight Of Illumination Awards in the ‘Concert Touring and Events’ category. This is something I’m really looking forward to getting involved with for a variety of reasons, not least because the skillset needed for touring lighting and visuals has never been so competitive. I’ll be out and about in the coming months seeing all kinds of productions, so make sure you drop the KOI team a line if you would like to submit an entry.

That’s about all for now, as we’re polishing our wellies and dusting off our straw hats for festival season. The first British festival of the summer for TPi sees our annual roadtrip to Worthy Farm. Amidst the production spectaculars and new kit we’ll be checking out, should you see Hannah and I at Glastonbury, please either pick us up off the floor or join us for a drink. We’re not fussy which comes first.

Kelly Murray Editor

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ITINERARY

CREW

a member of

Editor Kelly Murray Tel: +44 (0)161 476 8371 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk Editorial Intern Matthew Jones Tel: +44 (0)161 476 5580 e-mail: tpiintern@mondiale.co.uk International Advertising & Sponsorship Hannah Eakins Tel: +44 (0)161 476 8363 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Advertising Sales Charlotte Goodlass Tel: +44 (0)161 476 9126 Mobile: +44 (0)788 0208 226 e-mail: c.goodlass@mondiale.co.uk

CONTENTS 06/2015 OBITUARY 08 Remembering Max Lindsay Johnson

EVENT FOCUS 10 Rock Lititz Studios

TPi hears how the new purpose-built rehearsal facility in Pennsylvania will benefit the US.

14 Björk from FOH

Dave Bracey’s FOH mix utilises DiGiCo and Optocore for the Icelandic songstress.

18 Ultra Music Festival

A look at the lighting design on the prestigious live DJ extravaganza in Miami.

22 Teenage Cancer Trust

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

Accounts Donna Barlow / Sarah Miller: ar@mondiale.co.uk

30 James Bay

General Manager Justin Gawne

Entec Sound & Light and d&b audiotechnik celebrate the event’s 15 year landmark with audio clarity.

PRODUCTION PROFILE

TPi’s Kelly Murray talks to the rising young star and his crew about tour friendship and show development.

Mondiale Group Chairman Damian Walsh

42 Take That www.tpimagazine.com • www.tpiawards.com Cover Photography James Bay by Jade Dannielle Martin Contributors Louise Dickson, Rachel Pfennig Hales Printed by Buxton Press Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW).

Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK; Tel: +44 (0)161 476 5580; Fax: +44 (0)161 476 0456; e-mail: subscriptions@mondiale.co.uk Issue 190 / June 2015 TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2015 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork.

Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2015 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431.

US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

The now three piece return to UK arenas for another triumphant tour with The Production Office.

60 Radio 1’s Big Weekend

The broadcaster allows TPi backstage for an exclusive look at the BBC production.

IN THE SPOTLIGHT 70 Elation Professional’s Sniper 2R as explained by

Eric Loader.

CLOCKING OFF 72 Hoist UK’s General Manager, Louise

Dickson skydives for Jo’s Cervical Cancer Trust.

INTERVIEW 74 Ed Walker, Head of Events at Vevo UK &

International talks about coordinating performance space for The Great Escape festival.

MOVERS & SHAKERS 78 The latest industry appointments.

PSA 82 The first ever Live Event Technical and Production

Conference (LETPC) in South Africa is declared a great success.

VITAL STATS 86 Load Cell Rental’s Project Manager, Colin Luke,

takes the hot seat.

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OBITUARY: Max Lindsay-Johnson

REMEMBERING MAX LINDSAY-JOHNSON IT IS WITH GREAT SADNESS THAT COMMUNITY PROFESSIONAL LOUDSPEAKERS ANNOUNCES THE SUDDEN AND UNEXPECTED PASSING OF MAX LINDSAY-JOHNSON ON 21 MAY.

Steve Johnson, Community’s CEO said: “We are all deeply saddened by the loss of Max, who was one of the audio industry’s most respected members. He was a true professional and had a smile for everyone, with the warmth of personality that made him a good friend to those he worked with.”

Community’s founder, Bruce Howze, also shared, “Max was a special person and a joy to work with. He became a friend and I will miss him greatly.”

Max Lindsay-Johnson started his audio career by training as a sound engineer at the School of Sound Recording in Manchester, England. He moved to the sales side with A1 Music Centre, developing his career with Sound Technology, Arbiter and Harman. His progression to 08

international sales came with his move to Duran Audio in 2009 and in January 2014 he joined Community, where he was rapidly promoted to Director of International Sales. The international sales role was his ideal, as it combined his enjoyment of people, cultures and travel with his love of professional audio.

Community’s Julia Lee said: “Max was a valued member of our team and his contributions to Community have been significant and enduring. But, more importantly, as we got to know Max, we learned that he was a remarkable human being. Max made friends quickly and built lasting personal and professional relationships. He had a boundless sense of humor and made us laugh when we most needed it. He had a strong character

and he inspired us with the incredible passion he had for his work. I, along with everyone at Community and many others in our industry, will miss Max greatly, and our heartfelt condolences go out to his family.”

Well known as a family man, Max LindsayJohnson leaves two sons, Kit and Fin, daughter Niamh, and his partner Sharon MacKenzie behind. The ceremony for Max was held at the Bedford Crematorium on 10 June. His family has created a page at Just Giving where donations can be made to the Save the Children charity in his memory.

TPi www.justgiving.com/Niamh-MackenzieJohnson www.communitypro.com

EVENT FOCUS: Rock Lititz

CREATIVITY MEETS INNOVATION AT ROCK LITITZ THE PENNSYLVANIA REHEARSAL STUDIO SET TO TAKE THE US TO NEW LEVELS OF PRE-PRODUCTION OPERATION It has been said that creativity and innovation, though related, are not quite the same. “Creativity is thinking up new things, while innovation is the doing of new things.”

Others, however, believe that creativity and innovation are one and the same.

Environments that allow both to thrive will lead to the most exciting and challenging advancements within any field. To truly test this theory, the entertainment industry is welcoming Rock Lititz, a new, state-of-theart production campus.

Built on the concept that creativity, innovation, and perhaps a little competition, leads to new levels of efficiency, Rock Lititz looks to unite various aspects of the production industry. By developing an opportunity for leading industry minds to gather, the campus is designed to promote cutting-edge 10

advancements and unparalleled access to essential support entities needed for live-events.

From staging and audio, to lighting, video, softgoods, design and more, Rock Lititz is a creative collaboration dedicated to improving largescale, live events around the world.

Based in Lititz, Pennsylvania, US, at first glance, the rural town may seem like an unusual location for this bold new entertainment venture. However, what some may not know is that Lititz is already home to an inventive cluster of well over a dozen industry specific companies, each contributing to some of the most influential advancements in live entertainment production. Two such companies, Clair Global and Tait Towers, have been calling Lititz home for decades.

Brothers Roy and Gene Clair began experimenting with sound systems in a Lititz

garage back in the 1960s. As the touring industry advanced, Clair grew with it. By 2000, with Gene’s son Troy in the fold, what is now known as Clair Global became the largest sound reinforcement company in the world. Just up the road, Tait Towers built its name. Founded

by Michael Tait, the innovative company has been building touring systems for the top entertainment acts since 1978. Led by James ‘Winky’ Fairorth and Adam Davis, Tait serves as the global leader specialising in staging, scenic design, LED integration, show control and automated rigging. Together, in 2014, the two have formed Rock Lititz.

Aimed to create an unprecedented industry campus, Rock Lititz will provide access to a variety of essential production support entities for live entertainment that, over time, will include over one million square feet of

EVENT FOCUS: Rock Lititz

Opposite: The purpose built rehearsal space is the first of its kind in the US state. Below: The setting is an ideal location for neighbouring companies Tait Towers and Clair.

resource, hospitality, and manufacturing space.

Designed and engineered specifically for live event professionals, Rock Lititz is committed to offering an unmatched service and support to the live-event industry.

“We will offer a one-of-a-kind space to create, construct, assemble and test shows, with unparalleled access to important technology,” said General Manager Andrea Shirk. “We believe that a shared space bringing all these elements together, will help continue to push production to the next level at every stage.”

Phase one of the campus began with the opening of Rock Lititz Studio, a technical rehearsal facility in September of 2014. The concept for the 52,000 sq ft studio grew from a wide-spread industry need for a bigger and better building. Adam Davis, partner at both Tait Towers and Rock Lititz, explained, “Our team has learned first-hand what an ideal production facility should look like. There just wasn’t a venue tall enough or strong enough to fit the needs of the industry, so we built one.

This development is a game-changer for the industry.”

The studio focuses specifically on production rehearsal needs, with all the amenities required to assemble, program, test and rehearse the various elements of large-scale live events. With 30,000 sq ft of open space, plus an additional 22,000 sq ft of amenities, one million pounds of overhead capacity, and 80 ft to the grid, there is truly no other venue like it.

“This space will make productions more efficient,” offered Operations Manager Gary Ferencheck. Studio Manager Sarah Zeitler continued, “Our goal is to have these extremely complicated productions leave our studio and

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EVENT FOCUS: Rock Lititz

Below: The interiors are fitted out to a high standard of comfort.

say, ‘that was easy’.”

The studio has already welcomed several of the world’s leading tours to the facility, with back-to-back bookings since the start of 2015.

With the anchor tenant, Rock Lititz Studio, already collecting strong reviews, it is clear the live-event industry is rallying behind the campus

room for companies to join the campus as it grows. Pod #2 will rent anywhere from 1,000 sq ft to large HQ-sized office space in the large new campus building.

Troy Clair, President and CEO of Clair Global and partner at Rock Lititz, explained that: “Rock Lititz is built on the idea of community. Pushing

“Our team has learned first-hand what an ideal production facility should look like...” - Adam Davis, Tait Towers / Rock Lititz

concept. Eventually, the campus will also include a hotel, educational facility, and many shared spaces, in order to promote community.

Ready for the next phase, Pod #2 is expected to open at Rock Lititz in 2016. With 250,000 sq ft of office, design, manufacturing, warehouse, and storage space, the multi-tenant facility will be home to several other industry companies.

While many leading names have already committed to the move, there is still plenty of 12

one another, we will establish unprecedented access to the biggest and best the live-event industry has to offer. All are welcome as we try to achieve imaginative solutions and unmatched collaborations with every production.”

TPi Photos: Courtesy of Rock Lititz http://rocklititz.com www.taittowers.com http://clairglobal.com

EVENT FOCUS: Björk From FOH

WIGWAM’S OPTOCORE MADI ADOPTION SIMPLIFIES FOH SET UP FOR DAVE BRACEY AND BJÖRK FEW RENTAL COMPANIES HAVE BEEN AS PROGRESSIVE AS WIGWAM IN DEPLOYING OPTOCORE OPTICAL FIBRE INTERFACES OVER THE YEARS AND CONFIGURING DRIVE RACKS DESIGNED TO GIVE THEIR SOUND ENGINEERS A MUCH MORE ‘FUEL EFFICIENT’, ELEGANT AND SECURE RIDE. After initially devising the OptoRack data returns system, when Optocore announced the DiGiCo implementation last autumn Wigwam wasted no time in building the first multiplexed DiGiCo Fibre Ring systems, allowing a range of DiGiCo mixing consoles and Optocore devices to work seamlessly together.

And when the experienced Dave Bracey,

14

FOH engineer with one of Wigwam’s long term accounts, Björk, wanted a more compact, efficient and tourable FOH package, with no single point of failure in the signal flow for this summer’s festival shows in the US and Europe, he again turned to Wigwam.

Alex Hadjigeorgiou, Wigwam’s Digital Audio Specialist, could immediately see the solution and invested in Optocore’s expanding

MADI portfolio. By purchasing a DD2FR-FX MADI device he was able to propose a simple architectural change, with both Bracey’s and monitor engineer Manu Goodwin’s DiGiCo SD9’s fitted with Optocore cards and sharing the same SD Rack.

“We have added a dual redundant MADI I/O system into the DiGiCo-Optocore optical loop and maximised the power of the console

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EVENT FOCUS: Björk From FOH

First page and below: FOH Engineer Dave Bracey utilised the Optocore / DiGiCo implementation as supplied by rental house, Wigwam.

network,” said Hadjigeorgiou. “By adding an Optocore DD2FR-FX unit we have added the musician’s computer I/O as a separate node on the loop, which in turn has made the system more flexible and straightforward.

While their previous solution was working, this package allows these digital channels to input directly to the fibre loop that goes to both desks, as well as offering additional broadcast and record options.”

Taking up the story Bracey, whose association with Björk began on 2011’s Biophilia tour, said: “Wigwam are always proactive and Alex showed us the best way to achieve this, at the same time keeping the set-up as small and simple as possible.

We had 56 inputs already, and I was trying keeping the show within this; but Björk can be unpredictable and we may suddenly need to find additional channels.”

Bracey’s FOH set-up includes computers for incidental playback and FX and A/D conversion on the signal chain. He had been running Waves from the desk and using DiGiGrid MGB MADI to BNC interfaces enabling any coaxial MADI-enabled device to be plugged into Waves SoundGrid processing platform and record the shows. “But I needed less wiring, less gear and greater reliability

16

and Alex said the best way was to get into Optocore.”

And so Bracey has transferred to the DiGiGrid MGO optical MADI interface, enabling MADI to be run over fibre or BNC. Signals between the two MGO’s are switched to the DD2FR via Bracey’s DirectOut EXBOX. BLDS MADI redundacy switcher. “To be able to get into the Optocore ring via the DiGiGrid MGO, with just an additional 3U of rack space on stage, is perfect; the connection couldn’t be simpler,” he said.

In summary, Hadjigeorgiou said: “Putting MADI devices such as the DD2FR-FX onto the loop thus giving playback inputs and MADI broadcast feeds to a different location is definitely the way forward. We have already deployed this solution with some of our other accounts such as Peter Kay and One Direction.

“When I got the call from Dave, I knew this solution would tick the right boxes. Having already made his initial system design small, flexible and robust it was a pleasure to be able to add the finishing touch.”

TPi http://bjork.com www.sseaudiogroup.com/wigwam www.optocore.com www.digico.biz

EVENT FOCUS: Ultra Music Festival

ULTRA SUCCESS MORE THAN DJS SHINE AT ULTRA MUSIC FESTIVAL AS CHAUVET PROFESSIONAL AND ROBE AWE AUDIENCE If there’s any genre of music so crucially intertwined with the spectacle of its live production, it’s EDM, and there’s no better demonstration than this year’s 17th annual Ultra Music Festival in Miami.

Ultra has always managed to delight crowds with surprise appearances by international superstars, like Madonna, who dropped in on Avicii’s set in 2012, and Usher who popped up unexpectedly this year.

Like the performances themselves, the lighting rigs never fail to astonish festivalgoers with new and unanticipated forms of digital imagery and visual excitement.

This year’s rigs were no exception. The main stage production astounded fans with pyrotechnics, diverse and immense images from massive video walls, and what seemed like an endless array of strobes, blinders, spots, and moving heads, including 124 Legend 230SR Beams from Chauvet Professional. This arrangement represented the collective creative 18

efforts of Lighting Designer Steve Lieberman of SJ Lighting, Creative Designer Richard Milstein, Production Director Ray Steinman, and Lighting Director Patrick Dierson.

“The main stage is obviously the centerpiece of our show, so it’s important that we create a huge impact,” said Lieberman. “There was nothing shy about our design. We wanted to overwhelm the crowd and provide them with an unforgettable experience by not only showing them a lot of intense light, but combining effects in unique ways.”

Lieberman’s lighting design for the impressive (200-inch wide, 88-inch high, 77inch deep) main stage took the crowd along for a visual journey as the monolithic video walls and pixel-mapped effects offered up a vast range of textures, hues, and styles, from soft cotton candy and abrasive industrial, to ordered geometrical patterns. Through every aesthetic, the intense light from the 124 Legend 230SR Beams engaged the audience and emphatically

underscored the bold nature of the display.

“The brightness and intensity create a supernatural feeling,” said Lieberman. “Beams have become a staple of festival lighting because they never fail to deliver this effect. We had Legend 230 SR Beams on every single piece of truss in the rig, including on the giant Ultra Music Festival logo on the top of the stage.”

Of course, if there is one kind of surprise that’s not wanted at the outdoor Ultra Music Festival, it’s foul weather - okay, make that two kinds of surprises to a lighting team, including “unreliable lighting fixtures.” Lieberman had to contend with one of the two; it rained the first day of the festival, but as far as reliability goes, the Legend 230 SR Beams passed with flying colours.

“The Legends did everything we asked of them and more,” said Lieberman. “They ran great for the entire show, even with the rain. Without a doubt, they were a very good addition to this rig.”

EVENT FOCUS: Ultra Music Festival

Opposite: Robe fixtures were used throughout the festival. Below: 124 Chauvet Professional Legend 230SR Beams were utilised.

On the other side of the complex, Fort Lauderdale-based lighting and video rental company, Paradigm Lighting, once again delivered a remarkable production, lighting design and equipment rental for the live stage. Located at the 7500seat outdoor Klipsch Amphitheatre at Bayfront Park, the live stage was a major hotspot of the event, and hosted up to eight live artists a day for three days. This year included jaw-dropping sets from Krewella, Netsky, Kygo, Porter Robinson, Bassnectar, Royksopp, and Chromeo.

Paradigm’s owner and founder, Jorge Valdez, has been involved in lighting this stage at the US’s premier EDM extravaganza for the last 12 years.

He received a brief of what the

organizers wanted to see in terms of a visual concept - Paradigm also supplied video for the live stage - and then oversaw its technical realisation, which included the specification of 44 Robe Pointes and 36 MMX Spots.

The most important thing to keep in mind when designing this stage, explained Valdez, was having a base rig that was appropriate for all artists, which could easily be augmented and work with their personal requirements and floor packages coming in ‘underneath’.

Around 75% of artists this year had additional lighting and video riders, for which the equipment in several cases was also supplied by Paradigm.

The 44 Robe Pointes on the 19

EVENT FOCUS: Ultra Music Festival

Below: Steve Lieberman once again created a spectacular lighting show for the premier DJ event.

production rig were positioned on the overhead trusses - the amphitheatre featured a stage and roof system - on a series of 12 vertical truss towers dotted around the floor and on the stage deck itself. They were the main light featured on the rig. At some stages, with additional specials, there were up to 60 Pointes on the rig.

“Without doubt the Pointes were the most popular fixture on the rig and also the most often requested type of light as artists specials,” declared Valdez, adding that all the artist lighting designers enjoyed them, and that the versatility and power of the Pointes meant that even with eight performers per day, they still provided plenty of headroom for each act to have a completely different looking lightshow.

20

Valdez also utilised some MMX Spots on the rig for their elegance and style, and as the primary profile fixture for texturing and effects across the stage. “MMX is a nice, refined light and works extremely well in conjunction with the Pointe,” he commented.

12 MMX Spots were rigged on three diamond-shaped trusses suspended overhead, forming a key structural element of the design.

These and other lights were all programmed and run via an MA Lighting grandMA2 full-sized console, operated by Mike Smrka, with an additional desk used to control the pyrotechnics and special effects.

The live stage operated 24 hours a day for the duration of the festival, with the upcoming

night’s headliners programming their lighting and video through the previous night until dawn. Paradigm’s crew worked in two shifts to ensure that there were always fresh techs on hand to ensure the setup ran like clockwork.

Now, with Ultra having passed for the year, we can only imagine how the lighting teams might outdo themselves at the 18th annual Ultra Music Festival.

TPi Photos: Adam Kaplan www.ultramusicfestival.com www.paradigmlighting.com www.sjlighting.net www.robe.cz www.chauvetlighting.com

GAME CHANGER

BRIGHT MULTI FUNCTIONAL LIGHT

EVENT FOCUS: Teenage Cancer Trust

TEENAGE CANCER TRUST 2015 ENTEC AND D&B AUDIOTECHNIK TAME THE ROYAL ALBERT HALL’S NOTORIOUSLY TROUBLESOME ACOUSTICS FOR THE TEENAGE CANCER TRUST’S 15TH EVENT Long before the advent of the loudspeaker, music lovers have struggled with the sound in the Royal Albert Hall (RAH); the addition of sound diffusing flying saucers to the cupola in 1969 was welcomed, but realistically the RAH is a bit of a mongrel amongst the thoroughbred orchestral halls of the world.

For the purposes of sound reinforcement it’s been an even harder battle; no such science fiction solution existed and an already problematic acoustic environment only became worse when excited by high sound pressure levels. “That was until now,” said Liam Halpin, System Designer for Entec Sound and Light who have serviced the Teenage Cancer Trust (TCT) event since inception. This is the 15th anniversary year of the TCT concerts and Halpin has designed for six of them. He knows the RAH more intimately than many, and to the staff at the RAH his face is almost as familiar as Sir Malcolm Sergeant’s. So what has changed?

“On the face of it, two things,” said Entec’s Head of Sound Mark ‘Magic’ Ellis-Cope. “Entec 22

has now completed the construction of a solid, robust digital returns platform that will see us through the next 10 years and make us capable of servicing any show, even beyond stadium scale. And secondly, we have just implemented a new piece of software from d&b audiotechnik called ArrayProcessing (AP).

Part of the ArrayCalc system design package, AP is a tool that addresses most, if not all, the electroacoustic shortcomings of the RAH.” Ambitious then? “Liam said to me, ‘if you don’t push, you don’t progress.’”

The digital platform is something Entec and Halpin had been considering for seven years. “In fact when it came to it - and TCT is the first time we’ve used it on this scale - the assemblage of technology and software proved mountainous,” said Ellis-Cope. “So much so that I had little or no time for ArrayProcessing,” added Halpin.

“Fortunately, and typical of d&b, we didn’t need to worry. Put it this way, we loaded in on the day of the first show and were immediately confronted with significant rigging delays outside of our control. With no time to mess

around with tuning the system, I loaded the AP settings and time alignment from ArrayCalc into the amplifiers and handed the system over. The processing immediately gave us the cleanest sound I’ve ever had in the Albert Hall. But then I’ve found I’ve always been able to trust what comes out of d&b; if they say it does something, then that’s exactly what it does. It’s been like that since I first encountered their systems back in 1996.”

DIGITAL Continued Elis-Cope: “We looked at all the different formats over time. In those early days there were so many: Dante, CobraNet, MADI; Liam sat back and watched and after a time it became apparent that Dante was the most likely candidate for Entec because it’s not just point to point. History carried that conviction; Dante now has something like 180 licenses.

It has won the networked audio format wars in our opinion. The other factor is there is no need for dedicated hardware; everything you need for Dante is readily available anywhere

EVENT FOCUS: Teenage Cancer Trust

Opposite: One of the FOH consoles used this year at Teenage Cancer Trust 2015, DiGiCo SD7.

Below: Johnny Marr performing on the 5th day of the event.

in the world.” Entec decided to go down the Cisco route in terms of hardware: “No one can say Entec have cut corners on their commitment to that quality technology ethos.” “On that score,” commented Halpin, “and in exploring some of the more high level protocols we’ve adopted, I cannot say enough about the support from Kieran Walsh at Audinate. We’ve gone for what is, in networking terms, a complex internal arrangement, with the aim to make it externally simple on a day-to-day operational basis. Without revealing the core structure, the target is related to redundancy and simplicity of operation: you can plug in anything anywhere.”

PROCESSING “With regard to the d&b component, I cut my teeth here at the RAH with the C4 point source system,” said Halpin. “Since then I’ve followed every upgrade, even designing systems for this place built around the d&b Q-Series.

Not everyone’s first choice for a room this size, but for Jamie Cullum absolutely perfect in its day, and we have used Q at TCT as fill for a number of years. Since somewhere around 07/08 we’ve been putting in J-Series systems for TCT and most other RAH shows.

That said, I do revisit my designs for RAH every time I come, not just for TCT shows. And year on year I make changes, not drastic ones, but things can always evolve.

Even simple things like cable management, that allows easy raising and lowering of systems, yet keeps cables tidy. Don’t forget this is not a simple left/right

mains venue; the RAH demands a distributed system approach.

For the fifteenth anniversary I have J-Series left/right for mains, V-Series to the sides, and a small line array of Y-Series for back firing 270 degrees.

“I have redrawn the building to a minimum 20cm accuracy for the purposes of implementing AP, and the benefit within the ArrayCalc model is reflected in the result this year. I have also built in various system design options for different performance types; three alternative side hangs, two mains deployments, and three options for backfills onto the choir. I’ve looked at every d&b loudspeaker in the catalogue, even T-Series, to ensure the best selection of system for the job.”

“The biggest issue is common to all line arrays to some degree: it’s the low/mid rumble. You already have that coming from the equipment on stage; ArrayProcessing can’t help you there, but the characteristic low/ mid lobe’ing you get in the first 20 metres of throw is now gone thanks to AP and that helps a lot.

Overall we have better consistency of level and frequency over distance around the entire room.”

Steve Jones, d&b Education and Application Support also attested to this, “Listening to Van Morrison live at TCT I thought, ‘it feels like the PA is not fighting the room,’ and it’s a room I know well. Even up in the gallery, back near the amp room behind the PA, with no loudspeakers pointing at you, the sound from the room was lovely.

To me ArrayProcessing improves the relationship between the system and the room.”

23

EVENT FOCUS: Teenage Cancer Trust

Below: Liam Halpin, Entec System Designer; The d&b audiotechnik J and V-Series system hangs above Johnny Marr’s performance.

“Classic issues with line arrays involve the low / mids over distance which are dictated by the geometry of the array,” Halpin said. “You can’t beat physics. Typically it’s nice and warm sounding at the front but generally once you get behind the mix position, it starts to get a little muddy. Further out the HF naturally thins out. Here’s the thing: as a by-product of using AP you now have the basic rules of line array and horizontal pattern control extended down to somewhere between 200-300Hz. One of the other advantages here is we now don’t get low/mids welling up into the roof space, as The Who’s sound engineer, Rob Collins, noted.

Ultimately, you can avoid most reflections from up there, and now what is reflected is a lot cleaner so it’s less of an issue.

“The workflow with AP is also very quick. I was invited by Entec to a so-called pow-wow in Stuttgart; a d&b preview event where I learned about AP for the first time. As soon as I heard the theoretical basis of the idea, that

24

explanation was enough for me. I trust d&b that much. It was also nice to see the enthusiasm from them when I told them Entec wanted to use it here at the RAH. They know the venue of course, and know its difficulties, but they still said, ‘of course you must do it.’”

Kevin Smith, Entec Crew Chief said: “This is my fifth TCT. I do some FOH engineering: The View, Enter Shikari, but these days I crew chief for Entec and also do a lot of system tech work; it keeps the income steady, but I still like to do the odd FOH and monitor gig. For the last few years of TCT, with Liam as system designer, the design of the hangs in terms of location and length has stayed pretty similar. What’s new this year is the Y-Series line array replacing the C4’s we used to use for the 270 degree coverage to the back sides. Apart from J and V-Series for the main system, we have E8’s for frontfill with a Y10 sat on a Y-SUB to the side of stage. There are six flown J-SUBs on centre and four B2-SUBs under the stage, just to pull down the low end a

bit. We do have to be careful with the low end as you can excite the organ pipes at the rear, so most energy comes from the cardioid J-SUBs. There is also Q-Series hung for the rear choir stalls.”

Dave Roden - FOH engineer for The Stereophonics - took over the system in the early afternoon on the day of the first show. Did AP make a difference? “We didn’t even have the time to think about it then,” commented Smith, “but as soon as I got the chance to walk around the building what I noticed immediately was the consistency, it was so much more even in the stalls. The other thing is vocal clarity, which can be hard in here, but it was excellent.

The difference with AP is certainly discernible for speech; we used to think it was good in previous years, but the comedy night the other evening was when I noticed how it (the vocals) jumps out at you even more, especially up in the Gods.”

“Watching Liam implement AP on the system

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29/05/2015 13:33

EVENT FOCUS: Teenage Cancer Trust

Below: Paul Weller performed during the Teenage Cancer Trust’s 15th event.

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26

I thought it very straightforward, but then that’s part and parcel of what d&b do. Over these first few days of TCT Liam has tried subtly different settings to the point where I think he now has filled all nine personalised preset options you can create within AP. It’s been interesting to see how visiting engineers react. Of course they all want to hear it, and all ask to A/B a preset against a bypass of AP. All have opted for AP. “As a user and system tech myself I don’t see the requirement for 20cm accuracy on the ArrayCalc model as a problem; most CAD drawings we get are at least that accurate, and laser measurers even more so. This room might be a bit complicated, but you could shoot an arena easily. As for Entec’s digital returns system, this gives us the option to patch anywhere; we hardly have to think about it. What I like is that you can use local power wherever you place a RedNet rack in the system, so for big arenas, stadiums and open fields with lots of delays it’s easy, just Cat5 local power and you’re done.”

Entec’s Head of Sound, Dick Hayes, undertook the 15th TCT as his final project before retiring.

He oversaw the night, and said: “I went to TCT on the night The Who played and had a good walk around. Although you can’t really intrude on people in the boxes you can still poke your head out into that listening area between the boxes at each level and what I heard was a heck of a lot smoother on the tonal side. Does it benefit the punter? I certainly think so in a room like the RAH, which is devilishly difficult to cover.

“When we put a d&b C4 system in the RAH for the first TCT you’d think after the first day, ‘let’s address that audience area by changing this next time we come in’. But what you learn is that as you make it better in one place, then you shift that compromise around the room. The advent of J-Series made life much sweeter, even more so when the V-Series became available. But now, fifteen years later, in terms of improving sound across all areas without pushing the problem somewhere else, I think Liam and ArrayProcessing has got it pretty damn close. I raise a glass to them!”

George Breaker is Entec’s FOH babysitter: “It’s one of my normal roles, the other is system tech, usually for Meyer Sound and sometimes Martin Audio systems. I do a lot of comedy tours as house engineer and took that role for the TCT Comedy Night this year.

I rather fell into comedy from working in the George Glossop school of mixing. This is my first TCT, though of course I know the venue well enough. As for the benefits of AP, I didn’t notice it at first, but when I came to operate on Comedy Night I found there was loads of gain before feedback, and then when I came to listen to some A/B comparisons there was a marked difference in the vocal range. That’s what you look for in comedy, if the PA feels distant then the intimacy of the event gets lost. It’s a distance perception and AP brings the voice to you without loads of extra loudspeakers.

For me this is all part of the advances that many loudspeaker manufacturers are making, giving us products we can predict.”

FOH SOUND The supplied consoles this year were a Midas PRO1 for the comperes and a choice of DiGiCo SD7 or Midas H3000 to suit the artists / visiting engineer specifications, bot at FOH. Some productions also brought in their complete touring control systems.

Onstage, a Midas PRO2c was specified for its small, neat footprint, as well as the convenience of being able to fit in around some substantial incoming guest set-ups for monitors.

The Entec ‘house’ monitor system was a standard RAH designed set-up with d&b C7 side fills, Shure PSM 1000 IEMs, and Shure UHF-R series radio microphones. All the radio channels and frequencies were co-ordinated using Shure’s Wireless Workbench software.

In conjunction with FX Rentals, Entec supplied a record system based around a 96-channel D-Show Venue console which was running MADI to two ProTools set ups. This year they chose the MADI system in line with some of the incoming artists.

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07/04/2015 09:20

EVENT FOCUS: Mayweather vs. Pacquiao

SAPPHIRE TOUCH DELIVERS A TECHNICAL KNOCKOUT FOR BIG MAYWEATHER-PACQUIAO FIGHT AVOLITES’ FLAGSHIP DESK GOES ROUND-FOR-ROUND AT MGM GRAND FOR ‘THE FIGHT OF THE CENTURY’ Lighting a major prizefight requires a skill set and technology that can go well beyond the typical rock and roll show.

So, needless to say, a fight like the recent Floyd Mayweather, Jr. vs. Manny Pacquiao match - billed as the fight of the century and bringing in a staggering US $410m in pay-per-view TV revenue alone - might send many seasoned LDs running for the corner.

But when the eyes of the entire sporting world were on Las Vegas’ MGM Grand on May 2, lighting director Jason Eible was ready for the challenge and brought the contest to life on a new Avolites Sapphire Touch console purchased specifically with this huge event in mind.

Eible is no stranger to this kind of pressure and attention. As the LD for Frank Gatto and Associates out of Boca Raton, Florida, he has spent his entire career - which spans two decades - lighting boxing and UFC events. “I have been using Avolites as long as I have been doing lighting,” Eible says. He points specifically to the playback feature of the Titan software that runs on Avolites consoles as something that he leans on heavily.

“A boxing match is not just a single event,” he notes. “There are other events surrounding it, including the weigh-in, which will be televised, and sometimes concerts or special events that 28

are not. So the ability to pre-program multiple events and then just use playback to move each show onto the faders as I need it is a big thing for these kinds of events.”

It’s is also a way for Eible to build the show.

“If I am building a cue and I like what I’m doing, but maybe I am getting a little carried away, I’ll record what I’m doing and throw it onto the playback page where I can use it as a reference.

That’s a great feature.”

Additionally, the new Key Frame Shapes feature, which allows Eible to create his own shapes from scratch, was a big help in building this show seen around the globe.

With all of the press about the actual event in the MGM Grand Garden, it can be easy to forget that, as important as the experience is for the VIPs and those lucky enough to get one of the few tickets that went on sale to the public, there were literally millions of people around the world watching the event live via pay-per-view.

“One thing Frank Gatto and Associates excels at - and the Avolites products help with tremendously - is being able to light the room and audience in such a way that on television we present the big experience,” said Eible.

“Unlike a concert, we are not just catering to the audience in the room, we are creating looks for every camera that is part of the broadcast. And that is not a simple thing. We

have to balance the need for a certain look on television, but not light the crowd in ways that are abusive. When you are at a huge prizefight, you don’t want some big light shining in your face all night. We have gone to great lengths to be able to show the packed house of spectators on TV without ruining the experience for anyone actually attending.

“My mentor, George Smith, had a long history in the boxing world and I learned the right way to approach an event like this. This was a pinnacle event for boxing, so, with that in mind, we certainly didn’t want to go over the top with a lot of gimmicks. We didn’t want it to look like a circus act. We wanted to maintain the integrity of the sport and still give a sense of scale and convey the energy of the crowd.”

“The Avolites Sapphire is a big part of pulling that off. Everything about the console is perfect for live television. From the playback page to the Quicksketch feature. Moving fixtures around is super easy. Avolites evolves with the times, but I also know that when they add a new feature, they have taken the time to get it right. I just can’t see myself doing an event like this with anything else.”

TPi Photo: Jim Matthews www.frankgattolighting.com www.avolites.com

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PRODUCTION PROFILE: James Bay

JAMES BAY:

NO HOLDING BACK “The greatest ideas are born out of being bold enough to think big and say something crazy, and you can do that most comfortably when you’re amongst your friends... ”

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PRODUCTION PROFILE: James Bay

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PRODUCTION PROFILE: James Bay

Below: James Bay performed at Manchester’s Albert Hall as part of his recent UK headline tour.

BRITISH SINGER-SONGWRITER JAMES BAY HAS HAD QUITE THE YEAR; IN DECEMBER 2014 HE WAS ANNOUNCED AS THE WINNER OF THE BRIT AWARDS’ CRITICS’ CHOICE, HIS DEBUT ALBUM CHAOS AND THE CALM WENT STRAIGHT TO NO.1 IN THE UK CHARTS FOLLOWING THE UNPRECEDENTED SUCCESS OF BREAKTHROUGH SINGLE HOLD BACK THE RIVER, AND HE EVEN FOUND TIME TO MAKE FRIENDS WITH TAYLOR SWIFT. SO HOW DOES THIS POTENTIAL TABLOID FIELD DAY SCENARIO STAY GROUNDED IN ORDER TO LET THE LIVE SHOW TAKE CENTRE STAGE? TURNS OUT, QUITE EASILY THANKS TO A LITTLE HELP FROM HIS FRIENDS, AS TPi’S KELLY MURRAY DISCOVERS...

Upon arrival at Manchester’s Albert Hall, part way through James Bay’s first UK headline tour, a few things enter my head.

For example, will there be hoards of teenage girls swarming the building? (Yes.) Will he be travelling with some kind of hat tailor?

(No.) Given the size of the venue, and the mainstream media interest surrounding him, will this be the kind of gig at which management heads are ushering us in and out as quickly as possible so that we don’t get ‘too close’, as record label PRs check diaries and order black coffee because the venue bars aren’t open yet. (Absolutely, categorically not). Phew!

We arrive during sound check, which upon first glance could quite frankly be your next door neighbour’s band who all just happen to be ridiculously talented. It’s here that we’re met by Liam Tully, Bay’s 23-year-old Lighting Designer.

32

A softly spoken and completely unassuming Geordie, Tully is the sort of character who brings a little bit of comfort to the notion that there’s arguably a real generation gap forming in the live production industry. When we meet, this is only his sixth live show with Bay, having done months of TV promotion lighting in preparation for the singer’s album launch. Yet there’s an air of genuine relaxation about Tully - who is just delighted that we’ve come to ask about his lights.

Before we even sit down to talk to Tully about his show design though, it would appear that Bay himself is also happy to talk about his show. There’s not a label bod in sight. In the space of just a few months, he has become one of the most played male solo artists on daytime radio, adorned TV shows across the globe, received the prestigious Critics’ Choice BRIT Award, and has also found some rather high

profile fans in his peers. Namely, Ms Swift, who has asked the 24-year-old from Hertfordshire to accompany her on her own UK dates later this June. No wonder he hasn’t had time to hang the head gear up.

STRAIGHT UP ROCK ‘N’ ROLL In a backstage office, Tour Manager Ross Lewis is sat with Bay and Tully, the three of them talking at ease about the importance of scented candles on tour. “The only disappointment so far is that this still remains an all male crew,” said Lewis. “I always think that everything’s better when women are involved in tours. It’s 50% of the population, but still only a tiny part of live music…” True to their humour, a vanillascented candle is flickering by Lewis’ laptop and it’s instantly obvious that the tour dynamic is one born out of honest friendship leading to an almost no-frills approach to gaining recognition.

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PRODUCTION PROFILE: James Bay

Below: No egos allowed - the tour where everyone is a VIP; LD Liam Tully utilised Robe Pointes, Martin Professional MAC auras, and Clay Paky B-Eyes in his design.

A sentiment shared by Bay: “I write slow songs and I write ballads, as l think there’s still a place for that in rock ‘n’ roll shows. It’s raw; there’s no synthetic backing track, no gimmicks…

My show is pretty naked, musically speaking,” explained Bay of his production needs. “But I already have a million ideas for when the production gets bigger, because I’ve always loved the ‘show’ in live music. I can’t wait to start mapping it all out on stage.”

Bay and Tully work in unison to create the looks of the show, based on Bay’s thoughts and Tully’s passion and ideas for indie lighting design. “What I feel is only half of it; it’s about what the crowd is seeing too,” Bay added. “It’s about making a lasting impression the first time.

The further into touring production we get, the bigger the venues will get which is a really exciting prospect for me. I’ll be getting much more involved with the creation of the show itself then,” he said.

What’s interesting about this tour is that Lewis has assembled what is essentially a group of friends - first his, and now Bay’s - to make up the touring technical team (completed

by FOH Engineer Rob Sadler and Monitor Engineer Marc Graham), an arrangement the singer is more than happy with: “There is no 34

better way for it to work. The greatest ideas are born out of being bold enough to think big and say something crazy, and you can do that most comfortably when you’re amongst your friends. It’s the only way to do it in my opinion. I recognise that as an artist, this is how I work best. I could go scouting for the best in the world at this or that, but from the band members to the crew, if we’re all the best in the world for five minutes, or never, it doesn’t really matter because the fun thing is standing there with your mates, and really loving it.” This family ethos stretches right the way through to every part of the tour. Of his two backline techs, Chris McCourtie and Art Smith, the latter is Bay’s girlfriend’s brother.

HANDLING BUSINESS Although it may seem as if Bay has been an overnight success, a lot of DIY groundwork has been covered. “In the very beginning, it was just me and James,” explained Lewis. “We sat down and I said ‘Look, we need to do this, this and this but sometimes the music industry works with loads of people spending your cash for no reason, other than that’s the way that they want to do things. I’ve got a car that works, so we’ll use that and I’ll charge you £90 for a service

after we’ve driven around the UK for your gigs.’

I think he liked the honesty of it, and that’s exactly what we did.”

This tour was set to a strict budget from the outset; regardless of how popular Bay’s music has become now, sticking within the budget is for Lewis just a small part of a tour’s necessary success. “Touring is the best industry in the entire world - why do people want to turn it into boring accountancy with no personality?

It should always be about what works for you and your team. I can’t tell you how many times I’ve read a replicated rider. The rider is meant to be about you, not about wanting gold plated M&Ms and the like, but about how your environment needs to work. The first bit of our rider says that we operate within an ego-free zone. Everyone is here because they like being here and they like having fun.”

Other than Monitor Engineer Graham (who is also an experienced PM), it’s a fairly young crew, in their early 20s. “The hope was that they wouldn’t come with a lot of predetermined ideas about what they need in order to work. I like having young people in the crew because they don’t ask for much and they always try really, really hard. They’re dedicated and that’s what I need on the road,” confirmed Lewis.

PRODUCTION PROFILE: James Bay

Below: Bay uses an Audio-Technica AE3300 cardioid condenser microphone for vocal duties.

“When you travel around the world, you’re living in each other’s pockets so you naturally become very close. Since day one, James has said ‘I don’t want the separation between artist and crew’. There is no need for that division, but a lot of people choose to work like that. At the BRITs for example, there were two dressing rooms: one said ‘James Bay’ and the other said ‘James Bay Crew’.

What’s that about? We’re all past the class bullshit of ‘the megastar and the help’; this is everybody’s tour. Every person on this tour is very good at what they do, whether that’s leading the show, being a musician, or being the lighting designer, they’re part of the same team. If you take any one of those components out, it’s not the same anymore.”

Lewis talks with a wealth of experience in the most captivating way. He’s toured for years and has stories that would have you putting the kettle on five times

per hour (if he wasn’t forever checking that you had a cold drink from the band’s rider, that is.)

He’s also refreshingly honest. He took a break from touring a few years ago, to teach at a college in Newcastle. This is where he met Tully and Sadler. “When you’ve got a class full of kids who aren’t really interested, it’s pretty obvious to notice the ones who care. I actually used to do James’ sound when we first started, but Rob is far better at it than me!

“The only awkward experience I’ve ever had touring with James was when it was suggested that we try out a new sound engineer, quite early on. We did, but this guy did a massively aggressive, high attack mix on his music - completely inappropriate for what he’s about. That was the only night where James said to his management ‘let me pick and choose with Ross who I want to work with,’ and he has ever since,” smiled Lewis.

35

PRODUCTION PROFILE: James Bay

Below: The lighting design took inspiration from old TV studio lights; Bay says he’s really started to feel a response from touring; Tour Manager Ross Lewis (note the importance of the candle).

SHOW DESIGN Post college, Tully threw himself into touring life, and despite his age, has already worked on some impressive productions. “I was a lighting tech for The Killers for two years, and we headlined festivals like T In The Park and V. I’ve also designed for people like Vance Joy [another of Taylor Swift’s preferred support acts] and The Boxer Rebellion. Ross booked me for this tour just before James won his BRIT Award, but it was already budgeted, so I had to make my lighting selections based on what would fit in the trailer. Given the amount of room we have, we really shouldn’t be carrying lights at all!”

In effect, Tully has had to base his choices on what fixtures he felt had the maximum impact for their size. “I had a very retro idea for this show, but with some of the latest technology thrown in, just to give it a bit of power at times.

There’s nothing fast in there, I’ve really limited how many strobes I use,” he explained. “My original idea was around Sky pans - really big, old TV studio lights essentially - just to give a bit of punch to the audience.”

The majority of the tour’s equipment is from Newcastle-based rental company, Nitelites. “I wanted to replicate the retro TV studio effects with some new LED on the bottom. I’d used something similar for Vance Joy so I knew they 36

worked really well, but I wanted to have four layers of light with James: from the side, from above, from the back and from the floor up. I drew a number of ideas in Capture, which I use to pre-visualise my designs, and presented my first idea to James. The second I did, he loved it.

“James and I talk quite a bit about where we want his show to go. Really casually, like it will be 1am and I’ll get an email from him saying ‘I just watched this clip on YouTube, can you take a look at this idea’, and that’s how we work. It’s such a massive step up from what he was doing just three months ago. This time last year he was playing 100-capacity rooms and in September he’ll be playing to thousands for his headline shows. He tweeted me the other week about an idea, and I woke up to 600 notifications off his fans like ‘who is this guy’!

It’s unbelievable. The show is looking great though, so his management trust me to get on with it.”

The moving light package from Nitelites comprises six Robe Pointes, four Clay Paky A.Leda B Eye K20’s and two Martin Professional MAC Auras. Generic lighting is four Arri 2K Sky Pans and two PAR Can 64’s. Avolites ART 2000 handles dimmers and distribution. “I’ve got the Pointes placed on the floor, because they’re really bright and multifunctional. I decided to place them low down because they can be

a spot or a wash; they’re bright but wide,” continued Tully. “I then use the MAC Auras on the side of the stage as a side-wash, and the B-Eyes are really fun to play with; it made sense to bring them on tour and get a lot of different looks without taking up lots of space.”

For control, the LD is carrying a personal PC version of an MA Lighting grandMA desk.

He said: “I decided to move on to MA Lighting after I toured with The Killers. I played around with the console quite a bit and got to know it really well but on tours like this, where we don’t have the budget to spend hundreds of pounds a week on a console, the natural progression was to get my own PC version. I’ve got the same tools that a 180kg console has in a 28kg box, so it can do exactly the same as a full size desk but it can come with me on a plane if I need it to.”

ALBUM QUALITY LIVE SOUND Over at FOH, engineer Rob Sadler told TPi: “Ross said to me ‘James is going to get bigger, there’s no doubt about it, and I want the hardest working crew I know with me on this’, and that was that, we were in.” Graham echoed the tale: “You know what you’re getting if you come on tour with Ross. He’s a grafter, we’re grafters; we keep our heads down and get stuck in until it’s done.”

As far as Bay’s live sound goes, there was

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PRODUCTION PROFILE: James Bay

Below: A chat amongst friends. L-R: Lighting Designer, Liam Tully; Monitor Engineer, Marc Graham; James Bay; FOH Engineer, Rob Sadler.

a very simple instruction from the outset. “No extras, no delay at all, just reverb - and then there’s only two on the whole mix. It’s just a straightforward performance like The Rolling Stones. Pick up your guitar and play,” continued Sadler. “James has got an amazing voice, and the band members are all really good players too. We’re using some great microphones, so it sounds as good live as the album does.”

“Strangely for an act of this size, we’re carrying a full line system,” added Graham.

“From microphones to consoles - the only thing

every venue. Sadler added: “This is the first time touring consoles for me and I’m finding that it’s all about consistency. Our DiGiCo set up has really helped us to get familiar with the mix and just tweak where necessary at each venue.”

The entire band and Bay are using in-ears, as it was a conscious effort by Graham to discard the need for wedges. “We looked at doing that to keep the lead from the stage as low as possible. The band aren’t particularly loud players, and it gives Rob a fighting chance to be able to pick out the full character of the voices

“We’re all past the class bullshit of ‘the megastar and the help’; this is everybody’s tour…” Ross Lewis, Tour Manager.

we need from the venue is power and a PA.” At Manchester’s Albert Hall, the in-house PA is a d&b audiotechnik J-Series.

The engineers are both using DiGiCo desks, Sadler operates on an SD9 at FOH and Graham utilises an SD11i, with 38 channels and 12 mixes.

“We’re running the DiGiCo Little Red Box that splits between my SD11i and Rob’s SD9 at FOH, which means we’re sharing pre-amps, but we’re using the digital trim to control the gains in each console,” said Graham.

Every show is being multi-tracked, so the sound department can virtually sound check at 38

and the guitars, without having swathes of monitors everywhere,” he said.

To accomplish the self-contained noise on-stage, Graham has opted for Ultimate Ears UE18’s with Sennheiser G3 IEMs. “We’re mixing a very quiet stage volume for a rock ‘n’ roll band, but they’re all really controlled when it comes to backline levels. So it’s a really pleasant gig to mix,” said Sadler.

As for the microphones of choice, this was another new experience for the young engineer.

“I’d never used Audio-Technica before this tour, but it truly brings the vocals to life; I can run

them pretty much flat and still get everything I need out of them; they’re great on big festival stages and in small venues.” For vocals, Bay uses an Audio-Technica AE3300 cardioid condenser microphone, and various ATM450 cardioid condenser instrument microphones are used for MIs. “The beauty of the AE3300 is that when we do a broadcast performance, because it’s a large diaphragm condenser in a hand-held unit, it’s almost studio quality,” Graham enthused.

“The ATM450 is a beautiful, flat microphone. It’s the best microphone on the stage for me - you just turn it up and everything is right there. In fact, Audio-Technica was the only microphone we tested out that carried and caught all of the nuances of James’ vocal dynamic - from when he’s almost whispering, through to a full-on vocal - it captures every part.”

In addition to the minimal tour production, Van for Bands provided a 16-berth double decker sleeper coach, which pulled the carefullypacked trailer.

IF YOU COULD SELL A VIBE “I’m really starting to feel a huge reaction from touring. This feels like the very first tour where I’m not going out on stage to try my hardest to win people over,” said Bay. “The album is out now, and everybody gets it, it’s plain and simple and I have fans that support me. Having enough fans to sell out all of the gigs on my tour is such a wicked feeling.”

And what of the next step? Casually being

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PRODUCTION PROFILE: James Bay

Below: The look of the show’s visual appeal saw a nod toward retro with a hint of new technology thrown in for good measure; Bay’s debut album went straight to No.1; LD Liam Tully operated the show on a PC version of an MA Lighting grandMA; FOH Engineer Rob Sadler on a DiGiCo SD9 console.

asked by one of the biggest pop stars in the world right now to open for her, must provoke some kind of internal panic, no? “As a person Taylor is lovely and being her support is going to be very exciting - it’s such an enormous platform isn’t it? It will be a huge contrast for me, production-wise. When I was invited to support her, the reason I said yes to a few of the shows is that given my goals - which is partly to play to more people - it will be a great chance to perform in a bigger space and get an idea of what it feels like. I want to really think creatively about my own production going forward, and I can’t wait to experience it with the team.”

During the show, the sound is impeccable; it’s exactly as described beforehand - no gimmicks. Just a band of brothers, on and off stage. From the shimmering blues and warm red tones of Tully’s well-crafted lighting arrangement to the full throttle roar from behind Bay’s favourite wooden guitar, it’s easy to understand why this tour remains as grounded and simplistic as any good friendship should. Bay chats happily throughout the gig as if he’s in a local pub. His stage presence radiates the kind of intimacy with his fans that will hopefully never get lost - regardless of the global platforms on the horizon.

And of course, there’s Lewis, taking on the 40

role of head honcho in the most encouraging manner. Half way through the show, a 14-yearold fan fainted, and as she got lifted out of the crowd, along with her best friend for support, Lewis himself made sure they were OK. Turns out they’d waited outside the venue all day and in the excitement, forgot to drink any water.

What makes the difference with this tour’s ethos is that Lewis then introduces James to his young giggling fans just to ensure they actually enjoyed the night they’d spent their pocket money on.

He goes on to praise the friend who looked after the fainter instead of choosing to watch the rest of Bay’s show. “He’ll be back, so you’ll get to see him again, but don’t ever stop being a good friend like that. That was brillaint,” Lewis enthused. He must still have a pack of gold stars lying around from his tutoring days... Then again, that human element has been ingrained in the way he works from the outset. “After the very first meeting I had with James, I thought to myself he’s such a genuinely nice bloke that if this guy ends up being a total prick, it’s going to be all of us at fault, not him. And he hasn’t changed one bit. He’s one of the nicest human beings you’ll ever meet, and all he wants to do is play music. He’s got loads of time for people because he is genuinely a real people person,

and that’s part of what keeps me going when things get crazy, making sure that he doesn’t become one of the anonymous shuffled onto a bus,” said Lewis. “You can’t sell vibe but if you could, we’d be making a fortune - and we’d put TPi in charge of distribution!”

As the fans leave with shrieks of Facebook posting fever, Bay queitly asked, “What did you think of the show, was it OK?” Not for any other reason than he actually cares that you’ve had a nice time.

So there you have it. An inside look into the normality of touring with one of the most championed British singers of the year. We were welcomed, asked who sells the best local kebab, and invited back the next time they visit.

International stardom may be beckoning, but I don’t think Bay is going to start customising Swarovski crystals onto that trademark hat just yet; I get the feeling those scented candles are all the glamour this tour needs for now.

TPi Photos: Jade Dannielle Martin www.jamesbay.com http://immediateaudio.co.uk www.nitelites.co.uk www.audio-technica.com www.vansforbands.co.uk

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PRODUCTION PROFILE: Take That

TAKE THAT LIVE 2015 TAKE THAT MAY ONLY HAVE THREE MEMBERS LEFT, BUT IT HASN’T STOPPED THEM FROM HITTING THE ROAD WITH ONE OF THEIR MOST IMPRESSIVE PRODUCTIONS YET. TAKE THAT’S LIVE 2015 IS FREQUENTLY REFERRED TO AS AN ‘ARENA TOUR WITH A STADIUM- SIZED PRODUCTION’. WE CAUGHT UP WITH THE CREW AT BIRMINGHAM’S GENTING ARENA. “Hello Birmingham, and welcome to the show. We’re... what’s left of Take That.” Gary Barlow, Mark Owen, and Howard Donald open the show with a wry comment, immediately addressing the elephant in the room. But once it’s said, that’s the last time you think about the diminished line-up as you’re taken on a spectacular theatrical journey from pyrotechnic covered suns to underwater worlds.

Production Manager Chris Vaughan was fundamental in making this epic tour a reality.

With 32 trucks on the road, it certainly lives up to the ‘arena tour, stadium production’ mantra you can hear echoed across every department.

Like most of the team, Vaughan is a Take That stalwart, having been with the band since the Party Tour in 1992.

“The aim from the outset was to make 42

sure that this year’s show was just as exciting as previous years,” explained Vaughan. “Take That are known for their impressive production - think of the OM Robot from the Progress Tour.”

TPi Award winner Misty Buckley is the Set Designer, under the leadership of Kim Gavin as Show Director. Vaughan and Gavin have worked together extensively in the past, including previous Take That tours and the London 2012 Olympic Closing Ceremony.

Vaughan continued. “He’s always great to work with and really pushes the boundaries creatively, which makes the production challenging, but a lot of fun.

“Take That are very involved from the outset; we have fortnightly development meetings with the band and all parties to make sure that we’re all on track. This show has a definite feel of the Circus tour but creatively

PRODUCTION PROFILE: Take That

Opposite: And then there were three; Take That embarked on their ninth live tour in May. Below: Drapes were supplied by Blackout.

there is a whole load of different references, including a touch of film noire.

“It’s very theatrical and performance based. We wanted to offer something more to the fans, bringing in different art forms that the audience wouldn’t have seen or experienced before, such as the shadow puppetry scene change. It’s a crafted, well-thought-out performance.

It’s a show for grown-ups.”

The stats say it all; 30 performers (Take That, 20 dancers and a seven-piece band) 79 crew members plus additional for load in and out and 16 carpenters.

The list goes on, and in total there are nearly 180 people on the road. Add 32 trucks and seven buses and you’ve got one of the biggest arena tours in history.

There’s a definite family feel backstage, but mixed among the familiar faces of past Take That tours are new suppliers and crew.

Vaughan explained: “We have crew that have worked on every tour, but I like to get new people too. Some of us started this business in our late 20s and now we’re in our 50s. It’s good to have young people, and it’s also nice to have

independent suppliers on board too. It becomes a lot more personal in terms of what they’re delivering.”

For Vaughan this is the last tour for his business, The Production Office (TPO), saying: “I still love what I do, and will continue to run my own tours, but without the pressure of having a business, and multiple projects on the go” LIGHTING New to the production team is Tim Routledge, who took the reins as LD. Routledge won Lighting Designer of the Year at the 2015 TPi Awards for his work with Gary Barlow.

He said: “With Gary, it’s more of a ‘concert’ feel; just him and his band. It was more intimate, whereas Take That are known for their spectacles. In my opinion, Circus was one of the most creative stadium shows ever, so being involved is very exciting. I can’t think of a better band to design an arena tour for.

“The idea with the show was always to be very theatrical, but with the punch of a big pop show. We want people to feel immersed in the world that

43

PRODUCTION PROFILE: Take That

Below: Quantum Special Effects provided the tour with pyrotechnics.

we’ve created, punctuated with these iconic moments.”

One of these moments is the ‘under-thesea’ scene, which is the finale to The Garden and links into a whole underwater section.

Two huge 38-metre wide, 17-metre high white poly-lined drapes drop and track their way across the circular truss, shielding the entire set from the audience. The material is softly-lit with gobos, before becoming the canvas for shadow puppetry and bright, multi-coloured projections, keeping the audience mesmerised while the scene change goes on unnoticed behind.

The drape was supplied by drapes and rigging company Blackout. Fabrications Manager Jenny Clark, said: “The material was carefully chosen to ensure it worked well with the lighting and video projection, allowing the shadow puppetry to really stand out.

Incorporating fabric into a show like this is a really simple, yet incredibly effective way of making more of a scene change. It worked really well and had a certain element of surprise.”

Routledge agreed, saying: “The audience don’t expect to see it. We close the curtains and then when we open them the whole stage is transformed. There are so many different worlds to create within the show, so the rig had to be as versatile as possible and also pack a punch due to our epic 18-metres high trim height.

“It’s a tricky show to light with the combinations of the 3D flying system’s needs, the water effects, the volunteer cast positions coupled with the audience pretty much 270 degrees around. I’m thrilled with the result; no single element of the show takes over from the other. It’s not about a big video show or big light show, this is a coherent theatrical experience that we have worked hard to 44

balance.”

Routledge’s chosen rig includes a host of new fixtures including 120 Clay Paky Mythos.

He said: “It’s a hybrid spot beam which gives me huge punch. It can be a big theatrical light or a sharp beam light. We use a lot of gobos in this show and the Mythos lets me keep focus all the way down the length of the beam, creating stunning depth to the show.”

Other new products include 138 Ayrton MagicBlades and 54 Aytron MagicPanels.

Routledge first spotted the MagicBlade fixtures at PLASA 2014 where, he said, their continuous pan and tilt capability set them ahead of anything else.

This is backed up by 72 Clay Paky Stormys, 60 Clay Paky Sharpy Washes, 95 Martin Professional MAC Auras, 50 Martin MAC Quantum Washes, 11 Philips Vari-Lite VL3500 Profiles, 78 Pulsar AR111 Waterproof LED Floods and 48 4 Lite Moles.

A total of 13 follow spots (three 4k Robert Juliat Lancelots, four Robert Juliat Victors, and six Lycian M2’s), five Molebeam 2k, and four MDG The One Haze Machine complete the set up.

In every venue there are an additional 80 volunteer cast members sourced from local theatre schools and drama academies, given a once-in-a lifetime opportunity to perform alongside one of the biggest bands in Britain’s history. Each is lit with their own personal LED key light which Routledge uses to create a pixel map of faces.

Routledge houses a large portion of the rig on four, 10-metre tall bespoke ‘pylons’. These pylons house a large number of Mythos and Sharpy Washes, and are edged all the way round with the Magic Blades to create some

stunning ‘helicopter’ effects and unique looks in songs such as Hold Up a Light and Affirmation.

The extensive kit list is made even more impressive by the fact that all equipment was supplied by Neg Earth, which was devastated by a fire on April 2. Fortunately, no one was hurt and despite the damage, Neg Earth Lights remains operational.

Routledge has nothing but praise for the company, saying: “I have been astounded at the level of support from Neg Earth over the most difficult of circumstances imaginable. The level of support and assistance has not wavered one bit - all credit to Dave Ridgway and his team.”

Vaughan agreed, saying: “It’s astounding really; the service has been faultless.”

Routledge is running the show from an MA Lighting grandMA2, his console choice for a number of years now. “We’re also trialling some beta software which controls the wall of Aytron MagicPanels located behind the band. It’s an integrated video server which talks directly to the console, meaning you no longer have to merge two separate sets of data. It’s due for imminent release from MA Lighting but we’ve been road testing it with them.”

STAGING Total Solution’s Group (TSG) designed and manufactured the catwalk, B-stage, and tiered seating. The catwalk included the integration of 70 light boxes, controlled direct from Routledge’s grandMA 2. The light boxes follow the movement of performers as they make their way across the set.

TSG Project Manager Nigel Tranter said: “The six-metre diameter B-stage is based around our standard Arenadeck Rolling Stage System, with 10 integrated trap doors. Around the perimeter

PRODUCTION PROFILE: Take That

Below: Misty Buckley was Take That’s Set Designer once again.

is an external structure to house lighting and pyrotechnics.”

Two two-metre wide, 34-metre long walkways lead from the B-stage up to the main stage. It’s along these walkways where the individually-addressable 0.5-metre wide lightboxes are located.

Tranter continued: “Integral to the set and lighting design are the truss pylons which carry 60 lamp fittings. The inner is nine-meters tall and the outer is seven-meters tall, but to bring an added degree of difficulty, the outer pylons are canted over 20 degrees.”

TSG was responsible for the creation of two tiered seating structures located upstage of the main stage to house the 80 volunteer cast members. The structures incorporate a fabric membrane to collect the rain water which falls during The Flood, and is one of the stand-out moments of the show.

The main stage platform and under-croft was provided by Brilliant Stages, who was back for their sixth Take That tour. A major feature for Brilliant to factor into Misty Buckley’s multi-level set was the requirement for as much space below deck as possible in which to house equipment, props, speakers 46

and stage lifts, and to facilitate the access and activities of crew and performers.

Needing to integrate sub bass speakers, the stage was built in sections into which the speakers could be installed in advance and the whole stage rolled into place with the speakers in position.

The main stage stood at 18-metres wide, 13-metres deep, and 1.7-metres high, and was composed of three levels, with a downstage edge at 1.8-meters high, a 1.5-meters high middle section, and 1.65-meters rear level band stage with additional drum riser. It included nine box lifts, upper stage and service lifts and piano lift.

Mel Welch, Chief CAD Designer, said: “While the set and stage for this project were straight forward, the main challenge was the series of box lifts which were quite complex mechanisms.”

It is the first time this type of telescopic lift has been produced

by Brilliant Stages in this format.

The main part of the design was masterminded by John Prentice and Tony Bowern, assisted by Brilliant CAD designer, Giorgio Castronouvo.

Brilliant Stages worked

PRODUCTION PROFILE: Take That

Below: Tim Routeledge created the show’s lighting design, which he operated from a grandMA 2 console.

in conjunction with LS-Live’s automation department which built the control racks and a motor gear box for Brilliant to integrate into the mechanical design of the lifts.

These control the position and speed of each box lift via a customised touchscreen interface which allows all nine lifts to be controlled from one computer. Show cues can be recorded and recalled for the show using the software which LS-Live / Litestructures adapted to an intuitive, user-friendly interface that can be used by all levels of technical ability. LS-Live technicians trained the show crew who now run the show with LS-Live providing support.

Ensuring the complex stage is set up correctly is head carpenter Glenn Binley, who leads a team of 16 carpenters - many of whom are head carpenters in their own right, working on a myriad of global tours and concerts. The team includes Pete English, Jem Nicholson, Nick Breen, Scott Turnball, Phil Stewart, Aico Boshoven, Simon Rackham, Jay Welch, Andy Russell, Dom Dryburgh, Angelika Griebl and Chris Aram.

Binley said: “This is the biggest show on the road at the moment, and with so much gear and a tight turnaround to get everything set up at each location - having the right people on board was integral. The crew is the crème-de-lecrème; the best available. Their experience and working culture definitely makes the job a lot easier.”

EPS was entrusted to provide the stage barriers, with a 185-metre barrier encompassing the main stage and following the line of the golden circle and catwalk. A full time supervisor 48

is accompanying the tour to ensure the barriers are installed correctly at each venue.

SPECIAL EFFECTS Another stand out moment is ‘the sun’, used for the group’s performance of Let in The Sun. Created by Light Initiative and the show’s head of props Dan Shipton, it was manufactured by TSG. ‘The sun’ is a giant metal sphere which houses an aerial performer and is flown via the 3D flying system.

This stunning prop has an outer layer of removable panels made of copper with individually-controlled LED lights and integrated pyrotechnics. Each panel is brought on by a cast member as part of their performance from across the arena and the sun is then constructed live on stage.

LD Tim Routledge said: “The cleverness lays the bespoke rechargeable and wireless DMX solution, enabling us to control each panel individually and as a whole. No mean feat as after the sun is formed it flies into the air and spins at an astonishing rate, while the aerialist performs tricks inside.”

Quantum Special Effects supplied all special effects across the show, including the rain for The Flood and the pyrotechnics for the sun gag.

Daniel Ivory-Castile, Quantum’s crew chief, said: “We have some brand new kit on the tour; the XLSG SmokeStorm. We used them as a oneoff at the MTV EMAs but this is the first time that they have been on tour. They kick out an immense output of smoke. Within 10 seconds we can fill the entire golden circle waist-deep with fog.”

The impressive XLSG takes up only eight sq ft of floor space, yet has the ability to cover the distance of six tennis courts in just 60 seconds.

It’s powered by Quantum’s custom-designed heating element system and separate control system.

Quantum’s Shaun Barnett led the SFX design, working closely with Kim Gavin, Misty Buckley and Chris Vaughan. As well as the haze, the company adapted its Super Shooters so they can launch up to 5kg of confetti at once, in one short burst.

“The brief was as if somebody had a handful of paint and threw it in the air,” explained Ivory-Castile. “We had to replicate that on a larger scale. It worked really well, as did the rain.

No-one believed us when we said it would be instant. I’ve seen and worked with a lot of rain systems, and the one that we’ve developed at Quantum is the best by far.”

A 30 second pyrotechnic finale for the end of Rule The World was designed to simulate an indoor firework display with comets launched from the stage with air bursts above the stage.

Most effects are controlled remotely via two Glaxis firing desks. A Chamsys lighting desk controls the smoke machines and spitfire flames, but - due to the sheer proximity to the band members - the B-Stage flame ring is operated manually from the B-stage itself.

FLYING The sun was flown via a Q Motion winch system based on Stage One winches and control was provided through The Wire Rig Company, which is headed up by Gavin Weatherall. The company

PRODUCTION PROFILE: Take That

Below: Show Director Kim Gavin ensured the arena tour ran smoothly.

was only recently established and aims to provide ‘simple and safe’ automation equipment, which can lift heavy, fast and in 3D. The 3D flying system on this tour is the ideal example.

Weatherall explained: “The rig features four winches, with lines coming off each. These lines link together to give a central fixing point and are used to suspend people and objects. Each winch can lift one tonne, at an impressive speed of three-meters per second.

Having one central point allows only one prop to be flown at once, which moves in three dimension across the stage and audience.”

Operating the system was 3D flying operator Gareth Williams, who has been entrusted to fly Take That and cast members more times than he can count, working with them on every tour bar one since 1995. He has recently returned from touring with Robbie Williams, joining the Take That tour on the last day of rehearsals.

He said: “I’ve known Chris Vaughan for a long time and was asked to be involved from the early stages, with the understanding that I would only be able to join the tour after finishing a European Tour with Rob. I walked in on the 50

last rehearsal day, watched the show once and then operated the last full dress rehearsal. I knew what to expect but it was still a very steep learning curve. I’ve flown various members of the band and cast in the past so I like to think there is a bit of a trust relationship going on there.”

Other nail-biting flying stunts include aerialist rope work and the moment when all three band members mount a three-seater bike and soar above the audiences’ heads. The bike, and impressive inflatable garden props were both made by Artem.

Williams continued: “We have to recreate the flight paths for every venue. Then, we build the cues for the routines. This venue’s ceiling is five-metres lower than others so we have rigged the flying system directly to the steel beams instead of the truss grid we use everywhere else, so we can get maximum height. We then changed the flight path accordingly. In some venues you go right over the crowd, here we just go above the B-stage. We test everything every day with both dead weights and the props themselves.”

With so much going on above

PRODUCTION PROFILE: Take That

Below: The various looks of the show took fans on a visual journey.

the stage, Phil Broad was enlisted as aerial and staging technical manager, responsible for designing the rigging, which is adapted for each venue. The total weight from the ceiling comes in at 55 tonnes.

He’s also been with Take That since the beginning, and said: “My remit was to bring the aerial design; lights, sound, flying performances et cetera into reality.

And then mesh it all with what was happening on the ground - and make it tourable.

“The mother grid isn’t in location here, but will be elsewhere on the tour.

We’ve still been able to do everything we need though. It’s just been a bit more difficult. The whole design of the rigging is based around the flying system. Lights, sounds, track for the curtain - everything is designed so that those gags can work.

They’ve been there since the original concept though, which made it easier. ” Germany-based Dart Rigging had three crew members on the road. Martin Gehring, Head Rigger, has worked on the Progress tour, and Gary Barlow’s solo shows. He said: “The main challenge at every venue is flying the bike; it’s a huge

prop and we need to look at the trim height and make sure there’s enough height for it to work. We’ve got the load in an out down really quickly now, having two sets of part of the show’s rigging which makes it possible to load in to the next venue while the show is still loading out of the last one.”

AUDIO Skan PA is another new addition to the Take That touring family, after Vaughan worked with them on Muse, Biffy Clyro, and The Ryder Cup. Liam Tucker, Skan PA crew chief, said: “It’s my first tour with the band, but I’ve worked with Gary Barlow, and on some one-off Take That projects, in the past. I know the quality that’s expected.

“The brief is simply to make sure that every single seat in the house has an equal level of sound and quality.

This show is a lot of theatre and video content, so we also needed to make sure that our equipment delivered the required power, whilst blending into the set design and not interrupting sightlines.

“For example, we’ve split our PA hangs into two so that the track for the

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PRODUCTION PROFILE: Take That

Below: Take That Live 2015 has so far been a resounding success with the touring crew and the fans.

‘shadow puppet’ curtain can run through the middle. The roof is also 2.5-metre lower here, so we left off the flying grid, or else the bottom of the speakers would have been too close to the performers.

We work with lots of different departments in pre-advancing to get it right for each venue.”

The core rig stays mostly the same, with Skan PA adding additional delays and ring systems if the venue requires it. The core rig consists of 72 d&b audiotechnik J8’s, 12 V12’s, eight J-SUBs and four Infra boxes, powered by 64 d&b D80 amplifiers.

For Manchester and London, an additional ring system is added, comprised of 24 V8’s and 24 V12’s. Controlled via three DiGiCo SD7 desks, are 10 channels of Sennheiser EM 3732-II radio mics and 20 channels of Sennheiser In Ear Transmitters for the boys, the band, the techs, the dancers and aerialists and the 80 volunteer cast members.

Tucker continued: “The volunteer crew makes things a little more complicated. They’re all on in-ears and receive band mix, vocal cues from their leader, and cues that are time-coded. Bar the guitarist, every single person is 52

on in-ears, there are no wedges on the tour. We are running the new d&b Array Processing and the system processing runs on a Dante System, through six Teqsas CyberTec MF2s and two Lake LM44s.”

FOH Engineer is Gary Bradshaw, who first worked with the band back in the 90s before re-joining the crew when the band reformed in 2005.

He said: “Take That spends half the show out in front of the PA so that has a big impact on sound.

There are no magic buttons to combat this either; it’s just a case of knowing how far you can push the fader up before its going to feed back. Also, talking to them to make sure they sing close to the microphone. That’s why they’re on handhelds – nothing else would have worked. They’ve always been on in-ears too; the first tour I did with them the screaming was so loud that you wouldn’t have heard anything if you didn’t have ears in.”

The tour sees the implementation of new audio software developed by d&b called Array Processing, which improves the tonal balance of the PA across the whole arena. “So far, so good,” commented Bradshaw.

PRODUCTION PROFILE: Take That

Below: The Quantum Special Effects Team; The set carpenters; Technical Manager, Phil Broad; Skan PA’s Liam Tucker; LD Tim Routeledge.

VIDEO Alex Leinster is Managing Director at Video Design; the screen and video equipment provider for the tour. Leinster worked on Circus, but this marks the first Take That tour for his new company.

“There is a lot of kit to fit into a tight space.

We chose the nine-metre LED WinVision 9, with 220-sqm in total, for the rear screen and the IMAGs,” he explained. “We then install eight Panasonic projectors, used for the shadow puppetry scene but also to project onto the boys as they appear on stage via the box lifts.”

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Video crew chief Tonksy described the WinVision 9 as ‘the best screen there is on the market at the moment.’ He said: “It goes up quickly and gives a really clear picture.”

Tonksy is supported by Richard Shipman, who controls the show from a d3 Technologies media server, with Matt Askem as Video Director, and Luke Collins on communications and interactive. Seven cameras are used; three long lens, two in the pit on tracking dollies, and two handhelds which roam the B-stage.

Tonksy continued: “The show is time-coded, and is a mix of live relay from the cameras and

motion graphics from NorthHouse films. The main challenge is the interactive element, which has taken a little bit of getting used to, but looks great and is a brand new effect.

“The ‘interactive element’ as we’re calling it, is projection with an industrial-strength infra red camera. It looks at the changes in movement and reacts to it. For example, on Floods, when the guys appear via the box lifts, we project directly onto their white suits, and the rays follow their movement.

The system has been provided by German engineer Frieder Weiss who works in the field

PRODUCTION PROFILE: Take That

Below: Gary Bradshaw; Gareth Williams; Chris Saunders; Stage Manager, Richard ‘Wez’ Wearing; Andy ‘Tonksy’ Tonks and Matt Askem from the video crew.

of industrial quality inspection, using video cameras. Now, the same kind of equipment is being used with customised software to create visual effects in real time.

Weiss said: “I’ve always lived between the two worlds of engineering and the arts.

Developing for the industry has been an inspiration for my artistic work; basically I’m reviewing image processing algorithms for their aesthetic value and application.”

The motion graphics were supplied by NorthHouse Films. Director Tom Bairstow said: “The Take That tour was a fantastic project to be involved in, working alongside an amazing team including Kim, Misty, Dan, Tim, TPO and not to mention the band themselves, it was a

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great opportunity to let our imaginations run wild and experiment with some big ideas.

“The show has many narratives running throughout and we wanted to complement this with a concept that wraps everything together and immerses the audience in a completely surreal world.

“The basis of the design was a Metropolisinspired floating city that sits high above the clouds, powered by a mechanical heart within a labyrinth of pipes that sits beneath the city’s skewed buildings.

“Throughout the show we visit different areas of this city, taking a tour through a whole variation of scenes, looks and styles. This incorporated a range of techniques from big 3D

builds to intricate illustrative graphics, character animation to punchy motion graphics and prefilmed footage.”

LOGISTICS AND CATERING The amount of trucks on the road is the ultimate symbol of the tour’s scale. Provided by Transam, there are 34 in total on the tour; 30 production and two sets of two advanced trucks.

Logistics coordinator Natasha Flatt, said: “This includes two double deck trailers, two megastep trailers, and all three of our custom built 52ft ‘big boy’ megacube trailers. We are the only company in the industry to have licence to run three of these trailers which are an extra two-metres in length and an extra 0.2-metres in

PRODUCTION PROFILE: Take That

Below: Skan PA supplied a d&b audiotechnik rig to the stadium worthy arena production.

height.

“It is a well routed tour which has been expertly planned by Chris Vaughan and his production team who are always a pleasure to work with. We have a great team led by top lead driver Scott Cooper which has helped to keep any problems to a minimum.”

The company has worked with Take That from the early days, with MD Mark Guterres remembering sending one small 7.5 tonne truck for promotional shows in the 90s.

Phoenix Bussing provided seven crew buses, all 14-metre double deckers; three 14 berth and four 16 berth. The company’s relationship with the band goes back to the early days. Traffic manager Andy Gray said: “We have worked with Chris, Zoe, and the rest of the team on Take That and other projects as well so we have a great working relationship with them; they

know that by booking with us they get great service - top quality buses and drivers. We thank them for their loyalty to us over all the years.”

With so many crew on the road, there are plenty of hungry mouths to feed, with Popcorn Catering enlisted by production, and head chef Sam Letteri serving up an array of healthy and comforting dishes to keep everyone happy.

Over 50 UK tour dates come to a close on June 26 in Newcastle, before the tour heads off for its finale in mainland Europe. It’s been a resounding success with rave reviews from fans and press, and it looks as though Britain’s favourite ‘manband’ show no signs of slowing down.

Vaughan concluded: “This tour has been one of the most fun yet; despite the sheer size of production we got into LH2 Studios early and everything has ran smoothly since then.

Whether there are five members of Take That or three - this is who they are. It’s always an amazing tour to be involved in.”

TPi Photos: Kris Goodman http://takethat.com www.tpo-online.com www.blackout-ltd.com www.timroutledge.co.uk www.q-sfx.com www.phoenix-bussing.co.uk www.lh2studios.co.uk www.mistybuckley.com www.skanpa.co.uk www.rigging.de www.trussing.com www.brilliantstages.com www.ls-live.com www.negearth.co.uk

www.popcor ncatering.com | info@popcorncatering.com | Tel. +44 (0)1642 700388

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PRODUCTION PROFILE: Radio 1’s Big Weekend

BBC RADIO 1’s BIG WEEKEND HEADS TO NORWICH BBC RADIO 1’S BIG WEEKEND IS THE FESTIVAL CALENDAR’S ANOMALY; WELCOMING THE BIGGEST NAMES IN MUSIC AND NOT CHARGING A PENNY TO SEE THEM. THE EVENT PRIDES ITSELF ON UK LOCATIONS THAT WOULDN’T USUALLY ATTRACT HEADLINE ACTS. IT HAS HOSTED MADONNA IN MAIDSTONE, LADY GAGA IN CARLISLE, AND - THIS YEAR - FOO FIGHTERS AND MUSE IN NORWICH’S EARLHAM PARK. The Big Weekend marks the start of the UK festival season and is coveted by many councils, which realise the huge PR and investment opportunities it brings.

Neil Wyatt, Head of Live Events at the BBC, explained: Over the last few years, the inward investment figures have been fantastic; you’re talking about GBP £1.5 - £3m coming into the region. It’s a very tangible benefit.”

Norwich first came to the BBC’s attention in 2012, with the final decision to host the event here being made last year.

“We look for a location that’s not on the doorstep of another major event,” explained Wyatt. “As we’re a free event, we try hard not to take money out of the market. We tend to keep our capacity around 25,000 per 60

day as well for this reason.

“The most important thing we look for is a really strong partnership with the local council. We don’t work in isolation; we work in partnership. Especially because of our outreach work to local youth communities.”

Although the festival is what makes the headlines, it is more than two days of music.

The BBC runs Radio 1’s Academy in the weeks leading up to the event, giving young people the chance to get involved in music and production workshops. The Backstage Academy provides 36 crew for the In New Music We Trust (INMWT) tent.

For the festival, the local authority looks after the external security, medics, welfare, traffic, and waste management whilst the BBC delivers the internal security, and all of

PRODUCTION PROFILE: Radio 1’s Big Weekend

Opposite: Snoop Dogg took to the stage for the festival style event. Below: British singer Jess Glynne performed for the crowds.

the site’s production elements.

This year the BBC has gone solo for the first time, opting not to use a producer such as Live Nation or DF Concerts (who have worked with the event previously). The team now consists of Wyatt as Head of Events, Rob Spring as Live Events Manager and Jack May and Laura Armstrong as production managers, with a team of coordinators looking after ticketing, backstage, safety, and administrative roles.

Spring explained: “We felt there was a duplication of expertise so we’ve removed one layer of management and streamlined everything in the process. For me it’s been a great move. We’re now across every single detail - every flagpole, every concession. We also have a much closer working relationship with our core contractors.”

Central to this is EnTEEtainment, who has been looking after the technical production of the event since Hackney in 2012. Managing Director Dick Tee, said: “In terms of our remit, the BBC events team led the general planning, such as where they want the main stage and all of the OB locations. It’s then over to us to look at the finer details.

“You need a thorough understanding of how the BBC operates. I think we’ve got a good handle on it now and that’s why we’re also

working on the BBC Proms, Radio 2 in Hyde Park and Radio 1’s Teen Awards.

“The main build challenge here has been the ground slope under the main stage, which has meant that the loading dock is 3.5m lower than the stage level, so we’ve added extra ramps to be able to move artist equipment quickly and efficiently.”

STAGING There are three stages on site - the main stage, the INMWT tent and the BBC Introducing Stage, with all PA and lighting provided by a local Norwich supplier, Steve’s PA. Spring explained: “It’s an interesting site, with lots of different areas for us to utilise.

There were three different places where we could have positioned the main stage, but we chose the final location due to the natural amphitheatre shape.

“This meant quite a complex stage build due to the slope, but it offers a great audience experience. When people are standing at FOH level they’re almost at the same height as the artist, which is pretty unique.”

Building all three stages is Serious Stages, back for the fourth year. The main stage was a 25 sq metre Space Roof, with a catwalk front of stage and three sets of steps allowing artists

access from the stage to the pit at audience level.

Covered working areas totalling 85 sq metres were incorporated into either side of the stage, and the stage is flanked by 9.6-metre wide, 12.5-metre high PA wings, giving an impressive 46.8-metre wide total frontage. In addition, there were two newly-added portrait IMAG screens.

Serious Stages’ team was led by Project Managers Simon Fursman and Tony Boffey, with Jeremy Mosdell and Rob Symns helping to lead a crew of 25 for the five-and-a-half-day load in.

Fursman said: “There was a 2.5-metre slant on the Earlham Park site, which meant a complex substructure was required to keep the stage decking level. It was actually a lot easier than it could have been, purely down to the excellent pre-planning of the BBC and EnTEEtainment. We were doing site surveys earlier in the year, which gave our in-house CAD designers and engineers plenty of opportunity to come up with a solution.”

With the BBC wanting to increase the level of the branding across the site, Serious assisted Made Up Design to add a large BBC logo light box to the front of the stage roof. Other new additions included a new decking system and two follow spots incorporated into a ‘spot pod 61

PRODUCTION PROFILE: Radio 1’s Big Weekend

Below: The Foo Fighters were one of the event’s headliners.

delay PA mast’ situated behind the FOH. BBC Radio 1’s Big Weekend was recently awarded an accolade for its disabled access.

This year Serious designed and built the access viewing platforms for the first time, located with clear sightlines of the main stage and adapted to fit the sloped surface.

With minimal room available behind the main stage, EnTEEtainment needed to find a suitable holding area. Tee said: “Eventually a warehouse was found two miles off site which works really well. All the artists’ vehicles and technical equipment is sent to the holding area first and then we call it onto site as we require it. There’s a whole traffic management plan in place to make sure that the access roads we need remain clear.”

Tee is joined on site by his daughter and right hand woman Francesca (Frankie) who takes ownership of the technical artist liaison and advancing for 60+ artists performing across three stages. Other key team members of Tee’s team included Kim Bickell and Kerris Head.

LIGHTING Neg Earth provided the lights, rigging and hoist elements for the main stage, with PRG taking responsibility for the INMWT tent.

Back for the third year, Tom Lesh of Lushious Design (working on behalf of Neg Earth), is the 62

LD for the main stage.

He said: “I design the rig and work with each of the bands’ LDs to identify any additional needs. All LDs are sent a Wysiwyg file, so they can program in advance and arrive on site ready to go, along with the three Wysiwyg systems we provide at FOH for pre-show programming during show days.

the addition of four vertical truss towers to split the back screen into three and house additional lighting fixtures; a mini replica of their touring set up which Neg Earth have provided along with crew.

Other scenic additions include a red velour drape for Florence + The Machine’s performance, commissioned by Mary Russel

“We felt there was a duplication of expertise so we’ve removed one layer of management and streamlined everything in the process...”

Rob Spring, BBC Radio 1 and 1xtra Live Events Manager

“We’ve had a few requests come in this year from the broadcast teams, such as lighting trees either side of the stage and adding some little satellite lights to the roof, but nothing too complex.”

Once the flown rig is in place, nothing is added throughout the weekend, with most artists opting for floor packages instead.

Sunday’s headliner, Foo Fighters, is the only act to bring in anything majorly different, with

Limited and manufactured by Blackout.

Lesh controls via two MA Lighting grandMA 2 consoles and two High End Systems Hog 4 consoles, with space for guest consoles over an Artnet system. The rig has been chosen carefully to match each LD’s requirements and allow a level of flexibility for the BBC DJs who play their sets during the changeovers.

Automated fixtures include 24 Martin Professional MAC Viper Profiles, 28 Clay Paky

PRODUCTION PROFILE: Radio 1’s Big Weekend

Below: All of the staging was handled by Serious Stages.

Alpha Wash 1500’s, 12 Clay Paky Sharpys. LED fixtures included 26 Martin Professional MAC Auras, 24 I-Pix BB4’s, 19 I-Pix Satellites, 23 Philips Color Kinetics IW Blast 12TR and 12 Pixel Range Pixel Par 90Ls. For INMWT, PRG’s Gordon Torrington has adapted Serious Stage’s stage deck with truss sections, creating a bespoke structure which welcomed Ella Eyre and Jamie T.

whole structure, turning it into a giant graphic equaliser.

“There’s no motion graphics in here, only streamed footage onto the IMAGs, so it’s really important that the lighting takes over and ensures there are no black holes on camera.

Ben Hornshaw worked on the original design and we’re really pleased with how it’s come together. ”

“Every single piece of truss that makes up the stage has LED lighting embedded into it so that the whole structure can come to life.”

- Gordon Torrington, Lighting Programmer & Project Manager for PRG

Torrington said: “Every single piece of truss that makes up the stage has LED lighting embedded into it so that the whole structure can come to life. There’s 104 Chroma-Q Color Block DB4s which are pixel mapped, meaning we can run chases and sequences across the 64

Torrington and Hornshaw were supported

by PRG Account Director, Kelly Cornfield, and Q Willis, PRG’s Head of Rigging who designed the six ground supports. Crew were Chris Scott, Chris Davis and Mark Pritchard.

Similar to the main stage, the INMWT tent

features a full size grandMA house control, with Wysiwyg reading suite.

“There’s a huge amount of kit in here,” continued Torrington. “We’ve added some new kit as well, including the 280W 14R platinum lamp which is only available through PRG. It’s a really high powered beam light that works well in a tented environment. We also use PRG’s Series 400 interface, allowing Artnet routing via touch screen laptop from FOH for the many lighting desks we see over the weekend.”

The full rig contained 24 GLP X4’s, 12 VariLite VL3000 Spots, 10 Icon beams, 13 Vari-Lite VL4000 washes, four Clay Paky K10 B-Eyes, 19 I-Pix BB4’s, 30 Clay Paky Stormy Strobes, 12 Elidy-S Pannels, 104 Chroma-Q Colour Block DB4’s, various generic lamp bars and blinders, and two grandMA 2 Light consoles.

AUDIO No stranger to the festival scene is Britannia Row on audio, project managed by Lez Dwight and Audio Crew Chief John Gibbon.

Dwight said: “There is a lot of pre-planning to ensure that sound limits are adhered to.

Vanguardia advise us on sensitive areas and off site limits. We then design speaker systems to suit. You never actually know how it’s going to

PRODUCTION PROFILE: Radio 1’s Big Weekend

Below: Taylor Swift used her own customised microphone.

go until you’re on site though. We run both the main and second stage PAs up to show level during sound propagation. This gives us, the promoter, and local authorities a good idea of levels for the show.

“This year, the main stage system has been designed to take into consideration the 1:20 gradient of the bowl. If anything, it helps out a little bit with regards to audio containment; with a flat site sound can travel further.”

Main stage rig included 24 L-Acoustics K’s1, eight L-Acoustics K1SBs, eight L-Acoustics KARA, 30 L-Acoustics Sub Bass, and eight L-Acoustics ARCs. Side hangs consisted of a further 24 L-Acoustics K2 boxes with three delay towers distributing sound via six L-Acoustics V-Dosc, and four L-Acoustics Sub Elements. For control, two DiGiCo SD5’s, two Avid Profiles, and a Midas PRO2c completed the set up.

Dwight continued: “Nine times out of ten the headliners will bring their own consoles and all acts have their own engineers. I look after the Foo Fighters for Brit Row so it’s really cool to have them here. We are loading into Sunderland for the first stadium show of their European tour on Sunday, the same day they play Radio 1. So we’ve put a duplicate control system in for Radio 1.”

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PRODUCTION PROFILE: Radio 1’s Big Weekend

Below: L-R: Dick Tee, Frankie Tee, Laura Armstrong, Rob Spring, Jack May, Neil Wyatt; Tom Lesh; PRG’s Gordon Torrington; Lez Dwight; Neil Wyatt.

The INMWT PA set up included 24 L-Acoustics K2, 18 L-Acoustics Sub Bass, eight L-Acoustics ARCs, and eight L-Acoustics KARA elements, with 18 d&b audiotechnik M2 stage monitors. Consoles comprised two Avid Profiles at FOH and two Yamaha PM5Ds for monitor duties.

SPECIAL EFFECTS BPM SFX provided the special effects across both of the stages, back for the seventh year.

The team was led by Adam Murray (Managing Director) and Liam Haswell (Technical Director).

Haswell said: “We’re always empowered doing the Radio 1 events, as it’s always about what can we do to make this more dynamic on the effects level. The tricky bit is co-ordinating everything so that live (the crowd) and TV gets the best possible view of the special effect elements on the show.

“There is a great crew onsite; Rob Spring and Jack May, the Enteetainment team; Gary Lathan of Safety First Solutions and, of course, all the touring production teams of the artists performing are essential as always in assisting us with everything we needed. There is always a lot of co-ordination to make these things 66

happen and they are all crucial cogs in a wheel to get the ‘moments’ delivered to the best they can be.”

Echoing the feeling across the site, Haswell continued: “Each year is something new; we love doing these shows, it’s the start of the official summer festival season. Radio 1 has such a dynamic events team pushing forward new and original experiences for the crowd. They are always about what they can do to make it a new, differing, exciting experience every year.

Plus the line-ups are just ridiculous from a talent perspective. We’re always tremendously proud to be associated.”

The effects for the main stage included an array of stage pyrotechnic moments, CO2 Jets, XL Confetti Mega Shooters, Xtreme Stadium Shots (streamers) and Inferno IMAG 20-metre Flames which were integrated into performances from Charlie XCX, Rita Ora, David Guetta, Muse, and for the grand pyrotechnic finale following the Foo Fighters’ closing performance on Sunday.

The INMWT stage consisted of confetti effects for Circa Waves and Sigma and CO2 Jets, stage pyrorotechnics, and confetti effects for Ella Eyre.

VIDEO VER provided screens for both stages. Its new stock of WinVision Air 9mm is the screen of choice, with a 16-metre wide, 9-metre tall screen forming the backdrop on the main stage, with IMAGs either side, plus IMAG screens for the INMWT tent.

Paul Gilzene, project manager, said: “For the first time the IMAGS are portrait not landscape, allowing additional branding opportunities for the BBC and giving the headline performers more screen space.

“The Foo Fighters is splitting the back screen into three sections with lit truss pylons and controlling each section separately. All of this is done via a Christie X20 Spyder processor.”

The screens display a mix of motion graphics, supplied content from the bands, and live streamed footage, with the BBC doing the vision mixing and VER on site to oversee any technical issues.

OgleHog’s Chris Saunders has worked with the BBC for over 15 years. As screen supervisor, his remit was to manage and mix the IMAG screens. Saunders worked with Dick Tee to specify the equipment needed, choosing VER as supplier. On site, he is based with showcaller

TPI_S-Series_Launch.indd 1

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PRODUCTION PROFILE: Radio 1’s Big Weekend

Below: Dick Tee of EnTEEtainment with the BBC’s Laura Armstrong; Paul Gilzene; Rita Ora on stage.

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Louise Segal, in an OB truck away from the main stage.

He said: “There is the events team and the BBC broadcast team all looking for their angles and requirements, and on top of this additional artist requirements such as the Foo Fighters, who are bringing in a load of additional cameras and have specific ideas of what they want.

My job is to coordinate and manage all of this content, which is much easier if we’re based in the same place. There’s a lot going on from a small corner of an OB truck!

“The main stage portrait screens are a change this year. They are only being used for headliners, with the additional space being treated as electronic scrims for the rest of the time. We created graphic animated backgrounds to fill the space, and flew portrait stings and band intros.”

As well as the camera feeds, Saunders is queuing up all of the VTs, graphics, promos and editing on the fly to fill any gaps between content. The media servers sit at FOH with Saunders coordinating what goes up, where, when and how.

All content provided by the bands is painstakingly screened by Jack May, BBC’s

Live Event Production Manager, to ensure it meets the broadcaster’s stringent rules on selfpromotion.

It’s details like this that make BBC Radio 1’s Big Weekend so different from other festivals.

It’s about more than just the live event - there are a considerable number of other teams from the BBC whose objectives need to be met, from live streaming on the red button to radio, TV, social media and marketing.

Rob Spring concluded: “The event has definitely evolved this year; the site is double the size with the same amount of people, which has given it a true festival feel. We’re now up there with the larger festivals in terms of production and we’ll continue this growth next year.”

TPi Photos: Courtesy of BBC www.bbc.co.uk/radio1 www.blackout-ltd.com www.dicktee.com www.verrents.com www.prg.com www.britanniarow.com www.stages.co.uk www.madeupltd.com http://bpm-sfx.com/

IN THE SPOTLIGHT: Elation Professional

ELATION PROFESSIONAL SNIPER 2R FIRST UNVEILED AT THE PRO TRADESHOW IN BIRMINGHAM, UK LAST SEPTEMBER, ELATION PROFESSIONAL’S SNIPER 2R RECEIVED A WORTHY RECEPTION AT ITS WORLDWIDE LAUNCH. IN THE MONTHS FOLLOWING, THE MULTI-TALENTED FIXTURE HAS BEEN SEEN ON SOME VERY HIGH PROFILE TOURS, INCLUDING TPi’S RECENT USHER COVER STORY. ELATION’S DIRECTOR OF SALES, ERIC LOADER EXPLAINS THE PRODUCT’S SUCCESS RATE. Could you begin by talking us through the Sniper 2R’s development and any ideas or philosophies that may have inspired it?

As with any new product we develop, it usually comes from customer demand. The Sniper takes from our experience in lighting effects, scanner and laser technology. Elation has a long history of making scanners, effect lighting and beam fixtures and we wanted to make a product that could combine those features at an affordable price point that could work in multiple markets.

Was the product’s design a response to industry feedback? Were there any lighting designers that were a particular influence on the product’s evolution?

Many of our customers were asking us for an 70

updated scanner effect the past few years, however, we felt with the proliferation of moving head designs in the market, based on our case study, we were not confident we could sell a new scanner well on its own.

We also had a few lighting designers asking us for the emulator effect from the early 90s made by High End Systems, so we thought we would try to make an updated hybrid version so to speak, combining a scanner and laser simulator into one. We wanted to make a scanner effect that could do more, offering bright beam light output, gobos, prism and colours found in a scanner together with superfast motors for laser movement speeds. On top of that, we added a second oscillating mirror to add further movement and effect offering X/Y

scan and Z rotation mirror control.

Where do you think the Sniper 2R sits in terms of the company’s ongoing progression?

It is exemplary of our ongoing commitment to customer and market-demand products. For us, it’s the beginning of this product series and a continuation of making hybrid lighting fixtures.

We have used the term ’hybrid’ for over 10 years when we first introduced our Design Spot 250 which offered a spot / wash combo feature set in one package. When we say hybrid we mean a multi-function / discipline fixture - not part gas and part electric!

Were there any specific design features that

IN THE SPOTLIGHT: Elation Professional

Opposite: Elation Professional’s Sniper 2R. Below: The Sniper combines multiple technologies and can create the effects of a projector, scanner and laser simulator; Elation Professional’s Eric Loader; The Sniper was launched at the 2014 PRO show.

Elation’s applications department felt the Sniper 2R needed to incorporate?

We didn’t want it to be a one-trick pony. We wanted it to be able to serve multiple functions.

At the same time, we wanted a tight beam of light - to simulate a laser beam - and we wanted it to be faster than any other fixture we had ever designed before.

The Sniper 2R utilises the technology of an effects projector, scanner and laser simulator, was it difficult to combine all of those elements into one product?

The key to any new lighting product is either optics or lamp technology - and in this case with the Sniper the key to the effect is the lamp. The small short arc of the 2R lamp by Philips makes the effect work all the way around. We tried brighter lamps but it didn’t improve the laser simulator effect at all. Also, keeping it in a small enough package where it could be used on the road as well as installs was a challenge. Sure, we could have put more features into it but then it would not have met our price target or would have been too large / heavy.

The Sniper 2R was launched at the PRO Show last year, could you discuss your

decision to use the show as a platform to showcase the product?

It was a new show for us and we felt the crossover section of customers made it an ideal show to launch the product. The Sniper has found its way into mobile DJ set-ups, nightclubs, concerts and television shows and when we showed it at PRO it allowed us, to a certain extent, steal the show so to speak. It’s a revolutionary product and created quite a bit of hype. A month later at PLASA - we also showed the Sniper and walked away with an award for Innovation, which was the icing on the cake for our product launch efforts.

What was the initial reaction to the product and how do you feel that the response has developed subsequently?

It has been one of the most successful product launches out of the gate for Elation. We knew we had a winner when we built the first prototypes and showed a few LD’s under NDA agreements - but once we showed it to the public the response was overwhelming. Now, as with any award-winning innovative product, the copycats have come fast and of course now we are working on the next evolutional step for this product to stay ahead of the competition.

VER provided Lighting Designer Eric Wade with 12 Sniper 2Rs, which were featured heavily on Usher’s UR Experience world tour.

After the production’s phenomenal success, can we expect to see the fixture on any more upcoming tours?

Yes, there are several other tours, festivals and television productions using Snipers including Coachella, Ultra Music Festival, BKB Boxing, America’s Best Dance Crew, Marc Metzger Tour, Boom Entertainment, Women’s World Cup Kickoff, Enchanted Wonderland, Saturday Night Live, Back to School and many more.

Can you reveal any rental companies who have invested in the product since it appeared on the show?

We can say that almost every medium / large rental company that we deal with has purchased at least a 12 units for their rental stock.

Especially in the US market, where laser effects are highly regulated, rental companies like the fact that they can offer a ‘laser simulator’ to their rental customers. The unit’s versatility and high ROI is a no brainer for our rental company partners.

TPi http://elationlighting.com 71

CLOCKING OFF Below: Hoist UK’s Louise Dickson undertook a skydive for charity in order to raise funds for her best friend’s plight.

JO’S CERVICAL CANCER TRUST HOIST UK’S LOUISE DICKSON SKYDIVES IN AN EFFORT TO RAISE FUNDS FOR VITAL CANCER SCREENING You will know me as Louise Dickson, General Manager of Hoist UK, but I am writing this letter as Louise Dickson, a 28-year-old woman whose best friend Libby is fighting an awful battle against cervical cancer and I would like to share with you her story which regrettably is all too common in women worldwide, in fact it is the fourth most common form of cancer and is the fourth most common cause of death from cancer in women today.

Libby is just 30-years-old, a normal fun loving, bright and vivacious young woman, who, just two months ago didn’t have a care in the world and was to all intents and purposes totally healthy. A bout of illness and some discomfort took her to the doctors for a checkup. Within four weeks she was diagnosed with cervical cancer and she is now fighting for her life against this awful disease. This disease does not care how wonderful a person you are, what colour, religion or race you are and will attack, at will, anyone indiscriminately and viciously without warning.

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Libby is undergoing some very intense and intrusive treatment which is just heart breaking to see, on top of that because of the effect on her immune system she has to have limited visits from friends and family for fear of a simple viral infection causing immeasurable problems.

She is being helped through this terrible time and supported by Jo’s Cervical Cancer Trust who have been a fantastic source of support to her and her family. Although the support is free to patients, it does come with a very large price tag, and I have pledged my support for this charity by signing up for a fund raising skydive.

I have always wanted to do a skydive but I’ve never quite been brave enough to do it. When I found out this heart breaking news about Libby, I thought to myself, ‘if ever there was a good reason to throw yourself out of a plane then this is it.’ it wasn’t quite that simple a decision and the words were a little more choice but the result is the same - I am going to help the charity that is doing so much to help my friend.

I have already received lots of very generous donations but obviously the wider I spread the

word the greater the response, so if you would like more information about my skydive please take a look at my sponsorship page and if possible just pledge as much or as little as you can afford.

I may only know you through work and through email but I hope that I can count on your support for this great cause. Perhaps, I may have inspired you to take a similar challenge for this or one of the other great cancer charities around the world who do such magnificent work in not only caring for the victims of cancer but also in the fight to defeat cancer.

At the very least, I hope that I have increased your awareness to the importance of cervical screening. Thank you for taking the time to read this. Please be cancer aware.

Yours faithfully, Louise Dickson TPi www.doitforcharity.com/ldickson www.jostrust.org.uk

INTERVIEW: Ed Walker

VEVO AT THE GREAT ESCAPE TPi TALKS TO ED WALKER, HEAD OF EVENTS, VEVO UK & INTERNATIONAL Known for showcasing the latest in emerging talent and innovative music, The Great Escape is an annual three-day music festival held in Brighton on May 14-16. The event encompasses the whole town, with acts performing at venues across it, and for the last four years, Vevo has curated and presented a stage at the festival.

Held at Wagner Hall, Brighton, their selection this year saw a multi-bill line-up spanning the entire length of the festival - daytime and evening - with artists including; SOAK, Slaves, The Cribs, Jack Garratt, Seinabo Sey, The Bohicas, Stormzy, Little Simz, and George The Poet.

Ed Walker is Head of Events for Vevo, with a remarkable history of coordinating live performances in interesting spaces. When he was given Wagner Hall to adapt for Vevo’s stage at The Great Escape, which is just a short walk from the Brighton seashore, there were three things on his specification: to “Reimagine the existing venue and create a visually engaging space for fans, to educate fans on Vevo’s legacy within The Great Escape Festival, and to create a socially enabled venue to amplify on site activity,” he said.

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To begin with, there was the venue as it existed before Vevo and Walker had even dabbled with its potential this year; Walker commented: “The venue is a multi purpose space that is hired out for events. The venue is owned by the church and managed by a charity.

They often struggle with funding so the venue and its garden don’t get as much attention as the charity would like.”

Walker references the venue’s multifunctional capacity, with Vevo making the most out of the opportunity for both indoor and outdoor performances.

“To facilitate our design, we started from the ground up; we worked closely with the charity which runs the space and redesigned and reworked the existing garden. This allowed us to then plug our event build into this new space, but also left the charity with a much more fit for purpose garden post event.”

The timeframe this was put together in was quite impressive too, with Walker remarking that, alongside the charity that manage Wagner Hall, he had four days to finish the initial garden refit before the event. He noted, “We then had a 10-day build for the event, three full event days, and one de-rig day.”

Vevo aren’t exactly newcomers to The Great Escape, nor Wagner Hall, with this year marking the “Fourth year of Vevo’s involvement in the festival, and the third year of activity within this specific venue,” Walker said. “But the biggest, and most ambitious yet, with a total transformation of the event space, putting on more music, and entertaining more music fans.

Unlike the two previous years, we were able to create a bespoke garden design and reimagine the entire venue.”

Walker talked us through some of the design ideas and concepts he and his team formulated.

He thought of the event as comprised of two distinct experiences - indoor and outdoor.

“The indoor area holds our main stage.

Focus in this space is taken by the stage, so all design efforts are focused on the stage creative.

The rest of the room was blacked out with drapes, firstly to mask the existing finish, but also to enhance the audio dynamics within the space,” he continued.

“Stage design is governed by the existing space but also dictated by the fact that with this event, we create and produce Vevo original content. At The Great Escape this year, Vevo produced over 60 pieces of HD original content,

INTERVIEW: Ed Walker

Opposite: Vevo’s indoor stage at Wagner Hall for The Great Escape. Below: The garden area Vevo renovated, which provided a more intimate, stripped-back setting for artists Little Simz and Stormzy; SOAK and George The Poet performing on the indoor stage.

including interviews and live performances, from our full line-up.”

Of course, an ambitious project like this will always present some difficulties, which Walker spoke more on; “Working closely with our lighting designers, Mike Smith and Cate Carter (Bryte Design), we worked through, masking the stage wings, so a cross stage shot would be as visually engaging as a front on shot; facilitating ease of kit changeovers - only the performing artist’s kit can be on stage and the stage and wings were not large enough to use rolling risers; [and] working within the existing parameters of a structural cross arch above the front stage lip.”

As solutions to these issues, Walker, Smith, and Carter produced designs that incorporated mezzanine risers in the stage wings to hold lighting racks stage right, and the monitor desk and amplifiers stage right. Walker said: “This feature allowed us to maximise the wing space on ground level for back line build / break.

We installed sliding stage wing doors, which provided stage access for changeovers, but these could be shut during the performance to create a clean backdrop for content. The flown truss rig comprised of angled truss that protruded past the structural cross arch and gave the illusion of additional trim height to the stage.

With these design features in place we then created a complete stage design, giving the stage wing design as much attention as the up-stage wall. Vertical truss towers were used to create a structure upon which lamps and masking could be attached. A wire material was used as cladding between the truss towers.

This material was hand treated to give it a more 76

organic shape.

“With this, as with all Vevo lighting designs, we create as much depth as possible. Blinders were rigged behind the truss to give the perception of depth within the truss, the metal cladding was up lit / down lit using hidden LED button lamps, and Ayrton MagicBlade LED fixtures were then rigged in-between the truss towers, creating a lighting design that could create looks as diverse as our line-up. This lighting created an amazing experience for the audience, but also worked fantastically well for our photographs and content.”

For the outdoor section of the venue, the garden, Walker and the set build company, Colin Holden Associates, devised a plan to address the original three-step specification.

Walker stated that in order to reimagine the existing venue and create a visually engaging space for fans, “We wanted to open the venue up, to allow more fans to access this space, but to also make the space more functional in its layout. We created three distinct areas - seating areas, stage area / audience, and a yurt bar.

We created an eight-metre high truss structure that was then cladded. The visual design of this space allowed us to convey Vevo’s identity by completely reworking this venue to make a bespoke space for our event.”

The second step was to provide cultural context and a history of Vevo’s involvement within The Great Escape festival, to which Walker and his team responded by installing a timeline tunnel at the entrance of the venue.

“This consisted of artwork panels of each of the artists that had previously performed for Vevo, with their performance on a loop on a tablet

affixed to the artwork. We continued this theme into the main body of the garden by creating a light box for each of the 14 artists performing this year, which created a great atmosphere for the audience,” he said.

With Vevo’s substantial and prolific online presence, which the vast amount of original content they filmed and produced at The Great Escape this year is a firm testament to, the final requirement of Vevo’s venue was to create an environment that fostered online interaction.

Toward this goal, Walker and his team installed a photograph booth that was not only socially connected, but that also connected to a fivemetre wide, three-metre tall outdoor screen.

This drove traffic to the photograph booth and this content was pushed out socially, during and after the three-day festival.

“We also pulled in a Twitter hashtag that was constantly rolling along the bottom of this screen throughout the day and night. The screen was also used to display a line cut of the performance inside the venue.”

After everyone had gone home and The Great Escape had packed up for another year, Walker was elated with the ensuing response, mentioning, “This event was a huge success for us and for the audience, and we have had amazing feedback from the event. We had a fantastic line-up, featuring some of the best new and emerging talent, who put on great shows for hundreds of music fans during the festival.Now the planning for next year starts!”

TPi Photos: Jack Bridgland – WMA www.vevo.com http://greatescapefestival.com

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GUIL has announced the appointment of Echo Beats Electronics as its new distributor for the United Arab Emirates, a company with 30 years of experience in the distribution and the installation of broadcast and professional audio, lighting, A / V and conference products. GUIL products will now form part of the company’s portfolio, including GUIL’s lifting towers for line arrays and modular platforms for stages.

“GUIL is delighted to begin working with such a prestigious company,” explained GUIL Sales Director Eduardo Hinarejos. “We are sure that our products will be well received in an extremely conscientious market, where high performance, safety and quality are the key to satisfying the customers’ needs.” dBS Solutions recently appointed Matt Chisholm to the role of Project and Development Manager. Chisholm is the former Senior Sound Technician at the Arena and Convention Centre, Liverpool and is looking forward to the new challenges of a busy rental company. Responsible for managing the company’s larger projects and assisting with an ever-expanding rental stock, Chisholm brings a wealth of experience to the team.

Vue Audiotechnik has introduced Distribuidora JC LO as its exclusive sales and support partner in Mexico. Led by CEO José Luis Olvera Ricaño, JC LO specialises in providing high-quality audio equipment to the wide range of applications that make up the Mexican entertainment industry. “This partnership is a great opportunity for us to distribute a highperformance speaker brand in Mexico,” said Distribuidora JC LO’s López Quiroz. “JC LO is not only pleased to represent Vue, but we are also dedicated to becoming an extension of the 78

brand’s team of talented and well-respected professionals in the audio industry.”

Martin Audio has boosted its UK sales force with the appointment of Richard Van Nairn as its new Account Manager, working alongside UK National Sales Manager Al Brown.

With a lifelong love of music, recording and production, Van Nairn is perfectly placed to drive sales forward, having spent four and a half years honing his skills at Martin Audio’s UK distributor, LMC Audio, where Van Nairn catered to the pro audio needs of customers in the south of the country. “The company has lead the way in professional touring sound since the market’s inception,” Van Nairn commented.

“Each step in Martin Audio’s history has resulted in a monumental leap forward in loudspeaker technology - from the iconic 115 bass cab and Philishaves, to the ground breaking F2 in the 80s, to the milestone that was W8L, W8LC and W8LM in the 90s, and most recently with the invention of MLA. This legacy is set to continue with the new CDD series,” he continued. “There couldn’t be a more exciting time to join the company and become a part of this iconic British institution.”

Sound Technology, Harman Professional’s distributor in the UK / ROI, is pleased to announce the appointment of Stuart Strachan to the newly created role of Live Sound Project Engineer. Developing awareness of Harman’s new generation of JBL, Soundcraft, AKG, Crown, Lexicon and dbx products for the pro audio industry, the appointment will further strengthen Sound Technology’s technical team, bringing industry-specific, technical knowledge in-house, and providing local UK support in addition to Harman Professional’s European and

international teams. Strachen has worked on live sound projects at some of the UK’s most famous venues including Wembley Stadium, Wembley Arena, Royal Albert Hall, Royal Festival Hall and the Queen Elizabeth II Olympic Park. His breadth of experience includes gigs, corporate product launches, West End theatre productions, sporting events and largescale orchestral broadcasts. David Marshall, Managing Director at Sound Technology said: “We are delighted to welcome Stuart to our team of project engineers. He has been tasked with supporting our live sound partners, touring houses, freelance sound engineers and technicians through pre and post sales technical services on all Harman Pro live sound products. The success our existing team of project engineers has had in the installed and engineered sound markets has convinced us that Stuart’s role will a vital addition to our live sound offering.”

Miltec Distribution has appointed Greg Oliver to the position of Audio Sales Manager.

Oliver brings with him over 20 years of A / V industry knowledge, having previously worked for RCF, EAW and KV2. Commenting on his appointment, Oliver said: “It’s a very exciting time to join Miltec Distribution and I’m really eager to get involved with a company that boasts such a diverse portfolio of high-quality brands.”

Jasper Ravesteijn has been named European Sales Manager for Adamson Systems Engineering. He will work with Jochen Sommer, Director of European Operations for Adamson, to manage sales and support for new and existing customers in Europe, Russia and Africa. With 20 years of experience

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MOVERS & SHAKERS

Opposite: Jasper Ravesteijn has been named European Sales Manager for Adamson; Martin Audio has appointed Richard Van Nairn as its new Account Manager; dBS Solutions recently appointed Matt Chisholm to the role of Project and Development Manager. Below: Miltec Distribution has appointed Greg Oliver to the position of Audio Sales Manager; SGM’s Mikael Uddh, Peter Johansen and Steen Geertsen.

in professional audio, Ravesteijn brings extensive knowledge of the marketplace to the organisation. Prior to joining Adamson, Ravesteijn worked in sales for Audiopro BV, where he was responsible for professional audio sales as well as project system design

for customers. He is also the owner of Pro AV Educatie, an educational company that organises seminars and training programs for audio engineers. “We are thrilled to have Jasper join the Adamson team,” explained Sommer.

“He brings tremendous experience in both

sales and system design, which will help our continued growth in the region. We were lucky to find someone who not only has experience with professional audio but also understands how to build relationships in the industry. I am confident he will do an amazing job.”

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MOVERS & SHAKERS

www.interfacio.com • +44 208 986 5002

Below: Area 4 Industries has recently secured Adam Beaumont as UK Brand Manager for Litec, JTE, Tomcat and Exe Hoists, Controllers & DST systems; KB Event has welcomed Helen Himmons.

As a result of the ongoing expansion, SGM A/S has established a new subsidiary named SGM Nordic AB. The purpose of this is to be found in the increasing demand of products, projects, service and coordination within the Nordic Region, namely: Denmark, Sweden, Norway, Finland, Iceland, Greenland and the Faroe Islands. SGM Nordic AB is positioned in Gothenburg, Sweden with warehousing and central administration, but also includes branches in Norway, Finland and Denmark.

Heading SGM Nordic, you will find old SGM veterans such as Mikael Uddh and Steen Geertsen teaming up with well-known industry specialists around the region.

Uddh explained: “Multiple projects and increased communication on dealer and designer level, including cross boarder coordination, require an organisation that has a deeper regional insight, thus improving operational matters. Therefore, we have set up SGM Nordic.”

Peter Johansen, CEO of SGM, finds SGM Nordic to be just the right constellation. “Setting up SGM Nordic is a further development of our strategy and part of the globalisation of SGM. We want to be able to provide the best possible service locally - in close proximity to our customers.”

KB Event, specialist transport provider to the entertainment, conference and exhibition industries, is pleased to announce the appointment of Helen Himmons as part of their senior management team.

Working directly for Managing Director, Stuart McPherson, Himmons’ role sees her join 80

the executive board of the company, working closely with McPherson on the strategic and day to day management of the business, and on delivery of key tours, events and projects.

Himmons previous employment history includes the management of UK-wide logistics based projects in the public sector and the establishment of her own events company.

Her last six years have been spent working for the Duke and Duchess of Rutland, responsible for the commercial activities at Belvoir Castle, and overseeing public events, concerts and corporate activities on the estate.

“I am delighted to welcome Helen to the team, we are all really positive about the benefits her appointment will bring to the Company” said McPherson. “Her experience and go-get attitude, coupled with her attention to detail, will not only compliment the internal skill set already on offer, but help reinforce the Company’s position as one of Europe’s foremost transport providers.”

Fresh from the recent re-branding of Milos Group to Area Four Industries the UK operations continues to strengthen their position with the recruitment of Adam Beaumont as UK Brand Manager for Litec JTE, Tomcat and Exe Hoists, Controllers & DST systems.

Beaumont joins from Actus Industries with a wealth of experience in rigging and automation.

He explained, “for over 15 years I have worked closely with Litec and most recently at Actus we assisted with the development of the new range of Exe Hoists, Controllers & DST systems.

To be finally working within the team is a great

opportunity and I am extremely excited for the future with the strength of all our brands “ Area Four Industries UK Sales & Marketing Director, Glen Brown added: “The timing with Adam is perfect with so many changes in our organisation and industry. Our new motto is ‘You know What, We know How’ in reality our aim is to know how and what with new expertise and deeper penetration into markets with our partners. We welcome Adam to our company and look forward to the exciting new era.”

Matthew Payne is among five new starters at Star Events’ head office. Payne has spent the last 14-years delivering events for a range of clients, including Limelight, Sweetspot, Face Partnership, Human Race, London Marathon and EIB. Sport will remain a key part of his focus as Project Manager, building on Star Events’ input to the likes of the Commonwealth Games, the Sky Ride and UCI’s Cyclo-cross.

Sales Manager Laurence Reilly comes to the company on the back of a similar role at SGB. With his wealth of sales experience, Reilly is tasked with overseeing, and further developing, hire and sales of Star’s extensive, multi-platform portfolio.

Health & Safety Manager Adam Wright replaces Steve Richies, who sadly left Star Events due to ill health, CAD Technician Michelle Estabrook expands the design team and Steven Reynolds steps into Operations Support ahead of a very busy summer season.

TPi www.tpimagazine.com/jobs/

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THE BIGGER PICTURE

THE BIGGER PICTURE MOBILISING CHANGE IN AFRICA’S LIVE EVENT TECHNICAL AND PRODUCTION INDUSTRY The first ever Live Event Technical and Production Conference (LETPC) is declared a great success.

The conference was a South African Roadies Association (SARA) initiative supported by the Department of Arts and Culture as anchor sponsor. Minister of Arts and Culture, the honourable Nathi Mthethwa, delivered the keynote address at the event, which took place during Africa Month, from May 3-16, at the Sunnyside Park Hotel in Parktown, Johannesburg.

The main purpose of the conference was to bring transformation to the live events technical and production sector, focusing on the need for a critical upgrade of skills development, sector training and skills interventions in the field. SARA and the conference organisers gathered relevant stakeholders, professionals, practitioners and international market leaders in the events, technical, production and education sectors to discuss the way forward and to brainstorm ways of bringing about change in the sector.

Currently the sector’s skill qualification is only at matriculation level and urgently needs to increase to at least NQF level 5 (National Qualification Framework) to match international standards.

The level descriptors were developed by SAQA (South African Qualification Authority) and agreed to by the Quality Council (Council on Higher Education: General and Further Education and Training Quality Council, and the Quality Council for Trade and Occupation). These descriptors were published in the government gazette in November 2011. They are primarily aimed at qualifications experts, who are involved 82

in developing and implementing the South African NQF. The conference outcomes were clear: 1. Increase skills qualifications to NQF level 5.

2. A forecast of skill requirements within the live technical and production sector.

3. Increase integration and transformation within the live event technical and production industry.

4. Establish a South African Live Events Technical and Production Backstage Academy.

Minister Mthethwa highlighted the value that skills development within the live event technical and production sector holds for young people: “To a large extent, the technical and production side of event management and performing arts is the backbone of the creative and cultural industries. Therefore, the training and skills development of our young people to become experienced technical and production personnel contribute to the development of the character and give purpose to our young people to become small business people who achieve economic self-determination and empowerment. We see this international conference as marking a turning point in highlighting the role and contribution of live events to social cohesion and the national economy.” (To view the minister’s full speech, visit www.letpc.co.za.)

SARA president Freddie Nyathela added: “A successful live music and performing arts industry rides on the back of the technical and production

industry. Without trained and experienced technical operators, no performing arts show can achieve its full potential. The availability of experienced technical and production personnel is fundamental to the growth of any nation’s music, performing arts and creative industries.”

The conference took place over two and a half days. It started with a networking function the evening prior to the conference. Day one of the conference was opened by Minister Mthethwa.

A set agenda and conference format was used.

After each speaker a panel discussion took place, which allowed delegates to debate, share and participate fully in all conference topics. The conference has been recorded and will be made available to the public from this month onwards.

Carefully selected industry topics were addressed by the following local and international guest speakers: • John Botham OBE from Semperior LTD (UK): 21st Century skills for a successful economy and setting up vocational and technology colleges in Africa • Dr Adrian Brooks from Backstage Academy (UK): Live events technical and production qualifications and standards • Randell Greenlee from the German Events Technology Association (VLPT) (GER): Training standards and industry certification • Rashid Lombard from Rashif Lombard Inc (SA): Integrating live event technical and production skills training and skills development in the workplace

www.psa.org.uk Opposite: L-R: PSA’s Andy Lenthall; Kagiso Moima from Blackmotion Productions; Rashid Lombard.

• Nkosinathi Biko and Josef van Schalkwyk from Gearhouse (SA): Building the technical production services industry to international standards • Jacob Maphutha from the Department of Trade and Industry (SA): Transformation and B-BBEE • Oupa Salemane from Events, Technical & Production Transformation Forum (SA): Transformation plan and BEE codes • Pauline Tambling CBE from Creative and Cultural Skills (UK): Building partnerships between the creative industries and education • Andy Lenthall from Production Services Association (UK): Education influences and measuring industry influence • Sharif Baker from Bharooch Events Styling & Management (SA): Understanding the role of and the reason for having a production, technical and stage manager • Frank Andrewartha from Quest Engineering (AUS): Enterprise development and careers guide • Kagiso Moima from Blackmotion Productions (SA): Enterprise development in the live event industry and contributing positively to the African continent • Kevan Jones from South African Communication Industries Association (SACIA) (SA): Professional recognition for AV technicians working across Southern Africa • Peter Stark OBE from Cultures in Regeneration

(SA): Emerging conclusions on Newtown and the creative industry and its implications for live events A few of the guests shared their thoughts on LETPC 2015: “The first LETPC showed us what the level of interest within this sector. Minister Nathi Mthethwa’s involvement and presence at the conference gave it an importance that was crucial to the progress everyone craved,” said John Botham. “SARA worked incredibly hard to bring an idea of a conference to fruition. I fervently hope a strong skills structure results from this conference, as well as the inauguration of a South African backstage academy to uplift the knowledge and skills of the young people in Africa.”

“LETPC 2015 is the most important and inspiring gathering I have attended in South Africa,” said Rashid Lombard. “The move towards establishing a skills academy in live events technical and production, first in Johannesburg and then in all provinces, is an absolute necessity for upskilling our youth.”

“I was both delighted and honoured to be a part of the first LETPC,” said Dr Adrian Brooks.

“The mood at this conference was very upbeat with all the delegates keen and excited about the

prospect of a structured professionals training programme being established in South Africa.”

Nyathela expressed SARA’s gratitude towards all who were involved: “I would like to thank the minister of Arts and Culture, the honourable Mr Nathi Mthethwa. Without his and his department’s support, this conference would not have been possible. I would also like to thank all the local and international speakers, event partners and sponsors, as well as the conference organisers. I am extremely grateful for your dedication to making this such a great success.

All speakers gave their time and knowledge at no cost.” He added: “Looking ahead, we will have a LETPC 2016, and we all remain optimistic that transformation is coming to our sector.”

Without the following event partners this conference would not have been possible: The Department of Arts & Culture, Gearhouse Group, Sunnyside Park Hotel, Silvercam Broadcasts, DreamLenz, HMSS Minute Taking Service, M&M Hiring Marquee and Beautiful Creations Décor & Design.

All speaker presentations are available to view on the LETPC website and a full conference report will be made available to the public by mid-June.

TPi www.letpc.co.za

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The TPi Production Guide

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Tempower

84

Area Four Industries

41

Eaton

39

Hoist UK

52

NorthHouse Films

46

The Powerline

14

Audio-Technica

33

EAW

6

John Henry’s

24

Philips Vari-Lite

BC

Total Solutions Group

43

B+K Braun

68

Eilon Engineering

9

K-array

12

Phoenix Bussing Services

53

Tour Travel

84

Bob Kelly

84

Elation Professional

7

Knight Rigging Services

84

Popcorn Catering

58

Travel 4 Tours

84

BPM SFX

69

Electro-Voice

15

L-Acoustics

IBC

PRG Lighting

86

Truss UK

50

Brilliant Stages

55

Entec Sound and Light

84

Le Maitre

84

Quantum Special Effects

Central Presentations

84

EPS Barriers

51

Leisuretec

4

ChainMaster Creative Technology

5 84

ER Productions Fly By Nite

3 63

Really Creative Media

57 & 59 84

Loadcell Rental

79

Renkus Heinz

35

Martin Audio

29

Rigging Services

84

Wicreations

39

XL Video

84

85

VITAL STATS

VITAL STATS 171 IN PARTNERSHIP WITH

Colin Michael Luke Profession: Senior Project Manager, Load Cell Rental Date & place of birth: April 23 1976, Hereford, UK. How did you begin working in the industry?

It’s actually a running joke that my sixyear-old daughter got me the job! She’s in the same class as Richard’s [Young, LCR MD] youngest son. My interview took place at the local swimming pool while the kids were in lessons, but I didn’t know it was an interview at the time! Shortly afterwards, Richard asked for some help with a little project.

Initially it was a couple of hours when needed but over the coming weeks and months as LCR grew this gradually increased, and within six months I was full time with LCR. The industry hooked me from the start.

“Training is key in any sector of the industry, but not just classroom training, I think on the job programs are the most valuable...”

Load Cell Rental is a fairly new company, what inspired its inception?

Liability and due diligence. Richard had already experienced the benefit of load cells and establishing exact weights rather than calculations. It was apparent that the market place lacked a dedicated load cell rental service which could provide all the relevant back-up paperwork such as testing documentation and calibration certificates. Load cell rental was created to provide a one stop solution with a capacity to weigh even the largest rigs with nearly 250 load cells available. It is designed not only to establish the actual weight of the rig but also to provide peace of mind in relation to H&S legislation. The independent nature of the service gives added credibility to the report and it is proving popular with tours heading to diligent venues, it simply removes the ambiguity over weights.

What kind of specialist services does it offer to the industry?

The service that sets us apart is the weight report service. We also provide technicians for the load in and cell every point of the show, once truss loadings have been finalised we then complete a separate certificate for every individual truss. We record the load from truss types to lights, lasers etc and record the cell and ancillary equipment we have used to get the readings. This means that, should it be necessary, we can prove the serviceability of the equipment used and it also acts as a totally independent verification of the loadings and weights. I hope no one ever needs to, but in the event of something going wrong, it also evidences due diligence, you can’t do any more to establish your loadings than use a load cell, if you have calculated, can you honestly say you have done all you could.

The service has resulted in tours needing to hire extra motors to achieve safe working loads but earlier this year it has also allowed a tour to reduce its motor count for the tour by around 10 motors, the service more than paid for itself on that occasion. Knowing the exact weights, as opposed to calculated weights and being able to test the reduced motor configuration in rehearsals using the cells, was the only way this would be achieved.

86

You’ve worked on some high profile tours so far, besides concert touring, what kind of live events are calling for LCR’s services?

We have worked for a number of festival events with temporary structures, monitoring everything from truss loadings as various productions load in and out, to monitoring guy rope tension on marquees. We have recently set up a system in London, which if a guy rope had lost tension it would alert a set group of people by text as well as sounding a local alarm. The logging software was also capable of determining if SWL (safe working load) had been exceeded during overnight storms when no one is around to monitor the equipment. We have also worked with outward bound centres to establish the tension of a zip wire and hire companies to test inertia effects on specified weights.

If LCR’s kit is being hired out, what protocols must the end user undertake?

It’s the same rule book as for other rigging items, adhering to the SWL of the cell and following the instruction manual. The two systems we stock are actually really easy to use and if advanced features such as peak or trough loading or alarms are required they can be sent pre-configured to provide the client with an easy setup, or we can come along to the load in and set it all up for them.

Rigging is a specialist discipline, which calls for a lot of responsibility. Do you think enough training courses are currently available?

Training is key in any sector of the industry, but not just classroom training, I think on the job programs are the most valuable, and it’s not just about how to make a basket, or set a bridal, but communication - asking the right questions and listening, and understanding that not everyone understands rigging. In fact, everyone should have basic rigging instruction - at the very least, it would avoid load in arguments.

Will LCR be working on any outdoor festivals this year?

We are quoting on a number of projects this year from Ireland to Italy, and in the USA no doubt we will be out somewhere but quite where I am not sure yet. Some of the quotes are based around monitoring truss loadings and others are for temporary structures in windy locations.

www.prg.com/uk

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