TPi March 2017 - #211 by Mondiale Media

DRAKE

Boy Meets World; World Meets Production Elite

TPI AWARDS 2017: THE WINNERS • ON TOUR WITH GREEN DAY • ON THE ROAD: BELGIUM • JBL AT 70 GEAR HEADS: DIGICO SD12 • PET SHOP BOYS LIVE • BACKSTAGE WITH TWENTY ØNE PILØTS • PSA

MARCH 2017 #211

Distributing the industry’s finest brands...

it’s in our dna

For 26 years we continue to evolve to bring you the finest brands of Professional & Commercial Audio, Lighting, Video and Special Effects. We are your one true, trade only distributor and our all-round service means that we deliver for you every time – it’s in our dna. If you are an Integrator, Installer, Re-seller, Hire or Events Company you will not find us competing with you. Let us become an asset to your business.

Just think Leisuretec

Wherever Whatever Whenever Experience • Choice • Value • Service Leisuretec Distribution Limited • Leighton Buzzard LU7 4UH (UK) • Tel: +44 (0) 1525 850085 • www.leisuretec.co.uk

EDITOR’S LETTER

CHAIN HOISTS • CONTROL SYSTEMS • SOLUTIONS

Highs and Lows… This time of year is unlike any other for us. We’re constantly busy creating 17 printed magazines every 12 months, alongside our various websites and events, but our annual awards show is something else. For us, producing a live event - with the incredible help of our suppliers and sponsors - is an opportunity to be behind the scenes and put on the kind of show we usually write about. It blows my mind - every time - how the live production industry takes an idea blurted out over a cup of tea and turns it into a reality, often surpassing original expectations. Thank you for attending, and huge congratulations to all of the people and companies recognised by their peers this year - it’s truly deserved. If you missed the party, you can find the winners on Pg. 12, and the full production profile of the Awards will be featured in our next issue. With talent comes brilliant opportunities but, as is the nature of event building, unfortunate dangers can lurk. There’s a lot of coverage in this issue of tours that have been successfully completed without a hitch, as is thankfully the norm. However, what I really want to pay attention to here is the loss of life that came as part of a tragic accident during Avenged Sevenfold’s (A7X) current outing. A 19-year-old local crewmember from Germany, Marvin Puchmeier, is no longer with us. The PSA’s column on Pg. 138 pays tribute, and aims to support those affected. Our A7X tech profile, from an earlier UK date, is dedicated to Marvin’s memory. It’s been on our minds for the last couple of weeks, and the only thing we can take comfort in is that Marvin was working in a role that he loved, a role that he was clearly respected for. RIP Kel Murray Editor

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

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

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

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

STAFF WRITER Stewart Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk ADVERTISING SALES Georgia Guthrie Tel: +44 (0)161 476 8399 Mobile: +44 (0)7501 597837 e-mail: g.guthrie@mondiale.co.uk ADVERTISING SALES Lauren Dyson Tel: +44 (0)161 476 8360 Mobile: +44 (0)7415 773639 e-mail: l.dyson@mondiale.co.uk EVENT MANAGER - TPi AWARDS Mo Naeem Tel: +44 (0)161 476 8358 Mobile: +44 (0)775 9272 313 e-mail: m.naeem@mondiale.co.uk

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

Frankfurt 4. - 7. April 2017 • Chain Hoists BGV-D8/D8+/C1 • VarioLifts up to 42 m/min • JumboLifts up to 6000kg • Control Systems D8/D8+ • Wireless Control Systems BGV-C1 • Computer Controls SIL3 • Load measuring systems • Rigging Equipment • Trainings • Accessories

Hall 3.0 Booth B30 We are pleased about your visit! WWW.CHAINMASTER.DE

COVER PHOTOGRAPHY Drake by Tom Martin PRINTED BY Buxton Press • www.buxpress.co.uk Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW). Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk www.tpimagazine.com www.tpiawards.com www.tpmeamagazine.com Issue 211 - March 2017

GENERAL MANAGER - TPi MAGAZINE & AWARDS Hannah Eakins (on materninty leave until July 2017) TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2017 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 2017 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.

info@chainmaster.de

CHAINMASTER BÜHNENTECHNIK GMBH

Uferstrasse 23, 04838 Eilenburg, Germany Tel.: +49 (0) 3423 - 69 22 0 Fax: +49 (0) 3423 - 69 22 21 E-Mail: info@chainmaster.de www.chainmaster.de

ITINERARY

EVENT FOCUS 09

Daytime TPi + TPi Awards Winners All the news from the 2017 event.

14 Shockerz ADJ delivers a Dutch dance delight. 16

Adele In The Round Star Events pushes the envelope.

18 Busted The one-time pop punks premiere a new look, courtesy of Tim Routledge. 22

A Day To Remember Adlib provides unforgettable audio.

The NAMM TEC Awards Hollywood Vampires perform live.

Britannia Row Productions New training courses for 2017.

Sennheiser’s Latest Launch The Digital 6000 microphone system.

36 D.A.S. Audio The Spanish manufacturer unveils Sound Force. 38

Hawthorn Celebrates 30 Years TPi attends the tech specialist’s birthday.

PRODUCTION PROFILE 40 Drake The global superstar takes things up a notch from the Summer Sixteen tour.

Pet Shop Boys Es Devlin’s striking show design is modified and taken out on the road.

Green Day The trio goes back to basics for a stripped-down and intimate rock show.

Twenty Øne Piløts Kel Murray goes behind the scenes at Chicago’s United Center.

Avenged Sevenfold Dedicated to the memory of late crewmember Marvin Puchmeier.

ON THE ROAD 98

Stew Hume dusts off his Flemish phrasebook for a Euro road trip.

INTERVIEW

112 Talking shop with NAMM’s Joe Lamond. 120 Dave Rat joins forces with Powersoft.

IN PROFILE 124 Bryan Bradley on 70 years of JBL. 130 Sam Hughes pays a visit to A.C. Lighting.

GEAR HEADS 136 James Gordon gives the lowdown on DiGiCo’s new offering, the SD12.

PSA: THE BIGGER PICTURE 138 Coping With Tragedy.

INDUSTRY APPOINTMENTS

124

140 The latest movers and shakers.

BACK CHAT 146 Luis Berlanga of Fluge Audiovisuales.

TRUCKINGBY UK & EUROPEAN LIVE EVENT LOGISTICS

BRIAN YEARDLEY www.brianyeardley.com

State-of-the-art satellite tracking of our fleet of over 50 modern trucks of all sizes ISO 9001 - 2015 & FORS for London accredited Client friendly, helpful and experienced tour drivers Quality, reliable UK & European trucking services at competitive prices

+44 (0)1977 781884

BRIAN YEARDLEY

glenn.savage@brianyeardley.com

UK I EUROPEAN I GLOBAL LOGISTICS

CONTINENTAL LTD

CONCERTS • FESTIVALS • THEATRE • ROADSHOWS • EXHIBITIONS • CORPORATE EVENTS

EVENT FOCUS

INTRODUCING…

In addition to TPi’s annual Awards festivities, this year we opted to add a brand new event to the schedule, Daytime TPi. The goal of the afternoon was to allow attendees of the Awards even more time to network with fellow guests and, crucially, take time to discuss new ideas and pressing concerns.

Following the PSA’s (Production Services Association) AGM and a relaxed lunch, the day’s sessions began, tackling issues including the mental health and general wellbeing of touring crewmembers to the paradigm shift in technologies within the live events industry. With over a hundred people opting to join in the debate - some of whom were straight off international flights - Daytime TPi endeavors to create an inviting space in which to openly talk about pressing issues and present beneficial ideas that need to be heard. Overleaf we summarise the very first Daytime TPi.

INGENIOUS SOLUTION

No.

725 +

Strictly Come Dancing - Live Tour 2017 AN

INGENIOUS +

When it comes to your 2017 events , tackling tough challenges is what we do best. Welcome to MTFX. The ingenious effects people. 01452 729903 info@mtfx.com www.mtfx.com

DAYTIME TPi

SESSION ONE • LOAD IN, BREATHE OUT Chair Speakers

Andy Lenthall – General Manager, Production Services Association Chris Parry-Jones – Group Director, Human Resources, Gallowglass David NG Lawrence – DNG Production Crew Andy Franks – Tour Manager, Co-Founder, Music Support

The first panel of the day, chaired by PSA’s Andy Lenthall, wasted no time in diving into some of the challenges facing crewmembers today, from long working hours to pensions, mental health issues and dealing with aftermath of an unexpected fatality on a tour. This was far from a simple conversation. Lenthall guided the discussion through the myriad issues offering an optimistic look at the future with some safeguards that could perhaps be put in place to maintain the health and wellbeing of crew and travelling industry members. He commented: “This year one of the main goals that the PSA hopes to achieve is to give greater exposure to mental health, with the message that it is OK to talk about.” Panellist Andy Franks, whose organisation Music Support offers a channel for people in distress, explained: “We never know how issues such as grief or bereavement will affect us and it’s not necessarily the job of a production manager to have all the answers. One of the goals of Music Support is to offer a one-stop-shop to give some help or refer touring personnel to the adequate support.” With such complicated and sensitive issues it’s always hard to draw a logical conclusion. However, one thing that all three panellists agreed on was the need for greater transparency between promoters and productions. Lenthall concluded: “You are not just paying for equipment on a tour, you are paying for people and their time and we have got to be realistic about humans capabilities.”

SESSION TWO • CONCERT TOURING’S PARADIGM SHIFT Chair Speakers

Justin Gawne, Mondiale Publishing / TPi Chief Executive Mike Simpson – Global Application Lead, Philips Lighting Bryan Bradley – Senior Vice President & General Manager Entertainment SBU, Harman Steve Halliday – Business Development Manager UK, Absen

The next panel, hosted by TPi’s own Justin Gawne, was entitled Concert Touring’s Paradigm Shift and focussed on the way our industry is likely to progress in the face of ever-advancing technology. Topics for this talk included the way the internet has transformed how artists earn a living, the future development of video screen tech, and using new tools to create a more inclusive and immersive live experience. For the talk, Gawne welcomed three representatives from leading manufacturers - Harman, Absen and Philips Lighting - to discuss how they are dealing with the rising expectations in technologies. Commenting on the subject was Bryan Bradley, Senior Vice President and General Manager Entertainment SBU, Harman: “At Harman, and other manufactures, there are two things we try to achieve with new technology: firstly to expand the creativity palette available to artists, be that musicians or engineers, and secondly, we try to increase the speed at which a job can be done.” Throughout the talk each panellist seemed incredibly optimistic about the future of entertainment technology, as well as the challenges it could face in the future. As we enter an age of true immersion where audiences are given greater control in the entertainment they choose to consume. This is a discussion that will no doubt continue to evolve.

IF YOU CAN IMAGINE IT, WE CAN BUILD IT.

2017 TPi Favourite Staging Company Thanks to everyone who voted for us!

Concert stages in all sizes. Stageco Belgium N.V. Kapelleweg 6 â&#x20AC;¢ 3150 Tildonk Tel : +32 16 60 84 71 Fax: +32 16 60 10 61 info@stageco.com

Temporary structures for every event.

www.stageco.com

BELGIUM FRANCE NETHERLANDS GERMANY AUSTRIA USA STAGECO TPi Awards AD April2017.indd 1

02/03/2017 10:07

THE TPi AWARDS 2017 WINNERS AREâ&#x20AC;¦

LIVE PRODUCTION OF THE YEAR

FAVOURITE REHEARSAL FACILITY

Coldplay - A Head Full of Dreams World Tour

LH2

sponsored by Blackmagic Design

BRINGING EVENTS TO LIFE SINCE 1968

ENTEC SOUND & LIGHT 517 Yeading Lane, Northolt, Middlesex UB5 6LN, UK • +44 (0) 20 8842 4004 • sales@entecLIVE.com • www.entecLIVE.com

BUSTED

control right from a lighting desk. In many ways, having this IntelliFLEX rig is like having a rig of moving lights and, like all things, you get out what you put in. The cue stack size alone was testament to this effort and attention to every beat of the music.” Routledge also had Claypaky’s brand new SharBar at his disposal, a fixture that got the majority of its stage time during the band’s older, pop punk tracks. He explained: “It’s kind of the modern equivalent of an ACL PARcan bar, with a global tilt and six individual pans. We primarily use them for cutting through skyscrapers or the boys themselves. The lights were flown in from Italy on the last day of rehearsal so we’re one of the first shows to use them.” The skyscrapers were given added depth by two staggered rows of SGM Q7 strobes, situated upstage and downstage, which could also be used to silhouette the band during some of the moodier moments. These were complimented by the rest of the floor package, which was completed by Martin by Harman MAC Viper Profiles and more Robe Spiiders. Although Routledge briefly flirted with the idea of using some form of backdrop to add depth his cityscape, he eventually decided that simplicity was key to the overall look. “We discussed the idea of video but we thought it was an added complication that could also detract from the clean lines. These days a lot of people think show designs are like shopping lists that need to be ticked off in terms of throwing in as much video, special effects and staging as possible,” he said. “I think the cost and the time involved in creating video content may have taken something away from the statement that we wanted to make, particularly in the smaller venues where we wouldn’t have been able to rig it anyway. We had video on last tour but, to be honest, it’s nice for me to go back to being just a lighting designer.” Routledge continued: “I’m mainly known for arena and stadium-sized gigs so it was great for me to go back to being the only creative on this job. I love the thrill of the big shows but they’re layered with so many other creatives and producers that you have less freedom as a designer. This production has given me back that freedom and it certainly equates to a good amount of job satisfaction.” Routledge designed the overhead truss so that the movements could easily be cloned onto in-house rigs wherever possible, thus adhering to the brief from Production Manager Rob Highcroft to make the lighting package as easy to tour as possible. On the original plot, three more MAC Viper Profiles on the front truss were used as individual key lighting to pick out each of the three full-time band members. Lighting Operator Tom Young explained: “The Vipers basically act as our main key on the boys, but we’re not keying in bright

white light as that would destroy the look completely. We’ll almost always key in colours like blue, red or lavender to make sure the show maintains its look.” Young is currently on tour with the show as Lighting Director on behalf of Routledge, with whom he’s been employed directly for three years. Routledge commented: “When we’re not on the road, he’s with me in the office drawing up and designing shows, helping me with WYSIWYG drawings and programming the shows alongside me. He took Busted’s last tour out on the road as well, which was certainly one of the selling points to the band. “Tom is certainly one of the fastest programmers out there and he’s clever with it too - he’s a real asset to have around. He’s been cloning the show off beautifully every night into the house rigs and his work in the programming stage was invaluable,” Routledge said. He and Young spent a week in Routledge’s studio on WYSIWYG to create the initial showfile, before three days of production rehearsals at Cato Music’s facility in Wandsworth. Young continued: “I do a first pass on the songs based on creative ideas from Tim, then he comes in so we can work through and refine it together. We’ve tried to make no two songs look the same in order to combat the disparate styles of music, though the old songs do tend to be a bit flashier. “My work is based around intricate programming and accenting certain parts of the music like subtle cymbal hits. This show is all done to timecode so we can spend time beforehand picking all those accents out. It’s quite a theatrical design in that sense; people may not realise its happening, but we still want them to feel it.” Lighting control came from two MA Lighting grandMA2’s, which spoke to two NPUs via MANet. Data was distributed by sACN down to the stage and out of several Luminex nodes. Young added: The whole network was really stable and the MA2 is always my console of choice. When you’re copying and cloning so much, as well as dealing with lots of timecode, you need something quick and adaptable and the MA2 is just that.” All of the lighting was supplied by Neg Earth Lights, as were Crew Chief George Doherty and Lighting Tech Davide Palumbi. Routledge enthused: “Neg Earth are always wonderful and are my preferred vendor for concert touring. Their attention to detail is exceptional and they are always willing to invest in new technology to help us to deliver something special.” TPi www.busted.com www.timroutledge.co.uk www.negearth.com www.lightinitiative.com 20

Volkstheater Cologne, Germany

This isn’t about new loudspeakers. It’s about bass lovers and partygoers, sports supporters, music fans and absolute clarity connecting congregations; it’s about dynamic daily programs and tireless listening for everyone, every time. It‘s not about the new 24S/24S-D point source loudspeakers and 21S-SUB taking the performance of the installation specific d&b xS-Series to empowering new levels, in cabinets designed for easier aesthetic integration. It‘s about solutions tailor made to task: d&b amplifiers, software, and accessories, all perfectly integrated for highly efficient, versatile solutions. www.dbaudio.com

Welcome to System reality. xS_04_UK(TPI)_297x210_230217.indd 1

23/02/2017 15:07

EVENT FOCUS

ADLIB ENJOYS A DAY TO REMEMBER Adlib’s busy start to 2017 has included supplying a full arena sound system for the European leg of A Day to Remember’s Bad Vibes World Tour, complete with a console package.

Adlib’s Sam Proctor and Mike Flaherty have been working closely with the A Day To Remember’s (ADTR) System Technician Justin Lenards to fine tune an L-Acoustics system each day, ready for FOH Engineer Nate Northway and Monitor Engineer Adam Schuler. The PA was chosen for its power and dynamics to match the intensity of the band. In its largest format, the main hangs were 14 K1’s per side with three KARA downfills. These main hangs were complemented by side arrays of 12 KARA stage left and right. Positioned across the front of the stage were 24 KS28 subwoofers, selected for their extra 3dB of SPL over the standard SB28 subs. The speaker count included a selection of KARA lip fills and ARCS2 infills, and the system was driven by 16 L-Acoustics LA8 amplifiers per side with three LA12’s powering the subs. Northway’s FOH console was a Midas PROX, with a Neutron NB dual network bridge expansion module, giving an additional AES 50 outputs into the DL451 I/O outboard insert rack. A DN9650 multichannel interface was also run as an AES to MADI converter. Onstage, Schuler specified a Midas PRO 9 monitor console while using an Avid Pro Tools rig running various tracks. In addition, two KT DN 9620 AES extenders were run down a fibre multi to the stage, feeding into a DL351 stage rack. All five band members used Shure PSM 1000 IEM’s, with additional monitor mixes provided for the three backline technicians. Singer Jeremy

McKinnon used a wireless Shure UR4D microphone fitted with a Heil Sound RC35 capsule. The European leg of the Bad Vibes World Tour ended in Russia on 18 February. TPi Photos: Adam Elmakias www.adlib.co.uk

Come see us at Prolight + Sound 4-7April 2017 Stand F50 Hall: 3.1

New from DiGiCo

SD12 SETTING A NEW STANDARD

Predictably Stunning In 2015, DiGiCo launched its compact S-Series, which boasted a modern workflow at an affordable pricepoint; last year, the whole SD Range became much more powerful thanks to the introduction of Stealth Core 2

Main Features 

72 input channels with full processing



36 aux/grp busses with full processing



LR / LCR bus & 12 x 8 Matrix

The new DiGiCo SD12 doesn’t just re-write the book on



12 FX processors & 16 Graphic EQs

compact multi-application consoles, it simply rips it up



119 Dynamic EQs, 119 Multiband Compressors, 119 DiGiTuBes



Advanced surface connectivity with optional DMI cards



UB MADI & optional Optics

Software across the board; now, in DiGiCo’s 15th year, meet the new and predictably stunning SD12.

and starts again.

www.digico.biz DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600

SD12 Total Production TPi 3-2-17.indd 1

02/03/2017 15:35

EVENT FOCUS

32 ANNUAL NAMM TEC AWARDS ND

The busy evening ceremony saw awards presented to industry stalwarts like Aerosmith’s Joe Perry, producer & engineer Jack Douglas was inducted into The NAMM TEC Hall of Fame and the crowds were treated to performances from acts such as Hollywood Vampires.

Comedian Sinbad returned as host for the annual awards, which boasted a roster of guest presenters including Johnny Depp, Lita Ford, The Foo Fighters’ Rami Jaffee & Jessy Green, Om’Mas, Jerry Harrison, Geoff Emerick, Jeff Greenberg (Village Recorder), and Eric Boulanger. Winners in 31 technical and creative achievement categories were announced at the 32nd Annual NAMM TEC Awards, which was presented by the NAMM Foundation and held on 21 January in Anaheim, CA. The event celebrates the best in professional audio and sound production and is held during The NAMM Show, the world’s leading global music industry trade event. Four companies, AVID, iZotope, Sennheiser and Solid State Logic scored several Outstanding Technical Achievement awards, each taking home two statues each. AVID’s Pro Tools Dock and Pro Tools 12.3 picked up in Workstation Technology and Audio Apps & Hardware categories; iZotope in a new designation: Audio Education Technology, for the company’s Pro Audio Essentials and the Ozone 7 Advanced in the category of Signal Processing Software; Sennheiser in Wireless and Headphone/Earpiece

Technology categories for the Wireless G3 A-1 Band and the HD 25 Plus and finally Solid State Logic for Large and Small Console Technology categories for the System T and the Sigma Delta. Outstanding Technical Achievement honours were chosen in 23 categories. Game Of Thrones returned for its second win in a year for Outstanding Creative Achievement in the Television Sound Production category. David Bowie’s Blackstar won in two categories, Record Production Album and Single, while several Star Wars-themed projects beat out the competition as well: Star Wars: The Force Awakens from Lucasfilm won for Film Sound Production while Star Wars: Battlefront won for Interactive Entertainment Sound Production. Outstanding Creative Achievement honours were chosen in eight categories. Joe Perry, one of music’s most significant artists and executives, received the evening’s highest honour, the Les Paul Award, presented to remarkably-distinguished and accomplished individuals from the music industry. Hollywood Vampires bandmate and actor Johnny Depp presented him with the award, then joined Perry, Brad Whitford, and Alice 24

NAMM TEC AWARDS

Opposite: Hollywood Vampires performed with frontman, Alice Cooper; Bandmember and actor Johnny Depp presented Joe Parry with the 2017 Les Paul Award.

Cooper on stage for a live performance. Perry dedicated the award to his Manager, Howard Kaufman, who recently passed away. Keeping it in the family, famed Aerosmith engineer and producer Jack Douglas also became the newest inductee to the NAMM TEC Awards Hall of Fame. Douglas engineered and produced many multi-platinum associated for many of Aerosmith’s most iconic releases and is affectionately dubbed ‘the sixth member’ of the band. Taking care of the technical details in the venue, the Pacific Ballroom at the Anaheim Hilton - which measures at 29,000 sq ft was home to the TEC Awards. The event was serviced once again by Freeman AV, technical supplier for both the TEC Awards and NAMM itself. Additionally, GeerFab Acoustics, a full-service acoustic design and manufacturing company, treated the room where the awards, and live performance took place. Screen content was provided by Video 4 Creative. The lighting rig was comprised of Martin by Harman Quantum MAC Profiles, Robe Robin 800 LEDWashes and a mix of 8-inch and 6-inch generic fresnel fixtures, operated on a High End Systems Full Boar 4 console. Lighting Director Marc Powell told TPi: “We needed a design that worked well on camera for meetings, award shows and performances. I tried to approach this design as I would a TV studio setup. I laid down a base wash with 6-inch and 8-inch fresnels, then added some Lekos for highlight and specials when needed. I used the Robe Robin 800 LEDWashes from the back to add colour to shoulders and give a completely different feel between the morning meetings we had in the room, the performances, and the award show sections. One of the main issues we have with this show is rigging. There just isn’t enough support in the ceiling of the venue to hang what we would like. For this room, I am constantly making fixture choices almost solely based on availability and weight. The main reasons we use the Robe Robin 800’s are the zoom range and the fact that they are lightweight. I used to use VL 770’s as my spot fixtures for this show. This year I took a suggestion from the shop and used the MAC Quantum Profiles. They were available, used less power, are bright enough, have an acceptable zoom range, and were lightweight enough to sub into the rig. Needless to say, for this application, I love them. They fit much better with the show and will be a permanent addition moving forward. “I learned to program automated fixtures on a Whole Hog 2 and have stuck with the Hog line ever since - the Hog 4 Full Boar fits this show well. The console makes live programming and off the cuff changes easy to deal with. Most of the ‘performance’ sections of the show are programmed live and the Hog allows me to program backgrounds to the central LED walls with some base stage looks and effects.” The video package included a Barco Encore video processor and Green Hippo Hippotizer media server running V3 Grass Hopper software, two 10ft x 60ft screens for outboard (with a four-projector blend on each) and a centre screen of Absen LED wall tiles. Content was created by Denise Gallant and Kevin Monahan at Video 4 Creative. They created nominee reels for over 30 award categories, the biography / documentary shorts for the special awards including the TEC Hall of Fame and Les Paul Award, and a variety of other clips such as the sponsor reel, credit rolls, and the TEC History minutes, of which there were three different screenings. As the technical producer for the show, Wes Lane worked very closely with Executive Producer, Pete Johnston, to help realise the vision of an environment which not only showcases the achievements of the nominees and award winners, but one which also provides an entertaining and informative social gathering for industry professionals to meet face to face and reflect on the previous years’ achievements. He commented: “Being the TEC Awards at the NAMM Show sets the bar extremely high for live sound production. Every person in the room is truly an expert in their field, and most are involved in some sort of audio technology. We had auditioned several audio systems in that room, and the NEXO system provided everything we needed. Due to its wide dispersion pattern, and its compact form - it fit the bill perfectly. The main and out fill boxes were NEXO GEO S12’s, centre fills were NEXO PS15’s, and subs were NEXO RS18’s. “The main reason for selecting the NEXO System was its ability to perform well under the most demanding of circumstances. Spoken word and live music are at completely opposite ends of the spectrum 25

NAMM TEC AWARDS 2017

Areosmith’s Joe Perry; Host, comedian Sinbad.

when it comes to amplification, so we needed a system that could provide the clarity and natural tones required for the award presenters and acceptance speeches, while still being able to deliver the punch required for a full-on rock show.” For the 16 channels of wireless microphones, Shure’s Axient Wireless Systems were chosen. Axient features technologies that drive a range of innovative wireless system capabilities. Individually compelling, these features collectively represent forward-thinking innovation by Shure, and realise the most complete vision yet for the integration of RF management and control solutions in a single wireless platform. Stage monitors were d&b audiotechnik M4’s. Lane commented: “The M4 is a 2-way high performance stage monitor employing an integrated

15-inch low frequency and 1.3-inch exit horn loaded high frequency coaxial driver design that utilises neodymium magnets. The constant directivity dispersion of 50° x 70° which this unique horn provides, delivers an accurately defined coverage area on stage.” For mixing consoles, four Yamaha CL5’s (two at FOH, one at Monitors, and one for the broadcast / recording mix) were specified. “These consoles communicate with each other on a Dante network so programming changes and channel assignment made on one console are received universally. In June 2013, Eric Geer was Sponsorship Director for the TEC Awards and his company GeerFab Acoustics won a Best in Show Award for the original MultiZorber product. At that time, an agenda item for the TEC Awards was

NAMM TEC AWARDS

to find a sound consultant to optimise the room. Geer stepped in: “I had already formulated a plan in my head from working on three previous TEC Awards shows so I proposed a solution that could be installed before NAMM week and dismantled post-NAMM and put into storage until the next year. The layout is the same now in its 4th year.” A total of 274 2-inch thick MultiZorbers - made from fibreglass wrapped in black sailcloth with various configurations of grommets for hanging were used to tame the acoustics of the room: 131 4-ft x 9.5-ft hung with zip ties on box trusses around the perimeter – 1 ft from ceiling and 1ft from the walls, which created a 700ft long bass trap. A total of 45 4-ft x 8-ft units were placed along the back wall behind engineering / production stations and 58 4-ft x 2-ft MultiZorbers were hung from the ceiling. Another 40 4-ft x 8-ft were laid flat on box trusses above stage, again secured with zip ties. Geer commented: “The installation of 274 MultiZorbers is a testament to NAMM’s vision and commitment to the technical excellence and creativity that TEC stands for,” he concluded. Pete Johnston, Executive Producer of Special Events summed up the event: “I felt that this year was one of the best TEC Awards, (if not the best) that I’ve witnessed to date. Sinbad was the perfect host with his ability to infuse humor and his deep understanding of our industry. I feel like we continue to add value to the TEC Awards for the companies who are

nominated. This pro audio community has become an integral part of The NAMM Show and this event is important for them and for us to continue to grow the pro audio sector. “Live shows are never perfect, but I was very proud of our crew and the quality at which we were able to deliver to the audience. It’s very important for us to have top notch audio quality in this show as we are there to honor the companies that make it all possible. “It’s not easy to produce, mix and deliver a ‘rock’ show at a decent audio level without blowing everyone’s ears out, but I felt like we were able to do that at a high level this year. We were really focused on making sure that we did not clip our db ceiling. I also felt like the crowed really enjoyed the pace and the entertainment of the show. I heard more than one audience member gasp as the celebrities continued to flood our stage. I was very happy with the outcome of this year’s show.” TPi Photos: Getty www.tecawards.org www.namm.org/thenammshow www.freeman.com www.geerfab.com www.video4creative.com

CREW: Executive Producer - Pete Johnston Technical Producer - Wes Lane 5th TEC Awards Lead Audio Engineer / Broadcast Mixer – Max Gross 5th TEC Awards Live Sound Engineer - Scott Rodgers 5th TEC Awards Monitor Engineer – Stuart Sanders 3rd TEC Awards Video Engineer In Charge / Camera Switch - Dean Daniels 5th TEC Awards

Live Screen Blending Engineer – Kent Worley 5th TEC Awards Video Playback and Graphics – Kait Robison 3rd TEC Awards Lighting Director - Marc Powell 5th TEC Awards Projectionist – Alex Ayers 5th TEC Awards Video Content Creators - Denise Gallant & Kevin Monahan Director, Pro Audio Relations & Acoustic Expert - Eric Geer

NAMM TEC AWARDS

THE NAMM TEC AWARDS 2017 WINNERS TECHNICAL ACHIEVEMENT Amplification Hardware - Studio & Sound Reinforcement Crown • XLS DriveCore 2 Ancillary Equipment Rupert Neve Designs • RNHP: Precision Headphone Amplifier Audio Apps & Hardware/Peripherals for Smartphones/Tablets AVID • Pro Tools | Dock Audio Education Technology – (new category) iZotope • Pro Audio Essentials Computer Audio Hardware Universal Audio • Apollo Twin USB Interface DJ Production Technology - Hardware/Software Native Instruments • TRAKTOR Kontrol S5 Headphone / Earpiece Technology Sennheiser • HD 25 Plus Large Format Console Technology Solid State Logic • System T Microphone Preamplifiers AMS Neve • 1073DPX Microphones – Recording Schoeps • ORTF-3D

Microphones - Sound Reinforcement Shure • KSM8 Dualdyne Musical Instrument Amplification & Effects Softube • Marshall JMP 2203 Musical Instrument Hardware Moog Music • Mother-32 Musical Instrument Software Softube • Marshall Bluesbreaker 1962 Signal Processing Hardware Warm Audio • WA-2A Tube Opto Compressor Signal Processing Hardware (500 Series Modules) API • 512V Signal Processing Software (Dynamics / EQ / Utilities) iZotope • Ozone 7 Advanced Signal Processing Software (Effects) Soundtoys 5 Small Format Console Technology Solid State Logic • Sigma Delta Sound Reinforcement Loudspeakers Meyer Sound • MJF-208 Stage Monitor Studio Monitors Genelec • 8430A IP SAM

Wireless Technology Sennheiser • evolution Wireless G3 A-1 Band Workstation Technology / Recording Devices AVID • Pro Tools 12.3

CREATIVE ACHIEVEMENT Film Sound Production Lucasfilm • Star Wars: The Force Awakens Interactive Entertainment Sound Production DICE / Electronic Arts • Star Wars: Battlefront Record Production - Album David Bowie • Blackstar Record Production - Single David Bowie • Blackstar Remote Production - Recording or Broadcast CBS • 58th Grammy Awards Studio Design Project Walters-Storyk Design Group Boston Symphony Orchestra Control Room Television Sound Production HBO • Game of Thrones Tour/Event Sound Production Sting and Peter Gabriel • Rock Paper Scissors North American Tour

Reinventing the large sound system

Do things you could never do before AiRAY achieves an impressive downsizing while providing higher SPL and better directivity control than any large format system existing before. Groundbreaking innovations including the newest generation DDP drivers, AiCOUPLER and extremely efficient 12” cone drivers make AiRAY the world’s most advanced high-output sound reinforcement system. The result is more than just a new line array. It’s the future of line array.

THE NEXT BIG THING! in t am Ma r fu k n a r F Hall 3 4-7 April D80 o. Booth N

SPIDERS ALL OVER THE WEB w w w. s p i i d e r.c z

ROBE_210x297_6mm_ADVERT_ka02.indd 1

7.3.2017 9:21:21

EVENT FOCUS

BRITANNIA ROW PRODUCTIONS Favourite Sound Rental company at the TPi Awards 2017, Britannia Row Productions, announce training courses for 2017.

enhance their knowledge and skills, and those working in symbiotic areas such as audio equipment manufacturing or live production who would benefit from a greater understanding. Britannia Row Productions Training 2017 course dates are as follows: Live Sound Fundamentals, 21st January - 13th May; a part time course in Twickenham held every Saturday for 16 weeks with a one week break for Easter. The course has started but bookings are still being taken for individual one-day sessions. Live Sound Intermediate, 22st January - 14th May; a part time course in Twickenham held every Sunday for 16 weeks with a one week break for Easter. The course has started but bookings are still being taken for individual one-day sessions. Live Sound Fundamentals and Live Sound Intermediate Courses will also be run in the Autumn of 2017. Dates to be announced. Live Sound Technology Course, 3rd April - 30th June; a 12 week full time course in Wandsworth with a week break for Easter. BSc Hons Degree Course in Live Sound Production, 2nd October 2017 â&#x20AC;&#x201C; 2020; a three year course in Wandsworth. TPi www.britanniarow.com

Britannia Row Productions Training is running its core 12 week Live Sound Technology Course (LSTC) from early April. The 2017 course will primarily be delivered from South Thames College in Wandsworth, with sessions at Britannia Rowâ&#x20AC;&#x2122;s main headquarters in Twickenham, and some on site at shows. The tutors delivering the course will be Britannia Row staff & freelance engineers and technicians. The range of courses offer a variety of learning options for those wanting start a career in live sound, those already working who wish to

EVENT FOCUS

SENNHEISER’S DIGITAL 6000 TPi visits Sennheiser for the launch of its Digital 6000 microphone system. Incorporating the acclaimed Long Range transmission mode and proprietary audio codec from Sennheiser’s top-of-the-range Digital 9000 series, Digital 6000 delivers impeccable RF wireless and audio performance. At the same time, the system fulfils the business need of rental companies, theatres, broadcasters and houses of worship for a flexible two-channel wireless solution that allows the use of existing accessory infrastructures. Designed for demanding live productions, Digital 6000 also addresses the challenges of the shrinking UHF spectrum. The system eliminates intermodulation, enabling more channels to operate in less spectrum space. Tom Vollmers, Product Manager at Sennheiser: “Digital 6000 is a wireless system that is all about performance. It brings the benefits of the Long Range mode of our benchmark Digital 9000 system to a two-channel receiver, while allowing the use of standard UHF antennas and existing Sennheiser capsules or microphones. Integration into analogue and digital workflows is seamless, and the fact that frequencies can simply be placed in an equidistant grid will help users in congested RF environments a lot.” The Digital 6000 series comprises a two-channel receiver that is available in two different versions, a bodypack and a handheld transmitter, and a rack-mount 19” charging unit. The receiver’s switching bandwidth of 244 MHz (470 to 714 MHz) is covered by three transmitter versions (470-558 MHz, 550-638 MHz, and 630-718 MHz). Up to eight receiver units can be daisy-chained without the need for an additional antenna splitter; the multi-channel system will work with a single pair of antennas. System latency is three milliseconds. Digital 6000 is compatible with Digital 9000 in long-range mode and with the EK 6042 digital / analogue camera receiver. Greg Beebe, Director of Live Performance and Music, discussed where

the new product fit in the current market: “The previous Digital 9000 is very much flag ship model for Sennheiser as an eight channel of digital wireless. What the 6000 model brings to market is scalability offering a two channel solution, ideal for the rental market. “Prior to the launch we had already sent out some samples in the field for three months to gain some feed-back on how the system faired. We got some really positives comments during those early.” This in the field experience was also highly valued during the creation of the Digital 6000 as was seen with the appointment of Tom Vollmers as Project Manager: “Tom has had years of experience within the live events sector,” explained Beebe. “He was brought into Sennheiser for the soul purpose of adding some in the field knowledge to our development process. His presence was incredibly valued by our developers and I think the product is all the better for it.” Vollmers commented: “I was brought into the company one and a half years ago, this being by first project for Sennheiser. I come very much from the touring world so it was a challenging transitions coming into the corporate side of the industry but I learned a lot. I think it is something that other companies should do. If you want to produce products that your customers need, one of the best ways is to bring them into the creative process.” SUPERIOR RECEPTION, RELIABLE AUDIO Reliability has always been a hallmark of Sennheiser wireless systems, and Digital 6000 is no exception: true bit diversity, transmission error correction and additional intelligent error concealment make this a system to rely on. True bit diversity is a diversity technique that ensures a far better reception quality than other diversity techniques, for example switching 32

TPI_E-Series_QU03.indd 1

7/11/2016 8:37:09 AM

SENNHEISER DIGITAL 6000

Soul Singer Anna Rossinelli showcasing the capabilities of the new system; Axel Brisard Customer Development and Applications Engineers Systems Solutions Channel for Sennheiser France; Dr Andreas Sennheiser; Tom Vollmers as Project Managerfor the Digital 6000.

diversity or true diversity. While the latter either use the RF signal of a single antenna or the audio signal of a single reception path, true bit diversity combines the information content of both reception paths for an optimum signal. A Link Quality Indicator on the receiver informs the sound engineer of any issues. If, as in difficult RF environments, the signal should get temporarily corrupted to such an extent that the transmission error correction can no longer repair it, the intelligent error concealment of Digital 6000 sets in. It employs intelligent learning algorithms to replace the corrupted part, enabling Digital 6000 to still transmit flawlessly where other digital systems fail. For data security, a feature that is particularly important for conference and corporate use, Digital 6000 features switchable AES 256 encryption, with the transmitters also supporting the proprietary encryption of the Digital 9000 system. USING EXISTING INFRASTRUCTURES AND ACCESSORIES Digital 6000 has been designed to keep additional investments as low as possible. Existing antenna infrastructures can continue to be used as the system works with standard active and passive wideband UHF antennas, with the highly frequency-selective input filters being contained in the EM 6000 receiver. The Digital 6000 transmitters use the same high-performance rechargeable accupacks as their Digital 9000 counterparts. The SKM 6000 handheld transmitter features Sennheiser’s standard capsule interface - it can therefore be used with any microphone head from the evolution wireless Series, the 2000 Series, and also with the special 9000 Series heads. The SK 6000 bodypack excels as a high-end solution for wireless instruments such as guitar and bass, or is ready to use with a variety of Sennheiser clip-on microphones and headmics. These include the MKE 1 and the digital-transmission versions of the MKE 2 and MKE 40 clip-on microphones, plus the SL Headmic 1 and the HSP 4 headmic as well as the upcoming digital-transmission version of the HSP 2.

equidistant grid, Digital 6000 is fitted with an automatic frequency set-up function to make the job of the monitor engineer or dedicated RF engineer easier. As usual, the Sennheiser Wireless Systems Manager (WSM) software can be employed to control and monitor the wireless system. The receiver’s operating controls have been modeled on the well-known EM 3732 to ensure straightforward operation. A new, user-friendly menu control with a bright, white OLED display gives a quick overview of the RF signal, link quality, audio signal, battery status, frequency, transmitter name and encryption. Several home screens provide easy access to further information, without the user having to navigate through submenus. Critical operating conditions and error messages are directly indicated on the display. SMART CHARGING SOLUTION The series’ L 6000 charging unit is a 19”/1U mainframe device that can be fitted with up to four charging modules as required, each of which recharges two bodypack or two handheld batteries, respectively. Three-coloured LEDs on the front panel give a quick overview of the charging process for each battery, while two additional LEDs monitor the device status. More detailed information as well as additional parameters such as battery runtime, charging cycles and remaining capacity can be accessed via the Wireless Systems Manager. The L 6000 charging unit can also be used for Digital 9000.

EASE OF USE FOR THE ENGINEER In addition to making it possible to plan frequencies simply in an

Photos: Courtesy of Sennheiser http://en-uk.sennheiser.com

SEAMLESS WORKFLOWS Digital 6000 integrates seamlessly into digital or analogue system infrastructures. The EM 6000 receiver is fitted with a digital AES-3 output with wordclock in/out, high-quality transformer-balanced analogue XLR-3 outputs and ¼” (6.3 mm) jack outputs. Its Dante counterpart, the EM 6000 Dante offers an additional Amphenol RJ-45 connector for integration into a Dante network. TPi

SEE US AT TSERIES B SERIES M SERIES

TSERIES

B SERIES

M SERIES

>> >> >> >> >> >>

compact and efficient horn tops with an extensive range of accessories exchangeable and rotatable horns for more flexibility TW AUDiO subwoofers - each one optimized for its area of application available from the compact 10“ B10 to our double 21“ BSX

FRANKFURT AM MAIN | GERMANY

multifunctional loudspeakers with dozens of application possibilities rotatable coverage angles of 90 x 60* and 75 x 50**

4.-7. APRIL 2017

HALL 3.1 | STAND E20

INTRODUCING iSERIES

*M6 and M8 **M10, M12, M15

www.twaudio.com www.twaudio.com

MADE IN GERMANY

TPI_PLS_March_2017.indd 1

06.03.2017 16:48:39

EVENT FOCUS

D.A.S. AUDIO D.A.S. Audio recently took the audio world by storm with the launch of its new Sound Force systems at a spectacular event held in Madrid, Spain.

Around 200 professionals from across Spain, and visitors from countries inlcuding France, the UK, Morocco and Italy made the trip to Arganda del Rey to attend the event, which was celebrated at the magnificent Plató Louladi set at the Fluge Audiovisuales facility. The event was hosted by renowned DJ and radio announcer DJ Neil, along with special guest Daniel Neumann, the prestigious sound artist and audio engineer known for his work with artists such as David Guetta and Diamanda Galás. The New York City-based engineer was born in Germany, originally studying music at the Academy of Visual Arts in Leipzig and electronic music composition in Italy, which lead to his pioneering work in exploring conceptual and often collaborative strategies to modulate the environment with sound. Neumann shared a stage with D.A.S. Audio Head Engineer Javier Navarro and Live Events Engineer Joel Damiano. Neumann and Damiano discussed the main features of PA systems at large-scale, high-level events like major festivals and concerts, while Javier Navarro focussed on the features of D.A.S. Audio’s new line-up of Sound Force products, underscoring the unparalleled performance of these “systems designed for state-of-the-art clubs”. The range is now comprised of 10 units, including the SF-M 4-way DJ monitor, the SF-10 and smaller SF-26 2-way passive systems, the SF-20A powered mid-high system, the SF-158 3-way full-range system, and the SF-112 3-way passive system. Low frequencies are also catered for by the

Sound Force range, with the SF-1521A powered 2-way subwoofer, the SF215 bass-mid passive system, the SF-221 hi-power Ultra LF, and the beast that is the SF-30A powered subwoofer system. Cabinet construction for the Sound Force series is consistent with the D.A.S. pro systems standards, using birch plywood and the durable ISOflex coating. System details can be painted in Pantone colours by special order, while threaded rigging points are available on the SF-112 and SF-215 cabinets to facilitate flying. The day’s talks were followed by a spectacular promotional video and the highlight of the show: four impressive Sound Force systems set up in the four corners of the set were unveiled for a hard-hitting demo of their impressive power set to the audio of the video. The audience was treated to a surprising display of the earth-moving capacity and response of the systems as a whole and particularly the 30-inch powered subwoofer. The demo was immediately followed by a DJ session by the charismatic and energetic DJ Nano. The 30-minute-plus electronic music set showcased the SF systems in their element, a mega club at full capacity, an outstanding way to feature both the unmistakable sound of DJ Nano and the singular performance of D.A.S. Audio’s SF systems. TPi Photos: D.A.S. Audio www.dasaudio.com 36

seven

96 Inputs and 56 Busses With 48 configurable busses assignable as Group, Stereo Group, Aux, Stereo Aux or Matrix.

Intuitive Dual 23.5” optically bonded touch screens display the exceptionally intuitive “high agility” graphical user interface.

Introducing the CDC seven

Enhances the exceptional

Low Latency Less than 0.4 millisecond from input to output including fully automatic 3 stage latency management to ensure phase coherency.

Custom Fader Layers User definable layers, or groups, of any mixture of inputs, busses, VCAs and Monitor faders.

Waves on Board Integrated Waves card, fitted as standard, provides direct connectivity to Waves SoundGrid technology.

The CDC seven takes the CDC six format a step further by providing dual screens, increasing the number of faders to 36 and expanding the input count to 96. It still retains the incredible human interface of the CDC six, resulting in a minimal learning curve, but provides the user with the luxury of an expanded physical user interface. As a result the CDC seven is an incredibly attractive proposition for those who demand something that stands head and shoulders above the norm.

Cadac Holdings Ltd. One New Street, Luton. Bedfordshire. LU1 5DX. England. Sales Tel: +44 1299 488808 Head Office Tel: +44 1582 404202 cadac-sound.com

Cadac CDC seven.indd 1

16/09/2016 11:48:43

EVENT FOCUS

HAWTHORN THEATRICAL TURNS 30 Hawthorn celebrated turning 30 in style on Saturday 4 February, when more than 500 of its clients, suppliers and colleagues partied the night away at the company’s Leicestershire HQ. TPi’s Kel Murray and Ste Durham attended the event.

The full service technical production company drew on its expertise to transform its 105,000ft warehouse space into a glamorous party venue where guests enjoyed a night of fun, food and drink. Guests were kept entertained throughout the evening with a live band, karaoke, retro games and cocktails galore. Delicious food was served by Smart Hospitality and guests were treated to a menu of special themed cocktails kindly donated by Ambersphere. Chris Green, Lighting Designer for the event, made full use of the inhouse inventory, showing off fixtures such as the Claypaky A.leda B-EYE K20 & K10, Alpha Spot QWO 800 and over 100 pendant lights with squirrel-cage lamps. Green’s desk of choice for the evening was a Tiger Touch Pro lighting desk. To make sure the audio quality was on top form, Rob Allen, Hawthorn’s Group Head of Sound, installed eight boxes of d&b audiotechnik V-Series (four per side), T10 front fills, T10’s in cluster format as delays and 6 V-SUBs. These were run from D80 amplifiers and a DiGiCo SD8 desk with Stealth Core2. Monitor speakers were Martin Audio LE1500’s, run from Powersoft X4’s. The company was formed in 1987 after Martin Hawthorn spotted a gap in the market for a top quality technical equipment hire company that

could also provide excellent customer service. 30 years on, and having acquired well known technical supplier Core Creative, Rex Howard Drapes and production house Anagram, Hawthorn is currently celebrating a record year, turning over £18 million in its last financial year. Martin Hawthorn, Managing Director of Hawthorn, said: “After 30 years we have so many long-term customers and felt it was important to thank them for their business and recognise our valued suppliers. “I’d like to say a huge thank you to our partners and colleagues who have been so generous in their sponsorship for our 30th anniversary party, helping us to really make it a night to remember. “Our 30-year anniversary is a great opportunity to not only share and celebrate our history but also look to the future. Hawthorn continues to grow and that’s a true testament to the hard work and creativity that the company bases itself upon.” The party was sponsored by Five Star, Ambersphere, Barco, Chauvet Professional, Doughty, KB Event, Panasonic, Ten47 & Lex, SGM, Fly By Nite, Entertec, Lightware, GDS, ETC, Crewsaders, Prolyte, SES, Harman Professional, Ampco Flashlight and TMB. TPi www.hawthorn.biz 38

DRAKE: BOY MEETS WORLD Grammy-Award winner, platinum-seller, record-breaking chart-topper; since emerging from the world of television acting in 2008, Aubrey â&#x20AC;&#x2DC;Drakeâ&#x20AC;&#x2122; Graham has risen to the top of the global hip-hop scene, securing a place as cultural icon and collaborative driving force, all the while building a dedicated and influential following. Pete Brewis reports.

PRODUCTION PROFILE

DRAKE

Below: Demetrius Moore’s DiGiCo SD7 at FOH.

Having concluded his phenomenally successful 2016 North American MANAGING THE MATH Summer Sixteen tour alongside American rapper Future, Drake turned Ensuring the smooth running of this entertainment juggernaut are his attention to Europe and the creation of an audio-visual spectacular Production Manager Chris Roberts and Stage Manager Paul Lovell-Butt. worthy of his devoted fans across the pond: Boy Meets World. Roberts has worked with Drake since the Canadian star’s 2014 tour with Lil “It’s about the experience,” Drake notes in his official web-bio. “If Wayne, but this run has proved a step up from previous outings. “It’s the the city isn’t talking about it five, six, seven days later, or if people don’t immensity of it,” said Roberts. “There’s definitely a lot more mathematics remember it for years to come, then I haven’t done my job.” This is the ethos than your normal tour, especially with a crew this size and the amount of at the heart of all Drake’s tours. Evolve; improve; create a show that your local crew you have to bring in. And because there’s so much stuff and so fans will remember. small a floor, everything has to be timed a lot In many ways this Boy Meets World tour is more than for a normal tour. 10 trucks: simple; an evolution of Summer Sixteen. As those same 40 trucks: totally different.” devoted fans began to amass outside Sheffield One look at the fleet of 11 Beat The Street Arena, several hours before lights-up on Drake’s buses and 41 Fly By Nite trucks parked outside 12th UK date, the crew inside were finishing the confirms the scale of the operation, one that load in and fine-tuning of a show that promises relies on a tight team that can adapt quickly on total lighting and sound immersion on an the fly to keep things flowing. impressive scale. While some elements will be “It’s one of the biggest tours we’ve ever done,” “It’s about the experience. If the familiar from the US tour, Drake’s constant push enthused FBN’s Matt Jackson, noting how only city isn’t talking about it five, six, to improve on past triumphs has resulted in Lady Gaga’s Monster Ball production required a ramping up of lighting and effects, with old this many vehicles from its fleet of 120 to be out seven days later, or if people favourites tightened up and new ones added. on one tour “Working with Paul Lovell-Butt from don’t remember it for years to Arenas filled with floating bubbles of light and a our time with Lady Gaga was key to securing finale set around the gentle death of a giant sun this contract; we know him really well. It’s been come, then I haven’t done my (more of which later) combine to make this a a high profile job for all of us, and we’ve had job.” completely new beast - and one requiring some a great team of over 40 drivers working on it. Drake expert logistical grappling. They’ve travelled through all major European 42

dot2

THE ESSENCE of MA Lighting

The new Range of Lighting Control Solutions from MA Lighting: www.ma-dot2.com

UK Distribution: Ambersphere Solutions Ltd · Phone: +44 (0) 208 992 6369 info@ambersphere.co.uk · www.ambersphere.co.uk

DRAKE

cities, and although the distances haven’t been particularly far, we’ve needed extra drivers to load-in days at some venues.” The FBN trucking team was led by Lead Driver Phil Linfield and Assistants John Burgess and Richard Emeney. BTS provided a total of 11 busses; 1 Star bus, 1 Entourage Bus, 2 Band busses and 7 crew busses, taken care of by Joerg Philipp in the company’s Austrian HQ. BTS’s Ian Massey commented: “We also take care of Drake’s ground transport in the UK and across Europe, which is overseen by Mark Baddams and myself from our UK Ground Transport office. Things change constantly for the Artist party and we have to be available 24 hours a day, but we pride ourselves on a seamless service.” “It’s a group effort”, added Roberts, noting that while he focuses on the advancing of the other shows, it is Stage Manager Lovell-Butt who ensures the day-to-day stays on track. “Paul’s definitely important because he’s the one who actually gets it in and gets it out,” Roberts said. Lovell-Butt, in turn, is quick to praise his crew. “It’s a tight team,” he said. “And it’s a family thing, because everyone helps each other.” This is especially true of the load out, he said, where the sheer mass of truss laden with hundreds of Glow Motion LED balls means every extra pair of hands is welcome. “Lighting guys jump in, winch guys jump in, everyone jumps in to help - and that’s what its all about. Everyone helps each other and that’s the gel that keeps this all together - it’s how we’re able to do this.” On average the crew will come in at 7am and are done by 3, with a quickest load out standing at 2 hours and 55 minutes not bad for 40 trucks. The hand-picked crew comprises the same core that worked on the American tour, but augmented with local teams - drawn from Roberts and Lovell-Butt’s extensive list of contacts - to meet the demands of this scaled up show. With an expanded lighting crew, enlarged pyro team and a load more carpenters (the European tour sees the addition of a B-stage among other things), one of the few unchanged constants has been the audio, supplied by Eighth Day Sound. SMOOTH SOUNDS Sitting at his DiGiCo SD5, tucked away under the main stage, Sean Sturge 44

WE ARE PROUD TO BE INVOLVED THE BOY MEETS WORLD EUROPEAN TOUR

DRAKE

www.beatthestreet.net

DRAKE

Lighting Designer Guy Pavelo.

handles Monitor Engineer duties. It’s a straightforward but effective set it does what we want it to do: it covers the room evenly and smoothly,” he up of Sennheiser inputs and outputs running through an SD5, loaded with said. “A lot of people will cut their PA down because of money and then they the latest Stealth Core2 digital processing software. The 9000 series mics have to cheat the top or cheat the bottom, undershoot the top then turn it use 9235 capsules alongside the 2000 series, running at 96k. In-ears are JH up louder. But no - we want clean sound the whole way.” Audio Roxannes. The system is completed with 8 V8’s per side, flown as a rear PA for 18 tracks run off Ableton (including keys and drums) while a Waves C6 quad sound special effects. “It starts at the top of the show and is used multiband compressor and Waves TrueVerb help recreate a studio sound throughout. You’ll hear anything from special effects to vocals to just for Drake’s vocals. “It’s very important for his reverb to be something he’s something that adds stereo imaging,” Moore said. “We wanted to bring a familiar with, in consideration of what he used to record,” said Sturge. “So movie theatre to the concert and we have achieved that.” we use a TrueVerb and an IR-Live, and we have two Waves Extreme Servers.” At the heart of delivering that live Drake sound is Moore’s console Key to the show, he said, is the MIF4, which sends MIDI notes to change of choice, the DiGiCo SD7, which proves its worth through features like all the snapshots on the desk. “There is a snapshot for every aspect of the multiband compressors, dynamic EQ, a joystick for panning and timecode. show, probably two or three on some songs, “Timecode’s probably one of my favourite based on if he’s singing or if he’s rapping; he’s features. Some songs have multiple snapshots the most famous rapper-singer alive – there isn’t and I can fire very accurately now, as opposed to another.” a smidge late or a smidge early,” said Moore. In addition to engineering duties, Sturge The desk’s four BNCs are also essential. is also sales agent for Eighth Day Sound, Three are used to record the show (each show responsible for delivering the d&b audiotechnik is archived and used for virtual sound check) rig used on the tour. and the fourth used for effects, run through an “A lot of people come to a hip The main hang comprises 24 J8’s per side, 8 Ableton rig, which sits alongside two Avalon hop show and expect to hear J-SUBs per side in the air, along with side hangs 737’s. of 12 J8’s and 4 J12’s, plus 12 V8’s. On the ground All effects run through the Ableton, with feedback, like and it’s going to were 24 B22 subs with 4 Q10’s and 6 V12 as front everything MIDI-mapped back to the console. be loud and bass heavy. But no! fills. The production required the PA to be a few “This desk gives me the sound I need. I use it feet lower and further apart than normal so the as is. I haven’t put an instrument through this - me and this console, we have a V12’s, configured in stacks of 2 x 3, provide cover console that I can’t use minimum EQ and make it relationship - it gives me a clean, for the centre. sound good,” said Moore. “A lot of people come As on previous tours, Demetrius Moore to a hip-hop show and expect to hear feedback, smooth, natural sound.” handles FOH. While some might be surprised like and it’s going to be loud and bass heavy. But Demetrius Moore by the size of the PA, Moore knows it delivers no! - me and this console, we have a relationship FOH Engineer exactly what’s required. “It’s not really massive; - it gives me a clean, smooth, natural sound.” 46

INAVATION AWARDS TECHNOLOGY WINNER 2016

30K lumens, true 4K resolution, 60-120Hz, low cost lamp operation. And still floats like a butterfly...

The multi-award winning 30,000 lumen projector “that’s not the size of a small car”. Clive Couldwell, Editor AV Magazine

Up to 30,000 lumens | up to 4K | 68kg | Upgradable

This is your arena

christieBOXER.com

CD0644_Boxer_Core_ad_EN_Art.indd 1

03/06/2016 12:44

DRAKE

Above: FOH Engineer Demetrius Moore; System Tech, Arno Voortman; Monitor Tech Eoin Collins and Monitor Engineer Sean Sturge; Video Crew Chief Mark Stutsman; Stage Manager Paul Lovell-Butts; Pyro Crew Chief Simon Brierly; Production Manager Chris Roberts.

But Moore’s highest praise is reserved for a one-of-one Dual MGB, created by DiGiCo at Moore’s request. The piece is a rack mounted, dual power supply unit – essentially two MGBs where everything stays connected and the network is built in to the box. “I called DiGiCo and said, ‘This is what I’m looking for. I want it to be in a rack, I’m tired of them sitting in a doghouse, overheating and being bounced around’, and they made this for me. It’s exceptional.” Moore records 72 channels every day without ever having an issue. “If I was ever to lose this I would be heartbroken,” he stated. “I don’t ever want to go back there!” THE VISUAL DIMENSION One of the key aims of this tour was to create a show that worked together as a whole - where audio and visuals work together like never before to take the audience on an immersive journey. Taking up the aesthetic side of that challenge was Lighting Designer Guy Pavelo another trusted veteran of Drake tours past. The look of the show is the result of a continuous process of collaboration with Drake and his team. It took four draws to achieve the required impact that greets the audience on Boy Meets World, with each pass providing an element that made its way into the final design. First came the enormous video wall at the back of the stage, curved to add an extra sense of depth to the set. The next drawing produced the stage set, with hill ramps and lift elements built in to it (set construction was carried out

by Stage Group Production Services in the US). The third pass provided the initial master for a lighting rig that would extend out in to the house, but the signature look of the show came after one of Drake’s team found a video of an art installation in Japan. The piece comprised a mass of baseball-sized elements that danced in the air to create three-dimensional patterns. “We took that and tightened up the grid to make it functional, but when we looked into vendors we realised: oh, this doesn’t actually formally exist yet,” said Pavelo. On closer inspection, the clip that had provided their inspiration was actually a six hour time-lapse, compressed into a 20 second clip. Undeterred, the team worked with different vendors until the right solution was found. “We lucked out working with Glow Motion and Stage Kinetik to come up with a winch and ball package that actually moves really quickly,” Pavelo said. “It’s a little less than gravity, so we’re really pleased with that.” Each basketball sized Glow Motion sphere is suspended from its own DMX-controlled winch, allowing it to move independently through the vertical. A three-cell LED chip inside each sphere “There’s definitely a lot more is wirelessly programmed to become a single mathematics than your normal element in a collective pattern of light and motion. tour, especially with a crew this Having been successfully deployed on size and the amount of local Summer Sixteen, the rig was fine-tuned for the European run. “This version is nicely squared crew you have to bring in... Ten off and cleaned up, the lines are straightened trucks: simple; forty trucks: as opposed to just filling in whatever void we could,” explained Pavelo. “It’s really worked out totally different.” - we get a little more dimension than with the Production Manager previous version.” Chris Roberts The show begins with the Glow Motion balls 48

The world’s biggest tours... Jim Warren & Mike Prowda Radiohead Paul “Pab” Boothroyd Paul McCartney Caram Costanzo Guns N’ Roses Myles Hale Black Sabbath Marko Vujovic Korn Greg Nelson Pearl Jam, Temple of the Dog Aaron Glas Fitz & the Tantrums Josh Osmond The Lumineers Fern Alvarez, Jr. & Steve McCale Elvis Costello Snake Newton & Charlie “Chopper” Bradley Duran Duran Gerard Albo a-ha Keith “Meaux” Windhorst Journey Jody Perpick & Robert Nevalainen Bryan Adams Harley Zinker Young the Giant

Greg Price Black Sabbath

Turn to the world’s most powerful live mixing system

Avid VENUE | S6L Get the unrivaled performance, superior sound clarity, and onboard plug-ins that have made S6L the standout favorite among top sound engineers. And now S6L offers new Waves SoundGrid support, I/O sharing, 128-track Pro Tools® recording over AVB, and MADI and Dante connectivity. Even better, all systems now come with the industry’s highest level of support, including 24/7 assistance, overnight hardware exchange, software upgrades, and more—for three full years!

Come see us at ProLight and Sound, Hall 3.1, Stand G85 Discover the next stage in live sound: avid.com/S6L

© 2017 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements, and availability are subject to change without notice. Avid, the Avid logo and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.

DRAKE

lowering in a single plane above the heads of the audience - almost (but Drake, Future and Mike Carson over in the US. Pavelo is able to balance this not quite) close enough to touch - before whipping away in a wave that rolls with the mass of fixtures available to him, ensuring they complement rather back to the stage, to reveal the arrival of Drake. Later on in the show, each than compete with each other. “If it’s going to be a quiet content piece ball appears to float independently like bubbles on a summer breeze, while then we’ll quieten the lights down, try to keep it low so they don’t conflict,” at other points they move in pulsing waves or as collective geometric forms. he said. “Then at other times we actually have two of the servers running All this would have proved a programming headache were it not for mapping, because behind the wall there are more trusses of equipment, so Pavelo’s MA Lighting grandMA2 console and MA3D - and the support of the when the video’s all aggro, those lights are getting the same content fed to team at ACT Lighting and MA Lighting, who helped create a host of new them and pushing right through.” assets and sequences so that the team could visualise what they were doing Live content can also be mixed in, though this predominantly features in 3D. on the IMAG screens flown at either side of the stage. A team led by Video Lighting and video for the rest of the rig was supplied by PRG and Director Alex Castaneda Cabrera produces the live feed using Grass Valley includes: Best Boy Spot and Wash, Bad Boy GroundControl followspot, a switcher and cameras. Six cameras are mounted throughout the truss, ‘mountain’ of PRG Icon Beams, High End SolaSpot Pro 2000’s, High End along with one FOH, one on the second tier of the arena, and two in the pit. SolaWash 19’s and 37s, SGM Q-5’s and Q-7’s, From the opening number and throughout Martin by Harman MAC Viper Performances, the entire show, kinetics and pyro add an extra MAC Viper AirFXs, Claypaky Stormys and regular punch and provide the final element to this Sharpys, Barco MMS projector heads on top ‘multi-dimensional’ tour. “There’s lots and lots of 30Ks and, for the show’s ‘giant sun’ finale, 8 of fire, and lots and lots of pyro,” said Pyro Crew Panasonic 30k laser projectors. Chief and Shooter Simon Brierley of Pyrotek The whole lighting rig is controlled by the Special Effects. “I’ve got 400 pieces of product MA2, all from one master file, from the normal in the air, on the ground and under the stage “He knows exactly where he lighting to all the servers for the different video coming up. Plus there’s fires all along the big surfaces, to the kinetic kit in the rig above - a ramps and fire on the floor.” should be and he plays with it. total of 142 universes. On the recommendation In order to retain an open, clean aesthetic The more confident he is the of ACT and MA, a separate console is used solely to the stage, Brierley is positioned high up at to push out the vast amount of information the side of the arena with both a direct line more confident I am, obviously. used. This then goes through a stack of MPUs to of sight and a monitor providing a live top But he’s a lot of fun, so it’s great unlock the 50,000 or so parameters. down feed from a camera in the truss. But, as PRG Mbox 4 media servers use the newest Brierley notes, the star rarely gives him cause to shoot.” software to handle the larger-than-4K screen for concern. “He’s great with it: he knows exactly Simon Brierley on stage and deliver a mix of content, created where he should be and he plays with it. The in collaboration with various teams including more confident he is the more confident I am, Pyrotek Special Effects 50

DRAKE

obviously. But he’s a lot of fun, so it’s great to shoot.” The wide-ranging movement of the Glow Motion spheres meant all pyro required an extra level of planning. The 12 boards up in the sky have to be precisely attached each morning to avoid hitting any of the fixtures, and fire has to be timed perfectly to avoid moments when the spheres are at their lowest point over the stage.

As this giant sun dies, the show comes to an end, leaving Drake’s star shining ever brighter. With heavy hints dropped that the singer’s annual OVO Fest is to make a London appearance this summer, Boy Meets World has primed UK fans for the next stage in the Drake story. As the man himself said: “I’m going to find out what comes after this, but there’s definitely another evolution of Drake.” TPi Photos: Tom Martin www.drakeofficial.com www.prg.com/uk/en www.glowmotiontechnologies.com www.stage-kinetik.de www.8thdaysound.com www.sgps.net www.flybynite.co.uk www.beatthestreet.net www.pyrotekfx.com www.rockitcargo.com

STARLIGHT The night concludes with one final art-inspired spectacle. The audience watches as a giant, ghostly form morphs into a perfect sphere. Perched on top of the B-stage, this giant ball suddenly bursts into light as the Panasonic 30K projectors cover it in images of a dying sun’s burning surface. The original - a 45ft piece by artist Director X - formed part of Toronto’s annual Nuit Blanche light festival. While this version has been scaled down slightly, it nonetheless dominates the B-stage, providing an arresting backdrop to Drake’s farewell.

MULTI AWARD-WINNING Chroma-Q® Color Force II™

From the makers of one of the most popular professional cyc lights, Chroma-Q® does it again: Color Force II™, a multi award-winning batten that delivers formidable output and superior colour blending, all with smooth, even coverage.

•

• • • • • • • • •

KEY FEATURES: Chroma-Q’s proven award-winning technology At least 50% more output than the original Color Force™ Easily washes a 12m / 39 foot cyc Extremely smooth, uniform output Homogenised RGBA colour-mixing Pixel control to 76mm / 3 inch increments High CRI of 92 Theatrical grade dimming Chroma-Q calibration means: superior fixture-to-fixture consistency Available in 1.8m / 6 foot, 1.2m / 4 foot, & 0.3m / 1 foot versions

•

A purer white with no skittles

Patents Pending

Game changed: now take your next performance to exciting new heights!

To arrange your personal demonstration, contact: UK Dealer: A.C. Entertainment Technologies Ltd., +44 (0)1494 446000, sales@ac-et.com, www.ac-et.com

www.chroma-q.com/cf2

ARENA SIZE REHEARSAL VENUE PRODUCTION & PERFORMANCE SPACE

FOR MORE INFORMATION VISIT WWW.FBNSTUDIOS.CO.UK EMAIL: INFO@FBNSTUDIOS.CO.UK TEL: 01527 962 963 FLY BY NITE REHEARSAL STUDIOS | BROAD GROUND ROAD, LAKESIDE, REDDITCH, WORCS B98 8YP

PRODUCTION PROFILE

PET SHOP BOYS Converting an intricately designed, one-off residency into a worldwide headline tour was never going to be a simple task, but thankfully for the electronic duo, it was one that their established crew was more than happy to undertake. TPi’s Ste Durham reports.

If you have anything to do with the live production industry, chances are you’ve at least seen a few images of the multi-coloured madness that was the Pet Shop Boys’ four-night residency at London’s Royal Opera House. The visual aspect alone was overwhelming - complete with lightup balloons, inflatable fat suits and enough laser firepower to raise an eyebrow or two on the bridge of the Death Star. The group’s subsequent Super tour is essentially a road-ready incarnation of that wonderfully weird Es Devlin show design that, despite the aforementioned, still retained an air of subtlety thanks to the space given to each aspect of the production. 2017 TPi Awards Winner, Rob Sinclair, created a lighting design which is tastefully sparse, allowing the scenic elements, lasers and video projection to work holistically as a fluid canvas for the show’s bold imagery. “Every Pet Shop Boys show is different and in all of them every element plays its part. The lighting is often supportive, sometimes dominant and always appropriate,” Sinclair commented. “My design for the tour all came from conversations with Es Devlin, where we decided that the show needed more blinding strobes and bold colours. We cut lots of the flown lights from the London shows and added more TMB Solaris Flares and a few Martin by Harman MAC Vipers.” As Sinclair was due to be away during the arena run, he turned to trusted collaborator Ben Cash to programme the show and deal with rehearsals, while Jon Barker was brought in as Road Lighting Operator and Neg Earth Lights was chosen as the designated supplier. Production Manager Olli Windprechtinger explained: “The tour started in Chile after a UK rehearsal period in Millennium Studios, which wasn’t the easiest way to kick things off! The hard-working crew around made sure it happened - special thanks goes to Ben Cash and Jon Barker, who endured some very long nights to set up the show in time. From then on we did well - we did all our homework and made sure this beautiful show worked

perfectly on the road.” He continued: “Pre-production is the most important part of touring in my opinion. I am pretty good at collecting information and making sure the venues and promoters have our needs and specs. From there on it is all about communication between me, the local production and to my departments.” Sinclair was also keen to praise the hard-working duo: “Ben really was key during the show’s development. We’ve worked together a lot and I knew I could rely on him,” Sinclair added. “Jon operated the last PSB tour - we all love him and knew that he’d be ideal to steer the show round the world.” Barker explained that the main bulk of the lighting work was taken care of by the Flares on the floor, which were arranged in three main rows at different stage depths - nine upstage, eight mid-stage, and six downstage as well as three more on each side of the stage and one on each of the three stage risers; making 32 in total. He added: “Key light-wise the show is strongly side lit by 6 MAC Viper Performances per side. There are 15 flown MAC Vipers, 8 MAC Vipers on the upstage floor and 7 MAC Aura XBs along the downstage edge.” THE GLORIOUS INFLATAVIA One of the reasons for the scarcity of conventional lighting fixtures, aside from the presence of video and lasers, was the space in the design given to some of the other key elements in the look of the tour. This included features such as scenic ‘pods’ to house the band, a flown structure of LED clad rings, and a series of drapes that were used for varying levels of video projection. Another addition was the 32 ‘balloons’ that were created and supplied by Airworks to mimic the original ones hung in the Royal Opera House. Windprechtinger explained the situation: “Although the original 57

PET SHOP BOYS

shows came together really well, the next challenge was to create a tourable version of the show that could be rigged everywhere, including South America and US theatres. It was clear early on that we needed an alternative to the 3D pods, which is where Perry Scenic helped us with the touring ‘discs’. “The LED rings were more flexible so we only had to lose the biggest one for the US tour, leaving the balloons, which were our main challenge. After one or two ideas that weren’t suitable I started to think about the truss box that we use now to fly them in and out on a Kinesys System,” Windsprechtiner said. “From there on we just had the issue to work around floor space and some set changes - though this has been a big part the band’s live show since the Pandemonium Tour.” Airworks’ Creative Director, Matthew Whitehead, talked through the design of the balloons themselves: “They’re basically self-inflating spheres that have a full RGB, DMX-controlled LED PAR inside for the LD to play with. We took the lenses off them so we can have a nice, even wash effect. They’re all adjustable, height-wise, and are cabled through so they can be rigged onto the truss in twos or threes vertically as well.” While the original Opera House shows made good use of standard balloons with lights attached to them to create this effect, this technique was judged by production to be some way off a comfortably tourable system. “They were great for a one off but obviously couldn’t be toured,” agreed Whitehead. “This was firstly as they are fragile and difficult to rig and de-rig consistently, as well as not being fireproof. We ensure that everything we provide follows all of the many rules and regulations that these kinds of scenic objects fall under. The fact that they are flown means we have even more to consider during the design and manufacturing process.” Airworks had collaborated with Devlin on projects in the past, which naturally prompted her to enlist its expertise for another, albeit

slightly atypical, challenge. Whitehead explained: “We tend to make very complicated, sculptural objects (see A7X’s spaceman, pg. 88) but this job is completely different. People usually come to us with an idea, based on a mascot or album cover for example, and we do our best to create something that is as close to the original image as possible. “You want the piece to actually look like a spaceman or a dog, rather than looking like an inflatable imitation of it - that’s the kiss of death. This one had to look like a balloon, so the design process didn’t take quite as long!” The Airworks team spent most of its time figuring how to make the balloons fit easily in each venue, how to rig them and what fabric to use. Whitehead continued: “This time we were left with more practical questions than artistic ones. We then ran through with the Production Manager how they should ideally be transported, as we didn’t have any crew on the tour.” The company provided custom flight cases, within which the deflated balloons were stacked each night during load-out. After transportation, the balloons could be pulled straight out of the case at the next venue and attached onto the truss, before concealing them in a black drape bag and flying them high into the air. Lighting Crew Chief Mikey Bowerman explained: “The balloons are hung on Kinesys, which allows us to bring the truss down halfway through the set, take the bag off, and then raise it back up while strobes are blinding everyone for the big reveal. We pipe power and data up there, which means Jon can then control them in full RGB from his desk like any other basic PAR fixture.” Barker used an MA Lighting grandMA2 light at FOH to run the show, which was all synchronised beat-perfectly to timecode, with a backup console also connected to MANet. This allowed him to concentrate on calling the two Robert Juliat Lancelot followspots that were operated by local crew each night. He said: “The balloons, like any scenic element, are 58

YEARS

ER PRODUCTIONS CELEBRATES A DECADE IN LASERS Founded by Ryan Hagan and Marc Webber in 2007, ER Productions is an award-winning laser specialist providing cutting edge laser design to some of the most iconic shows in the world. Known for its innovative custom designed laser systems, which have helped to define the look of countless concert tours, one off installations and flagship TV shows including the X Factor and The Voice, the company marks its 10th birthday this year. It has been rollercoaster journey for the British business, which has risen swiftly through the ranks, making a name for itself as one of the top suppliers of lasers worldwide. With offices in London, Ibiza, Las Vegas and Australiaâ&#x20AC;&#x2122;s Gold Coast, ER Productions will be showcasing some of its innovations at pop-up events over the coming months. For more information, sign up to the newsletter at www.er-productions.com.

UK +44 1322 293 135 | USA +1 214 2700665 | AUSTRALIA +61 403 703 731 | SPAIN +34 938 000291 info@er-productions.com | www.er-productions.com

PET SHOP BOYS

sometimes a challenge to tour but they’ve performed extremely well under the harsh conditions being on the road has thrown at them.” The other scenic aspect of the lighting design consisted of five bespoke rings flown behind the mesh that contained internal RGBW LEDs and had mirrored sides. Total Solutions Group manufactured the rings, which ranged in diameters from 1.5m at the centre to 8.5m at the outermost layer. Mervyn Thomas, Managing Director at Total Solutions Group, elaborated: “The rings are flown from drop cables to form various looks on stage. Each unit has its own power supply and DMX driver to allow RGB colour changing through the front of the ring. Given that each ring was being flown vertically, they have to be structural but break up in to manageable pieces for touring. It turns out all of the components fit into one air-freightable dolly.” He continued: “In order for these to work structurally and be manageable to build, the three mirrored sides have to be solid, but also clean and sharp edged. This meant we had to be clever during the design and build process to ensure it was light enough to fly and stay circular when flown, but strong enough not to distort.” ER Productions’ Tom Vallis was on site to act as touring Laser Tech, working to a design originally programmed by himself and Andrew Turner for the Opera House residency. He said: “We’ve basically taken that design and modified it for the tour. After rehearsals we always look at bits of programming while out on the road to continuously make minor improvements to the look of the laser show. “Most tours that feature lasers will limit them to a handful of songs but we probably use them on half of ours in one way or another; whether that is focussing on the pods, mapping the upstage rings or the traditional laser show that kicks off later on.” ER provided 16 of its BB3 laser units, which are DMX controlled for

traditional scanning and diffraction effects that are safe to expose the crowd to. Eight of the BB3’s sat behind the pods for the first four songs in the set before being rolled off stage. The other eight units are upstage along with 4 Tripan RGB lasers, while the front truss housed two more Tripans for the ring mapping movements. The Tripans were controlled using Pangolin Beyond, while the BB3’s were controlled using a High End Systems Hog 4 lighting console, both of which are synced with timecode. Vallis explained his interaction with the flown rings: “When we map the rings through the screen it gives a new dimension to the look of them compared to the LED that can only be controlled in segments. Using lasers on them gives a sharp image compared to the diffused look from the LED. We effectively draw a circle onto each ring, warp it to fit and then run various effects through it. Towards the end of the show, video drops out and basically hands the show to the lasers and lighting. “We work closely with the other departments to decide what times we should punch through the lighting and video. Our units here are bright anyway and we aren’t fighting against a big wall of LED light.” As is always the case, safety was of paramount importance to sole laser crewmember Vallis, who explained the day to day protocol: “The units are all physically masked off once we’ve set the safe projection zone, so it’s impossible for beams that are too hot to drop into the crowd in the event of a software or hardware failure. The diffraction effects are metered every day and set at a safe power. “With this show there are a lot of stage moves going on, like when the risers are pushed forward to drop the balloons in, so we have to be extremely careful. While crew are working on stage the two lower upstage towers are not used. The two outer positions are above head height so can continue to be used while people are working on stage.” In order to get the most out of his lasers, Vallis distributed a fair helping 60

M U LT I � AWA R D W I N N I N G M E D I A S E RV E RS W W W.G R E E N � H I P P O.CO M & C R EAT I V E PA RT N E RS H I P S W I T H

Visit us! Green Hippo hall 4.0, stand D52

NEW GIS LP500 HOIST

AVAILABLE FROM LIFT TURN MOVE LTD

UP TO 60% INCREASE IN LIFTING CAPACITY ON D8 MODELS LP500/1 D8 MODEL – 800KG (LG50, 500KG) LP500/1 D8 + MODEL – 500KG (LG50, 320KG) IP65 PROTECTION AS STANDARD, LOW P WEIGHT AND LOW HEIGHT, PERFECT FOR ENTERTAINMENT APPLICATIONS. QUIET - REDUCED DECIBEL READING AT 1 METRE FROM 75 TO 65DB 3 YEAR WARRANTY

CALL +44(0)151 649 0467 SALES@LIFTTURNMOVE.CO.UK

PET SHOP BOYS

Stage Manager Ringo Landowsky & Set Carpenter Robert ‘Masi’ Masel; Laser Tech Tom Vallis.

of smoke and haze around the arena using 4 Look Solutions Viper deLuxe smoke machines on the downstage edge, two Unique 2.1 units at FOH, and 6 Reel EFX DF-50 hazers upstage, which were supplied by Neg Earth Lights. He said: “Getting the perfect amount of haze is a constant struggle - today the venue looked perfect during rehearsal but 20,000 people coming in and a huge air con system could soon change that!” The lighting crew was completed by Neg Earth crewmembers Mark Cooper and Jamie Catt.

some stunning visuals, with a mixture of lenses to suit different venues for the projectors while touring. A pair of custom Catalyst V5 media servers ran the content. The media servers are based on Apple’s flagship Mac Pro 6.1, and they output frame synchronized HD-SDI signals. An MA Lighting grandMA2 command wing controlled the servers over ArtNet. “We also used our own timecode changeover device, which was designed to help with programming changed on the fly,” explained Dew. “It allows for changes between local timecode from a programmer’s laptop and with production’s timecode. Monitoring and changing the timecode source helped us get frame-accurate programming changes done without bothering other departments for yet another timecode play, or having to wait for everyone else to be ready.” A crucial part of the look came from the fact that the content is deliberately aimed low through the stage at band member-height, creating a wash of imagery. This was easier said than done at times, as Adkins explained: “A lot of band key lighting is done with projection, which also adds a great deal of depth once you remove the layers of sharkstooth and drapery. Projector location is very important and sometimes becomes quite political as I often need the best seats in the house for the best angle. We just have to strike up a compromise in terms of the overall show’s look versus the audience enjoyment!” Although Really Creative Media was not tasked with designing the video content, the crew did have to ensure that it fit the stage correctly in each venue and hit all of the scenic points of reference as accurately as possible. “We travel the globe so it changes a lot,” explained Adkins, “but we know the show better than anybody by now. There are four layers; the upstage review cloth, a semi transparent projection screen, a mid-stage shark’s tooth, and a black drape behind it. “The depth changes as these layers come out and during this time the

VIDEO PROJECTION A major contributor to the subtlety of Devlin’s original show design, and something of a Pet Shop Boys hallmark, is the exclusive use of video projection over LED. Having helped cultivate this look over the past four years, Really Creative Media was again asked to provide kit and crew for the tour. Nick Dew, Managing Director of Really Creative Media, commented: “We worked with the Pet Shop Boys during their four-night residency at the Royal Opera House last July. From these shows designed to celebrate the launch of the Super album, the creative process further developed the necessary themes and content ahead of taking the tour on the road.” Jack James, Creative Director at Really Creative Media, managed the overall vision of the tour video, while James Adkins served as touring Video Director. Dew continued: “For the UK leg we have upgraded to seven projectors as the stage set grew in width to accommodate larger venues. During the show rehearsal period, we used Blackmagic Design’s HyperDeck Studio Pro recorders to record numbers with timecode. This helped all the tour departments enormously with timecode-accurate references of what happened and what to change.” The 7 Panasonic PT-DZ21K 20,000 lumen projectors were used to create 62

PET SHOP BOYS

Fog is our passion! Prolight+Sound Frankfurt, 4.-7.04.17, hall 3.0, stand B89 It‘s worth to drop over: next to our well-known, proved program of professional haze-, fog- and low fog generators we will celebrate our 20th anniversary! We are looking forward to seeing you! The lighting crew of Jon Barker, Ben Cash, and Rob Sinclai.r

Tiny S, Tiny FX, Tiny CX, Power-Tiny

pods also spin, which ends up creating a metre and a half depth difference between the front and back.” The original Inner Sanctum shows had a pair of 3D spherical pods that featured projection around their surface, but touring these pieces would have necessitated another full artic to transport them. Adkins continued: “Lining up the content for all of these surfaces and layers are made so much easier by the MA console. The ‘copy and paste’ function keeps the mix count down on the Catalyst, which in turn helps for keeping processing down and, more importantly, maintaining my sanity every day! The console sees the physical layer has dropped and immediately reconfigures, which also speeds everything up no end.” Adkins has managed to cut down his programming time from almost five hours to around two “on a good day”. He said: “I could do it quicker but I want it to be perfect. It always makes me happy when it looks as good as it can and the regular thanks we receive at FOH from the fans really helps to justify all that extra effort.” IMAG projection, and the requisite camera package, were only used on the show dates at Birmingham and Manchester and were sourced locally from Video Design. Adkins elaborated: “We will avoid IMAG if at all possible. Obviously we are thinking about the audience first but we all spend a lot of time on making it look good holistically, so we feel that’s the best way to enjoy it. The cameras would traditionally spend a lot of time zooming in on Neil [Tennant, vocals] and we think they should be looking at the whole thing. We advance as well as we can and the systems have been as flexible and reliable as we could have wished for.” AUDIO The complex and theatrical look of the show required a crisp and powerful audio setup to match, provided in this instance by returning audio rental supplier, Capital Sound. The Pet Shop Boys’ FOH Engineer, Holger Schwark, was in luck given that his preferred rental company was also able to provide one of his favourite PA systems. He explained: “One of the main questions was whether to go with the d&b J or V-Series, but in the end I preferred to have a long array of smaller boxes as I like the sonic signature a bit more.” The main hang consisted of 20 boxes of d&b audiotechnik V-Series, which was reinforced by 8 V-SUBs flown directly behind and a 16-piece V-Series outfill. This statement was underlined further by 16 d&b B22-SUBs and more V-Series on the ground, all of which powered by D80 amplifiers situated stage left and right. He continued: “It’s an unusually long array but it helps to deliver that punch even to the back row. I’m always trying to convey what I hear at FOH to the whole audience and I always set the bar higher than average to maintain consistency. It’s impossible to get 100% even coverage, despite what some of the classical concert halls would have you believe!” Schwark made use of d&b’s ArrayProcessing software to get the most out of this elongated system, which worked as well as the engineer could have hoped: “It’s sounded fantastic so far and the system is really powerful. Even the nearfill on the downstage edge aren’t tiny cake boxes; they’re proper speakers that are the same as main hang. That way the tonal quality stays consistent, powerful and exciting for as much of the crowd as possible.” Schwark has taken his quest for audio consistency one step further with the addition of onstage speakers that serve as virtual backline for an almost silent stage, thus avoiding an eerily quiet experience for the first few rows. He elaborated: “Those seats quite often fall in between the coverage of the main array, and with the backline being almost all digital it would be a 63

Battery-operated fog generators, 30 W/70 W/400 W

Unique 2.1

Haze generator DMX, 1500 W

Viper S, Viper nt, Viper 2.6 & Orka

Fog generator DMX, 650 W, 1300 W, 2600 W, 3000 W & 9000 W

Cryo-Fog & Cryo-Gate Low fog generator 2300 W and attachment 80 W to produce low fog

Look Solutions Fog machines made in Germany Buenteweg 33 · DE-30989 Gehrden Phone +49-(0)5108 - 91 22 10 · Fax 91 22 111 www.looksolutions.com · info@looksolutions.com

PET SHOP BOYS

Video Director James Adkins; PM Olli Windsprechtinger; Monitor Engineer Seamus Fenton; FOH Engineer Holger Schwark and System Tech Stefan Holtz.

really awkward and underwhelming experience.” The engineer placed a pair of self-powered Meyer Sound UPJ speakers on each of the three mobile stage risers and, through what I can only assume is witchcraft, managed to solve this elusive problem. He said: “I’ve developed quite a clever matrix that puts certain signals in certain speakers, making it seem as if the sounds each musician makes are coming from their direction. It’s basically a backline but it’s under my control instead of a band member!” Schwark chose a DiGiCo SD10 at FOH, a console that he said was all about “access and convenience” when it came to juggling the various musical layers inherent with a Pet Shop Boys live show. “I first started using the SD series in 2008 and I’ve never looked back,” he said. “They sound great, they’re convenient to operate, and they tick all boxes for a electronically based tour like this. There are more desks on the market now that when I first started on SDs but, when I’m already 100% satisfied, why would I change?” The FOH engineer made use of Waves plugins and Avid Pro Tools HDX for much of his effects: “I use analogue emulation plugins on Waves to round out the digital edge of electronic signals that appear at show volume, though I sometimes deliberately go for digital clarty. It gives transience and punch on kicks and snares that sounds great. It’s purely subjective but quite a few signals sound nicer when they’re less perfect and it’s great to have that choice at my fingertips.” He continued: “The only hardware I use is a TC-Helicon VoicePro, which is discontinued so I hope it lasts! I use it to create a realistic double-tracked vocal effect. The band’s songs are nearly always doubled and to create that distinctive sound with one mic needs sophisticated hardware like this. I also carry a Meyer Sound Galileo GALAXY so I can tweak any mediocre house system to the best of its abilities. You need to cover your back, but obviously not while we’re carrying this massive d&b system!” Schwark also had Richard Smith from Capital Sound to assist with the system, as well as System Tech Stefan Holtz.

Monitor Engineer Seamus Fenton explained the crux of the audio system: “Effectively we’re mixing two MADI streams, one from the playback and one from the band, and the really clever bit of kit in all this is the Optocore DD4MR-FX, which is basically a MADI stage box. The mics are doublepatched as well - analogue into the SD rack and digitally through the router and the Dante card - so Holger can take the digital signal and I can take the analogue.” Schwark’s SD10 at FOH, Fenton’s SD10-24 at monitors, the SD rack and the DD4 are all part of an Optocore loop that is almost exclusively digital, with the exception of the analogue microphone signal and, paradoxically enough, Chris Lowe’s keyboards. Fenton continued: “Each musician on the three risers has an RME Fireface and a laptop and all those positions come into the back of the rack through a custom line system that’s owned by the band.” Another big fan of DiGiCo, Fenton was keen to praise the flexibility of the SD10’s short-frame relative. He said: “It’s my favourite thing in the world. If you can think it, you can do it. Actually if you can think it, you can pretty much put it on a button! “I’ve always made the smart keys my mix buttons, they then brought out the rather fantastic mix panel; I do everything on that and I’ve programmed it on every bank so my mixes are always there, no matter what I’m looking at - absolutely brilliant.” The band owns their Shure microphones package (KSM9 for lead vocals and SM58’s for BVs) and PSM1000 in-ear monitors, which Fenton said were perfect for discerning and mixing the “extremely hi-fi” signals that come from the stage. “Mixing-wise it’s all programmed, I just have to stay on top of the fader movements in between songs. For me it’s mainly about keeping Neil sitting where he should be,” Fenton explained. “I’ve been with them since 2008 and in that time it’s become really instinctive. We’ve been stopped for two months before this and after coming back you realise your fingers are doing the work without you. For example, I know on West End Girls he’ll sing 64

PET SHOP BOYS

the chorus 5db louder than he does the verse without looking. It’s quite bizarre!”

and nice characters. A lot of this crew been with the Pet Shop Boys for years and there must be a reason why. I like to treat the crew well but always stay ready for a serious chat if issues arise. “One of my philosophies is not to lie to the artist and try to get their direct feedback; whether that is praise or criticism. The Pet Shop Boys are one of the nicest touring artists for me - Neil and Chris are great personalities with a clear view of what they want and expect. They always give me the feeling they trust their production and the way we work with the show.” The PM concluded: “This is one of the loveliest tours I have worked on over the last 15 years - everyone is focussed and sticks together. I am thankful to work with each and every person on this tour, a lot of whom I can now call my friends.” TPi Photos: Andrew Benge www.petshopboys.co.uk www.esdevlin.com www.gribiche.org www.millenniumstudios.co.uk www.negearth.com www.reallycreativemedia.co.uk www.capital-sound.co.uk www.er-productions.com www.flybynite.co.uk www.phoenix-bussing.co.uk www.globalinfusiongroup.com/gig-eat-to-the-beat www.perryscenic.com www.trussing.com www.airworksinflatables.com

LOGISTICS Transport for the tour was provided by Fly By Nite trucking and Phoenix Bussing, with the latter providing two crew double-deckers. In fact, as Paul Hattin explained, Phoenix can boast one of the longest-standing relationships with the Pet Shop Boys: “We have a great relationship with the Boys going right back to Len Wright days in the 80s - although I’m sure there’s not many on either side prepared to admit it! “We haven’t worked with Olli until the European tour before Christmas but Andy Crookston is an old ally and even though this is my last year of working, hopefully the relationship will carry on for a good while longer.” Also accompanying the band for the duration of their seven-show tour in the UK and Paris was Eat to the Beat. Alicia Boardman, who has worked for Eat to the Beat on several of the Pet Shop Boys tours, again made sure they were looked after on the road. Kim Joyce, Account Manager at Eat to the Beat, said: “We are excited to be back on the road with Neil Tennant, Chris Lowe and their crew - they are a great team and we are delighted they choose us to cater for them again.” THE LAST WORD As with many tours of this magnitude, a significant factor in their success or failure is the collective philosophy of the crew - whether that comes from the artist, PM, management, or any number of other sources. In this case, it seems as if the Pet Shop Boys and their crew exist in a working harmony that must be the envy of many a touring unit. As Windsprechtinger said: “I always like to deal with great professionals

CONGRATULATIONS TO THE PET SHOP BOYS ON THEIR NME GODLIKE GENIUS AWARD

PERFORMANCE VISUALS FILMING & IMAG POST PRODUCTION VIDEO EQUIPMENT HIRE

 media

Projection, Media Servers and Crew provided by Really Creative Media - Pet Shop Boys Super Tour 2016-2017

www.reallycreativemedia.co.uk

PRODUCTION PROFILE

GREEN DAY The American punk rockers were back on UK shores once again to promote their recent release, Revolution Radio. TPi’s Stew Hume caught the last date at London’s O2 Arena to see first-hand why the band are still a force to be reckoned with…

When Green Day first formed back in 1986, the music industry was a very different place. The purchase of cassette tapes was the norm and radio was still the purveyor of all that was cool and relevant. Although many of the fresh-faced kids currently crowding into the O2 Arena are more likely to listen to Green Day’s new album on Spotify, it is amazing that the trio has been able to stay popular and important during a career that has spanned over three decades. Furthermore, each album cycle welcomes yet another batch of fans eager to join the band’s global family. For their current tour, in support of last year’s Revolution Radio, Green Day presents fans, both young and old, with a more traditional stage show, during which their music and stage craft was front and centre, in the true spirit of rock ‘n’ roll.

visible on stage and not hiding behind video screens.” Despite the simpler stage show, the production couldn’t resist adding a certain element of glamour to the performance with three staircase risers containing several molefays. “The staircase staging elements actually came together quite quickly,” stated Dean. “Prior to the tour, the band had expressed a desire to add something a little classier and more elegant to the stage.” Collaborating to produce the various staging elements were Brilliant Stages from the UK and the American company, Gallagher Staging. “This was the first time I had worked with Brilliant,” stated Dean. “The company has a special relationship with Gallagher and thanks to them we were able to have both companies work on the set simultaneously.” The need for A and B sets came down to the band’s hectic touring circuit which, after the UK tour concluded, saw the band jet off to America for a tour, only to then head ‘Down Under’ for their Australian leg. “The A and B set up was always going to be a necessity for this world tour and, thanks to the fine guys at Sound Moves, handling our logistics, we are able to showcase this performance across the globe.” Sound Moves’ John Corr added: “Sound Moves and Brian Santos in particular has been the lead agent working closely with Greg on this touring cycle. We are providing full logistics support for the tour from local trucking on the west coast, small urgent packages, domestic moves, international airfreight, ocean freight and finally a return of everything to its point of origin when the tour is completed. Greg is amazing to work with, extremely thorough, efficient and we try to plan well ahead to anticipate any issues that may arise by using knowledge gained on current moves to make future

PRODUCTION Several hours earlier TPi caught up with Greg Dean, the band’s Production Manager, who outlined the origins of the Revolution Radio tour: “Way back in January last year we began throwing around some ideas of what we wanted to achieve on the next album cycle. However, the production really kicked into gear later on in 2016 around promo for the new record.” For this run, the band and production put forward a clean-cut rock show that harks back to Green Day’s original DIY punk rock aesthetic. “We’re not carrying too many bells and whistles on this one,” explained Dean. “We wanted to keep the focus very much on the band. They are known for being a solid live act with lots of energy and we wanted to make sure nothing detracted from this. More than that though, people spend their hardearned cash to see these guys. The least we can do is make sure they’re 67

GREEN DAY

Frontman extraordinaire Billie Joe Armstrong utilising the Telefunken M80.

moves safer and more cost effective.” Ben Brooks from Brilliant Stages discussed the company’s involvement with the tour: “We worked on the design for stage right across the Christmas period, successfully sending it the first show in Italy on 8 January - a very short build time!” During the final stages of the build, Set Carpenter Kirk ‘Rockit’ LaRocco joined the Brilliant crew to aid with the final preparation. “Working with Greg, Jason and Rockit has been nothing but an enjoyable experience from start to finish,” concluded Brooks. “Greg’s meticulous attention to detail and professionalism, coupled with Rockit’s sense of humour make them a great team. We had a challenging deadline to meet, especially with the Green Day marquee sign, which was required for programming as soon as we could deliver it.” Joining Rockit on the road and completing the carpentry duo was J ’Dot’ Dennis. Dot laid out some of the logistical challenges on build: “For this run we don’t have our own rolling stage. This means we have to build all the set elements on the show floor then have fork lifts place them on the stage. This adds a bit of time to our build schedule, but we are still managing to be done in plenty of time.” Reaching out from the main stage was a long catwalk that extended several metres into the audience. Noticeable while walking along the barriers was the narrow pit. Bringing this up with Dean, he responded: “It’s something that the band themselves insisted on. They like to feel the energy of the crowd and often like to invite people onstage. During one tour I tried to move the band further back and the feedback was not positive. I now know not to mess with that!” Fourth Generation supplied the power to the Revolution Radio tour. The mere mention of the company and its Director, Anthony ‘Tweed’ Hurlocker, had Dean singing its praises: “I have known those guys for a very long time. Tweed is a great dude and it’s always a pleasure to have him collaborate on

any tour I work on.” Tweed offered his thoughts on his company’s latest outing with the band and production. “It’s always a pleasure to get a call from Greg Dean when Green Day head to European shores. We’ve been happy to supply to them on their last few trips over and we’re looking forward to having them back in the summer.” Finally, overseeing all the flown elements of the show was Head Rigger, Brian Collins. This was his third outing with the band although, as TPi found out, it would also be his last. “For this tour, along with holding the Head Rigger title, I am also Project Manager for VER. I have been working with them since January and when I come off this tour I will begin working for them full time. I’ve had 27 years on the road and I’m ready for a change,” Collins said. Collins could have hardly asked for a better swan song, as he freely admitted: “The production have formed a tremendous crew for this tour and everyone has gelled really well. If this is to be my last outing, I am glad it’s on a traditional rock ‘n’ roll show.” The main rigging supplier for this run was PRG XL Video, and audio motors were provided by audio supplier VER. “All together I have 74 motors up in the air. It’s a pretty quick show to rig, only taking between two and half to three hours each day. We are weighing in at 70,000 pounds so it’s not a particularly heavy show, which I have been thankful for as the size and weight capacity have varied throughout some of the European dates. LIGHTING Taking his place in the creative driving seat once again for Green Day was Ethan Weber. This was the second time the LD had joined forces with the band, having worked with them in 2012 for the 99 Revolutions Tour. 68

TPiMagazine-StageSafeAd.pdf

CMY

01/03/2017

07:28

GREEN DAY

For the Revolution Radio tour the band opted for a clean-cut rock show harkening back to their DIY punk aesthetic.

Weber described the initial brief that was given to him for this project: longs. We therefore have a lot of white light that illuminates the audience.” “Due to the band’s itinerary, my main directives for this tour were to design Supplying lighting for the show was PRG XL Video. The company something that festivals could easily duplicate and a system that fit in a provided the production with 78 Martin by Harman MAC Viper AirFXs, 46 reasonable number of trucks; both of which, I think, are very reasonable Claypaky Mythos and 46 Atomic 3000 strobes. The company also supplied requests.” With this in mind, Weber opted to produce a set that relied 22 TMB Solaris Flares. Horton told TPi: “My decision to deploy the MAC heavily on soft goods, utilising several backdrop changes to present the Vipers came after seeing them be used extensively on the Black Sabbath audience with different scenes throughout the night. He did admit that this tour. It was the first time I had seen a washlight with gobos I thought I represented a change of pace, saying: “I generally do more lighting than could use. I’m a fan of big colour walls; so the idea of lining the truss with scenic elements and getting the drape dimensions right and programming washlights instead of having to alternate with profiles was very appealing. timings for all the drops was certainly a bit of a challenge.” The decision to deploy the Mythos, on the other hand, came down to The LD went onto describe the creative rapport he struck up with the experience. I had used them on previous tours and have always been very band: “Green Day has a strong sense of the environment they want to play pleased with their look and versatility. Finally, for cost and availability, the in. I came up with a few different design ideas until we found one we all Atomic 3000 is still a great strobe light. I still really like the effect you get agreed on. As far as individual song looks go, when they’re on low levels. It fills up the picture they pretty much leave that up to me. There nicely.” Finally, the production deployed two will be occasional suggestions, but they don’t manned PRG Bad Boy Spots, which were placed generally get too involved in the colour and on the front truss and focussed on Armstrong for cueing of the songs.” Considering the band’s most of the night. PRG’s S400 Super Nodes were extensive back catalogue, Weber’s challenge also utilised for the Green Day marquee sign that was to design as many tracks as possible before is revealed towards the end of the show. The handing over control to Tommy Horton, the sign constituted 762 LED blubs, brought down Touring Lighting Director. “I had met Ethan via a Kinesys automation system. On the front during Judas Priest’s run in South America while truss there were 10 8-lite molefays, with 23 4-lite “I’m a fan of big colour walls; so he was doing Ozzy,” began Horton. “We got on molefays on the three trusses behind, as well straight away and he thought I would be right for as the three scenic drum risers. There were also the idea of lining the truss with this project.” Revealing what audiences could several molefays on each riser step. washlights instead of having to expect, Horton had one word: “Bright!” Horton launched the show from an MA The LD elaborated: “As a frontman Billie really Lighting grandMA2. Horton told TPi he’s in the alternate with profiles was very likes to see the audience throughout the show process of moving over to MA: “It’s a transitional appealing.” to feed of their energy, especially during the call process when you move from one desk to Ethan Weber, Lighting Designer and response sections of the set and the sing-aanother and there is so much to learn on this 70

CELEBRATING 30 YEARS OF SUPPLYING TECHNICAL PRODUCTION Hawthorn is marking three decades of providing equipment and expertise to the live events industry. From gigs and festivals to parties and intimate shows weâ&#x20AC;&#x2122;re proud to have helped so many artists look and sound amazing.

w: hawthorn.biz

t: 01664 821 111

e: info@hawthorn.biz

GREEN DAY

The audio team: Audio System Engineer Clark Thomas Monitor Engineer Timothy Engwall, FOH Engineer Kevin Lemoine; Lighting Crew Chief Jason Dixon and Touring LD Tommy Horton; Carp J ‘Dot’ Dennis; Head Rigger Brian Collins.

console. I am doing the maintenance but it’s really Ethan’s programing. I’m just adding a bit of flavour on top.”

Getting the ball rolling, Lemoine spoke of his rather unusual control package for this tour: “I have always opted for a full analogue control package for Green Day. The band have always swayed to that style, using vintage amps and guitars that they began their career with. We also have a fantastic backline team who keep all the older amps and guitars sounding their best. It wouldn’t feel right, after all that care and attention, to put the band through a digital front end.” Having used Midas consoles for several years, Lemoine thought it was time for a change, opting instead to mix on a PMI Trident 88 analogue console. Using this desk became quite a touring landmark; this is the first of its kind to have been packaged for the road. Dating back to the ‘60s when desks garnered a reputation as one of the go-to appliances for studio recording, here, the familiar routing and feel of a classic Trident desk has been given some modern refinements that now serve to improve functionality, workflow and performance specifications for live engineering. Lemoine gave his verdict: “We are 19 shows in so far and it’s held up pretty well ...” For PA, the production deployed a d&b audiotechnik system consisting of 40 boxes J-Series for main hang with 24 V-Series for the side hang. There were 16 J-SUBs and 8 J-INFRAs for ground subs, with an additional 4 J-Series utilised for front fill. “On the last Green Day tour we came across the system a few times and I really liked it. I also got to give the system a good test run when I took it out with a couple of other bands. I’ve really got comfortable with it,” the FOH engineer said. One of the biggest challenges

FIRE On hand to ensure the fire bringing heat to the band’s performance was German pyrotechnic company ffp. “My relationship with ffp goes back to my early days with Rammstein when I was working with the company’s Managing Director Nicolai Sabottka,” remembered Dean. “We wanted to use pyrotechnics several times throughout the show to pack a punch.” Handling the flames were Pyro Technicians Alex Hammel and Naloni Hydo. Hammel listed the effects used, including concussion bangs, a sparkling waterfall effect and six confetti blowers for the final encore, adding: “Last, but not least, we have our custom ffp flame system, which has the ability to move on an axis and produce sweeping effects.” During the show Hammel physically triggers each effect while Hydo acted as his spotter. AUDIO Since the creation of Green Day in 1986, the band has always been made up of three core members. However, over the years the trio has expanded their on stage ensemble. As well as long-serving second guitarist, Jason White, the band enlisted two additional musicians who now join to provide another layer of instrumentation. Controlling the wall of punk rock sound was FOH Engineer Kevin Lemoine. 72

PROLIGHT + SOUND 2017 Hall 3.0 Stand B88

Low Voltage / Direct Control Wireless Controllers Load-cell Monitoring

Fully tailored Short lead time High durability

Dimming Data Distribution Switching

SRS Group s.r.o., Rybnicna 36/D, 831 07 Bratislava, Slovakia e-mail: sales@srslight.com phone: +421 244 681 417 www.srslight.com www.facebook.com/SRSLight

GREEN DAY

With the European tour over, UK fans can catch the band again for their Hyde Park headline performance in July.

that Lemoine faced on a daily basis was the catwalk that extended into the crowd. “It’s such a fine art dealing with the potential feedback we get when Billie walks out into the crowd. We have to shade the bottom cabinets just a little and everyday we put his microphone (a Telefunken M80) right at the end of the catwalk to test the limits of how far we can push it.” As well as keeping an eye on the faders during Armstrong’s jaunts out in front of the PA, the FOH Engineer also has to accommodate for members of the audience who are invited on stage. “It’s just a case of keeping your wits about you and keeping an eagle eye on the lucky individual. A few tours ago it used to be a bit more of a challenge. As a gag, the band used to pull various people from the crowd, hand over their instruments and form another ‘band’ on stage. Funnily enough, I heard a rumour recently that one of those ‘bands’ actually got together for real,” Lemoine recalled. VER supplied all of the production’s sound reinforcement. And although the company was chosen by Production Manger Greg Dean to supply some of his past projects, this was the first time VER worked with Green Day - a prospect that excited Account Manger, Jason Vrobel. He told TPi: “It’s very special for me because I was their System Engineer and Audio Crew Chief for 9 years. I now get to work with them again, and fully understand their needs for a touring package of this scale. We can deliver what they need no matter where they are in the world. For example, we’ve packaged a very specific console arrangement for FOH Engineer Kevin Lemoine, who is using the Trident 88. It’s currently the only touring Trident 88 desk, but we sorted everything he required without any issues.” Holding down monitor duties was Timothy Engwall. At the helm of an Avid VENUE S6L, the Monitor Engineer walked TPi through his control package. “Currently we are working with 58 inputs, although, admittedly many of those are to make our lives easier, such as several talk back channels.” Other then a drum thumper for the bands stickman, Tré Cool,

all the musicians were on IEM. “We have deployed Shure PSM 1000’s. Each band member has an individual mix, which I sprinkle some of the audience microphones into, but for Billie’s mix the crowd volume is essential. A large chunk of my show, along with certain set cues, is taken up by riding the audience mixes to make sure he can hear all the call and response and singa-longs through the gig.” GRUB AND GAS Coach Service and Stage Truck provided busses and trucking for the UK run. Stage Truck’s Su Shanahan discussed the company’s involvement with the show: “Altogether, we provided nine trucks and one merch truck. We have worked with the band for almost 12 years now, and were excited to be back on the road with Green Day again. It was a great collaboration and we look forward to the next outing this summer.” Finally, ensuring all the crew and band were fed through the tour were Eat Your Hearts Out. Looking at the smiling, sweaty faces around the O2 Arena, it was clear that Green Day’s stripped back, personal rock ‘n’ roll show hit the nail on the head for the their die hard UK fans. Those few already feeling the post-show blues could take solace in the fact that Green Day will be back soon. With several UK festival dates confirmed for the summer, it will not be long until they get to reunite with Billie and the boys for yet another time of their life. TPi Photos: Matt Rakowski, PRG XL Video www.greenday.com www.prg.com www.ver.com www.brilliantstages.com www.coachservice.com www.stagetruck.com www.fourthgenerationltd.com 74

PRODUCTION PROFILE

Opposite: Lighting Designer Tyler ‘Shap’ Shapard; Monitor Engineer Lawrence ‘Filet’ Mignogna mixed on a DiGiCo SD10.

TWENTY ØNE PILØTS Formed in 2009 by Ohio native and band vocalist Tyler Joseph, Twenty Øne Piløts (TØP) in its current formation is completed by drummer Josh Drun. Together the duo are a truly genre-bending outfit, and despite their small headcount, the pair’s stage presence is undeniably fierce. TPi’s Kel Murray went behind the scenes at Chicago’s United Center to meet the technical talent behind the Emotional Roadshow tour, a dedicated crew if we ever met one...

Production Manager Daniel Gibson’s work ethic is evident; he’s focussed and ingrained as a cog on this tour, a tour that has grown considerably over the last couple of years. Having been with the band from the beginning of their real touring requirements, he knows what their show needs from day-to-day. Whereas in the beginning, the band bestowed a determination to succeed rooted in a DIY ethos, in 2017 their integrity remains... just on a much larger scale. The hard work paid off and these days TØP can be heard on daytime radio, soundtracking blockbuster films and selling out arenas on several continents. The one on home turf we had to see for ourselves, and their show production had to back up the hype. With a jaw-dropping assault on the senses, it seems to be doing a good job, but it’s the crew who have absorbed the importance of a genuine work ethic. VER has taken the lead as the tour’s technical supplier, providing lighting, rigging, video and audio while special effects came from Image Engineering. Accurate Staging and SGPS delivered set fabrication, catering was via Center Stage Catering, Senators Coaches handled bussing needs and Stage Call Trucking got the equipment on the road.

worldwide attention since the wildly successful release of 2015’s Blurryface. Inevitably, this has led to bigger shows than the band has ever played before. Right now, Twenty Øne Piløts is in the midst of a massive 11-month tour entitled the Emotional Roadshow World Tour. The band performs at venues ranging from amphitheatres the size of Berkeley, California’s 8,500-capacity Greek Theatre to Pennsylvania’s 30,000-capacity Hersheypark Stadium. This posed some challenges for the audio crew, but with a 72-box Meyer Sound LYON line array rig, VER Tour Sound has been able to provide flexible live sound for the tour’s varying scale of venues. Audio Crew Chief / System Engineer Kenny Sellars of VER spoke a little about the setup at the Greek Theatre shows in Berkeley. “We have 12 LYON per side on the main hangs, and 12 LYON per side on the side hangs,” he explained. However, the system expands effortlessly to a full 72-box rig for the tour’s larger venues, where their main hangs are 20-deep LYON and side hangs are 16-deep LYON. Throughout the tour, Sellars has been constantly impressed with the Meyer Sound system. “The scalability has been super solid for me. That’s what I planned on, but the fact that it’s worked flawlessly and easily has been the key,” he said. Shane Bardiau, Twenty Øne Piløts’ FOH Engineer, has also been very satisfied with LYON’s versatility. Initially, the tour was considering using the larger dual 15-inch Meyer LEO line arrays. But Sellars’ suggestion to Bardiau to use LYON to better accommodate the varying size of venues on the tour appealed to him. “I was skeptical at first because it is a smaller box,” recalled Bardiau. “But wow, I was blown away. And to be honest, this 12-inch (LYON) driver is perfect for our music.” Independent engineer Adam Stroop - who initially ran monitors on the

VERSATILE SOUND Twenty Øne Piløts puts on the kind of live show you have to see to believe. Singer Tyler Joseph and drummer Josh Dun emerge from backstage in ski masks. They crowdsurf on a platform while playing drums. Joseph crawls through the crowd inside a giant red hamster ball. Dun does a backflip off of Joseph’s piano. Joseph climbs the stage to nerve-wracking heights, singing all the while. The difficult to define duo - with music falling somewhere between the genres of alternative rock, electropop, hip hop, and indie - has captured 77

TWENTY ØNE PILØTS

Meyer Sound provided sound reinforcement for the tour.

first leg of the Emotional Roadshow World Tour explained that the band occasionally relies on side fills from LEOPARD cabinets on each side of the stage. He likes having loudspeakers that are “very controllable, very smooth. That’s really hard to beat.” For Twenty Øne Piløts’ biggest shows, the crew will use up to six LEOPARD boxes per side for greater horizontal coverage. “They’re very easy to set up and sound excellent,” said Stroop.

been very happy with it. For Tyler’s microphone capsule we use the Shure KSM9HS, which works really well. “Josh, he loves to hear his drum sound; he’s very in-tune with me on that. If he wants to sound a certain way, he’ll talk to me about it and we’ll come up with a solution. Tyler is very particular - listening to him dial on a monitor mix cracks me up because he needs to know what knob you’re turning and where. He likes to give me creativity but at the same time, he wants things a certain way so he’ll just hint about it. I guess it’s psychological with Tyler; he’ll tell me how he feels, knowing there is an employer / employee relationship there, but it’s more like a friendship really. If he hates something, he’ll tell me, and he’ll expect me not to get offended by it, and I’ll do the same thing. That’s why we work so well together; it’s almost a brotherly relationship. It’s like that with most of our crewmembers. It creates a cameraderie. It’s a little different than anything I have experienced to be honest…” Kenny Sellars, VER’s Audio Crew Chief and Systems Engineer, has been the first port of call for the sound team. He commented: “Their music truly is genre-bending so we go for moments that are EDM-based, we go to reggae-style with a ukulele, to piano ballads. It’s kind of all over the place but Shane and myself work towards a vivid picture of what’s going on sonically; big and punchy but crystal clear. We want you to be able to grasp all the different pieces of the music whilst still understanding his vocal, which can be tricky at times because there are moments where he is intentionally being dark and ‘mumbly’ vs moments where he is belting it out. “My specific focus is making the band sound the best everywhere in the room vs just at FOH. I work closely with Shane to explain how things translate throughout the rest of the room, so that he can focus on the overall sound but the two of us communicate on how it’s affecting everybody,” added Sellars.

FOH Bardiau met the band five years ago while mixing their support band and after clicking with them, he became a fully-fledged TØP crewmember. He told TPi: “Their live sound is not at all album-like; everything on their record is digital-sounding. Tyler, for instance, records everything in Logic and he makes all the sounds himself, and comes up with an album. Live, it’s a completely different atmosphere; you’ve got Josh hitting those drums really hard and it creates a totally different sound. I’m going for a big drum sound, mixed in a digital world that Tyler has created.” To achieve this sound, Bardiau opted to “open things up a little bit, and try and get a clearer sound, but be able to colour it in where I wanted to.” The tool kit? A DiGiCo SD5. “This desk has really allowed me to do that. With DiGiTube, I can create the colour in my inputs and if I don’t want that, I don’t use it.” The engineer is also using Waves: “I don’t think I’ve ever actually mixed this band without Waves,” he noted. “I use a lot of C6 and the API 2500 compressor on the piano, which makes it sound ‘alive’. I also do a lot of tricks with the C6 and side-chaining. I side-chain his L-R mix and his vocal, so every time that he sings it cuts out a hole in my mix with the C6 off the L-R. It really allows his vocal to sit in the front, and that’s the sound that he wants.” Microphone and RF preference is Shure throughout, as he explained: “We use the wireless Axient system due to its very clear sound, and I’ve 78

m a e Dr ig b

We donâ&#x20AC;&#x2122;t like to limit the creative minds of our industry. We believe in solutions. So if you like to dream big, youâ&#x20AC;&#x2122;re at the right place. We can handle big, we can handle heavy, we can handle zero deflection.

www.prolyte.com

Curious? Come and experience our new solution to help you dream big. Prolight + Sound Hall 3.0 E14.

TWENTY ØNE PILØTS

Daniel Slezinger and Justin Roddick’s company, Concert Investor, facilitated the production design.

Bardiau added: “One of the biggest things I have learned is to trust the people that are around you that are working for you. For instance I have handed a lot of things over to Kenny and trusted him. It took some time to earn that trust, obviously, but enabling other people to do their job, instead of micromanaging it, has got us where we are. For instance, using DiGiCo desks wasn’t my idea, but I told him what I was trying to accomplish and he came up with all of these options. To be honest, I was scared to go with a console choice I didn’t know, but I trusted him and trusted that what he was saying. Needless to say, I took his advice and it’s turned out really well - I’m a convert for sure!”

commenting on his SD10. “We’re sharing a rack, so we run the same things. Because it’s a show with only two guys, we have the tracks, live drums and Tyler also plays a bunch of instruments himself [from piano to guitar]. “We also have various opening acts who return to the stage for eight minutes in a guest segment. We have four vocals and a few extra instruments which goes through a mash-up of ‘80s and ‘90s songs. We then have elements like a marching snare and the drum island - where they carry the drummer, Josh, out on a platform. That’s their signature thing, which is why everybody rushes to the front at the beginning of their set - they want to help carry Josh and crowdsurf.” Filet’s gear can handle the potentially turbulent surroundings: “DiGiCo can do anything that you want it to; out of all the digital desks out there, this is by far the most versatile for monitor mixing. First of all, it sounds great, and second of all, it’s very reliable. A digital desk is just a physical fader and you should be able to make it do anything you want, yet not all desks have that capability. My favourite feature is the multiband

MONITOR WORLD Over in monitor world, Lawrence ‘Filet’ Mignogna is the tour’s newcomer - having taken over from Stroop - and upon our meeting in Chicago, was mixing just his ninth show with the band. TPi met Mignogna some years ago on a Britney Spears tour, and he’s still preaching the same sermon: “I’m DiGiCo all the way,” he smiled,

TWENTY ØNE PILØTS

FOH Engineer Shane Bardiau with VER Crew Chief & System Tech, Kenny Sellars; Bardiau’s DiGiCo SD5 console; The band played to sold-out arena venues in North America.

compression on every channel - it’s such a big thing. I have no limitations here.”

show very small, but there’s 365 lights in the rig and I only use a very small portion of them strategically, almost until the seventh song. You never see the full potential of the show until about 45 minutes into the show. It’s not a jam band concert; this is a theatrical performance. What you see is very thoughtout and planned to bring your attention to something specific. There’s a lot of misdirection; you look one way and something happens on the other side. There is a lot of that.” When the LD first started touring with TØP, I’d never done the LD thing before, but I have a background in video production. I’d directed and technically directed a couple of things on television, so I have a background of how to use a console, and I just applied what I know from that world to the lighting world. Having a creative background and being a camera director, I was able to apply this to the show design and concept. I’m a musician myself too, so I was able to relate to a lot of things. One thing you will notice about a lot of the lights is they react specifically to what you hear. You can see the instruments come to life in the show. That is really important and it’s definitely a design feature we intentionally do.” Coming into the fold as LD, there was a learning curve to undertake. He reminised: “I remember sitting in a room in Australia, and I’d had my worst show ever, it was my second show as an LD, and I was so nervous. It was a train wreck, and I thought I was going to get fired. What actually happened was that Tyler sat me down and said: “You’re my guy for this job and I want you to know everything about everything.” Now I’m probably the only person in the world who can hear a part of our song and can tell you where he’s at on stage and exactly what he’s doing, specifically with his hands or arms movements, where he’s looking and what part of the show he’s reacting to. When he talked to me that day, he said: “I’m going to be here for you through the bad times and the good.” “Ever since then, we’ve had a great relationship; he’s one of my greatest friends. I know exactly what he wants, and he can trust me to make it happen.

LIGHTING & SHOW DESIGN Production Designers Daniel Slezinger and Justin Roddick’s company, Concert Investor is coordinating lighting, sound and video for the latest TØP tour, together with special effects, fabrication, content creation and programming. Tyler has always taken a creative lead in the shows, explained Slezinger, with the team around him interpreting this vision. LD Tyler ‘Shap’ Shapard and Video Director Chris Schoenmen from Tantrum who creates the show visuals, all evolved the aesthetic for the tour under the creative direction of Mark C Eshleman. On last year’s Blurryface tour the band played some venues without flying or rigging, so they devised a custom ground package that could extend up to 16ft and be totally independent of any top rigs that happened to be present. When they stepped up to arenas, they added more production. At the start of the Emotional Roadshow tour in May, Slezinger and Shap decided to specify more Robe fixtures, adding 56 BMFL Spots and 12 BMFL Blades, 68 Pointes, 14 LEDWash 1200’s and 28 LEDWash 600’s to the plot.“The Robe Pointes are basically the backbone of the show. The 56 Robe BMFLs are our big spot movers; the Pointes are really fast, the BMFL’s apply really big looks to the stage,” he commented. There’s also 10 Sharpy Washes, 8 Claypaky A.leda K20 B-EYEs, 24 Robe 1200’s, 28 Robe 600’s, 83 Philips Nitro 510Cs. The 12 BMFL Blades are used for front wash, and up to 50 Elation Professional II and IV LED fixtures. “They help to keep the power demands down, and are supplied through Image Engineering along with out pyrotechnics which complete the show design.” Special Effects include 14 Sigma Co2 jets, and six generic confetti cannons. Shap noted: “Misdirection is really the key to the show. Energy, but more specifically an energy build up. The show is extremely dynamic. We open the 82

TWENTY ØNE PILØTS

This tour opted to utilise IMAG to ensure the crowd sees every strategic move on stage.

That’s what makes this tour so different; it takes a long time to build an artist’s trust because they have a personal vision. When Tyler writes songs he also thinks about how he is going to perform them. It’s really become a fine-tuned machine, in my opinion. From a design standpoint, I think every LD likes to do that. Most LDs travel from band to band, but I have only ever lit TØP. You could say I don’t really know much about the industry as a whole, but I don’t have to know - I just have to know my band, and I do. Daniel Slezinger who is my design partner and co-programmer for Twenty Øne Piløts. He’ll program some of the songs, and I’ll program some of the songs, and we have two very different programming styles. If you knew what our styles were, you could figure out who programmed what song, but we strategically program different songs throughout the set so the whole show is big and dramatic. It can be crazy one minute, and really down to earth the next, and then all over the place. It just keeps you guessing a lot.” There are two MA Lighting grandMA2’s at FOH, plus an MA Light. “We run most of the show off timecode, about 70%. Perfection is a very important thing to us, myself included. There are a lot of moments where Tyler and Josh could change it up or drift off somewhere, so I leave a lot of things open for the ability to manoeuver around the show with them.” “The VER guys are stellar; they’re always on top of their game. I’ve never had a problem with anything, and even if there ever was something, or something goes down, no one asks questions and they just send it to you. The support alone is worth working with them.”

content company. Chris designed a lot of the content and created it himself andhe enjoyed a lot of free-run with the ideas. We sat side-by-side with each other and watched through old videos of the show, and would say, “I would like to do content here,” or “I would like to do IMAG here.” He was very accommodating and helped us with everything we needed, which was an amazing experience. “A lot of the stuff that Tantrum did was abstract, and more filler almost to accent the lighting. They have started getting more detail orientated the bigger they get. They are trying to do less abstract art and we are trying to do stuff that almost sits on top of the live feed, to make it feel like you are almost watching a TV show that he’s in, but he’s on the stage. Tyler has a lot of things that are emotionally tied to him, and you can see that in his lyrics.” The tour utilised a ROSS Carbonite Switcher and Sony, Panasonic Robo cameras plus a d3 Technologies PRO media server for content control. Continued Peck: “There isn’t quite a separation between each of the departments. We all go hand-in-hand and help everybody out. Our crew is like a big family. I’m really good friends with a lot of this team. There’s no separation: we all intermingle and help each other out. We even hang out with each other on our off-days, because we have so much fun together. “I didn’t really know the band before I started working for them, but now I’ve seen their live show and I know the 100% commitment they give every night, and how hard this crew works, you can’t help but put your all into this team. It’s not just another gig for most of these people. “For example, I give up a lot of my free time during the day to just sit there and nitpick on things that I wasn’t to improve. My crew guys are willing to sacrifice their time and throw in just as much commitment, so this is one of the best shows you could come and see.” TPi Photos: Brad Heaton www.twentyonepilots.com http://concertinvestor.com www.ver.com www.sgps.net www.accuratestaging.com http://imageengineering.com www.centerstagefood.com www.tantrumcontent.com http://senatorscoaches.com https://stagecall.com

VISUAL IDENTITY “There is a strong architecture to the video content and, especially with some of the earlier and pre-radio era art, the show is essentially a narrative journey,” said Slezinger. “It’s also difficult to take it all in just seeing a single performance!” Adam Clay Peck, Video Director added: “Video is really important now that we are playing larger stadiums and arenas. It’s just the two guys on stage yet there’s so much action. They’re so animated on the stage so I think video plays a really crucial role in showing that to every seat in the house. We’re not only utilising the side screens for IMAG, we’re also using them to put more content on the main video wall. We combine them together and they play off each other from time to time. It helps fill in the gaps and makes it seem larger than it actually is. “We work side-by-side with Chris Schoenmen from Tantrum, our 84

INSIDE THE WORLDâ&#x20AC;&#x2122;S MOST ADVANCED

NOW SHIPPING

COMPACT LINE ARRAY BOX

131dB and LF down to 59Hz from a single 10" driver-equipped line array box? You better believe it.

www.nexo-sa.com #42535 - GEO M10 ad 210x297 - TPI.indd 1

Thinking. Inside the box. 09/01/2017 12:00

THINK LED...THINK PSCo 2017: The brightest year yet for LED.

Following the success of the Absen A3 Pro 3.9mm LED, with more than 6,000 panels sold to over 30 rental partners, PSCo are excited to introduce the Absen M2.9 2.9mm LED. The latest addition to the PSCo portfolio has a feature set perfect for the live events market. See why we love the new M2.9 LED for rental, what accessories we have designed to make life easier for customers, and how we support the product and partners!

The Absen M2.9, the ultimate 2mm LED display. •

The most advanced lock system on the market – Ultra-fast set-up, taking only 3 seconds to mount and lock.

•

Highest contrast ratio 2mm on the market – 7,500 : 1 contrast ratio produces stunning image quality.

•

Design flexibility – Integrated quick angle adjust can produce a concave (-5deg) or convex (+5deg) curve.

PSCo Designed Accessories. All M2.9 accessories are designed by PSCo, injecting our experience within rental to create the designs, with the quality assurance of a UK manufactured product.

•

PSCo ProStack – Modular ground stack system, that works alongside M2.9 to deliver flexibility and precision in design, supporting flat and curved LED wall configurations.

•

PSCo flight cases – Provides full product protection, with a shock mounted base and integrated edge protection for panels. The specially designed flight case supports the innovative 1 action install of the M2.9.

•

Accessories case – The same size as the flight case, it’s easy to manage logistics as it stacks perfectly on top of the flight cases with self-centering wheels. It has removable trays and dividers for flexible storage of multiple components.

“From a personal point of view it has been a long time since I attended a training course that I enjoyed as much and came away all the more knowledgeable about the product than I have with this one. A credit to PSCo.” Ram Malocca, Director at CMT

PSCo Services, your ideal LED partner. •

Stock – We hold extensive product stock and support our partners to meet even the shortest lead times.

•

Demonstration – The PSCo Assessment Centre allows you to test bespoke content and compare the latest Narrow Pixel Pitch LED technologies side by side.

•

Extended fleet – PSCo rental fleet ensures you can call upon matching batches of LED to support during busy periods and never turn work away.

•

Warranties and servicing – After-sales service from our UK LED Service Centre including zero failure warranties down to a single pixel.

The team behind your team. 0118 372 3300 sales@psco.co.uk www.psco.co.uk

AVENGED SEVENFOLD Dedicated to the memory of late crewmember Marvin Puchmeier.

PRODUCTION PROFILE

“On behalf of the entire Avenged Sevenfold family, we send our sincerest sympathies to Marvin Puchmeier’s family and friends. This terrible accident has affected not only this incredible group of men and women deeply, but an entire community of touring and local professionals. I would like to extend my gratitude to everyone in and around our industry that has reached out to both myself and my crew with tremendous support, as well as to anyone who has helped Marvin’s family and friends get through the very toughest of times.” Production Manager, Jordan Coopersmith

After bursting onto the heavy metal scene in the early 2000s, Avenged Sevenfold (A7X) very quickly became one of alternative music’s biggest names. Garnering fans from both metal and hard rock factions, the band has headlined festivals including Download and Mayhem, and even accomplished a number one album in the UK. With their previous Hail To The King record cycle coming to an end, fans began to wonder what was next for the Californian five-piece. The result was a secret release of their seventh studio album, The Stage, which arguably stands as one of the most concept-driven albums ever attempted by the band, tackling issues such as artificial intelligence and the selfdestruction of modern society. As the band pushed the boundaries of their musical material, it seemed fitting that the impending tour would follow suit. Enter Production Manager, Jordan Coopersmith, the band’s longtime collaborator. TPi last met Coopersmith when he was heading up the production of nine-headed, masked beast, Slipknot. Almost a year to the day, we sat down with the PM / Creative Director of to discuss life on the road with another of metal’s best and brightest.

out to the audience. It also has a 45 degree tilt capability.” Supplying all the video equipment for the tour was Solotech, who also took on the role of audio vendor (more on that later). “My first experience with Solotech came a few years ago when I took them on as my PA vendor for a Slipknot show,” stated Coopersmith. “They’re great to work with and have the ability to offer the entire live touring tool box.” The tour was headed up by the company’s Nashville office. Managing Director, Paul Owen, discussed Solotech’s involvement: “We have been associated with the band for the last 10 years and have got to know the crew really well. This tour represented a real departure for them stylistically. Jordan came to us saying he wanted to do something really outside the box of rock ‘n’ roll and set the band apart from their peers. We then began to discuss various options with video projection and 3D mapping. What he and the production have put together is incredibly effective.” It was also thanks to Solotech that Coopersmith was introduced to 4U2C, the content creators for the tour. “I ended up meeting Olivier Goulet from 4U2C during a visit to the Solotech’s HQ in Montreal,” commented the PM. “During that first encounter, I began to discuss some of the goals I had for the impending tour. They haven’t worked too much in the rock ‘n’ roll world, but he and his team have a vast technical knowledge of working on technically demanding and creative shows such as those with Pink and Justin Timberlake.” Coopersmith continued: “We have a lot of talented people that came to work on this show and everyone from our suppliers, to the content creators and all of our hard working crew have produced something really impressive.” A TRANSATLANTIC PRODUCTION The creation of this show materialised on both sides of the Atlantic, with much of the visual design happening in the States while the physical set itself was produced in the UK. “We knew that the best option would be to find a staging company in the UK,” explained Coopersmith. “This was a really ambitious project for us, the likes of which we had never attempted before. Due to the various projection elements and automation we knew we needed as much rehearsal time as possible. Also, the tour itself fell at an awkward time right after Christmas, and, with the first show in Dublin taking place on the 7 January, I knew the only realistic option was to have it built in the UK so we could hit the ground running on European soil.” Production Park-based Perry Scenic was asked to lead the build. Handling the logistical staging elements for the show was Stage Manager Ethan Merfy who was candid about some of the challenges he and

SETTING THE STAGE Throughout their career A7X have become known to present a live show aesthetic filled with traditional hard rock tropes. The last run’s main stage prop was an imposing ‘skeleton king’ which towered over the band. However, as TPi would discover, The Stage tour required some thinking beyond the norm… “Normally, we do really prop-heavy shows with lots of flames and hard rock imagery,” began Coopersmith. “But for this tour I wanted to design a show that was much more abstract and dealt with themes, such as artificial intelligence, in a much less literal way,” jokingly adding: “I had no interest in having large robots run across the stage!” From the beginning, Coopersmith knew that video was going to play a huge role in the set design, a medium the band had not before utilised to this scale. The PM continued: “When I began to design the show, one of my goals was to steer clear of flat projection walls. It took a lot of trial and error using various configurations until we found something that gelled.” The resulting stage aesthetic included eight video surfaces of varying size, all centred around a large automated cube which also acted as a video surface. “Tracking video-projection on the centre cube is the real meat and potatoes of the show,” described Coopersmith. “The cube is tracked throughout and we are able to move it 60ft down stage along the catwalk 89

AVENGED SEVENFOLD

Production Manger, Jordan Coopersmith; The carpentry team: Keith Ramirez, Callum short, James ‘Chief’ Yepa and Bob Strakele ; Stage Manager, Ethan Merfy.

the crew faced on this run. “The days have been long on tour and it’s an interesting challenge logistically due to how wide the set piece is. On the first few dates we started at 7am and didn’t really stop until doors. However, I feel the whole crew is easing into it now and, as of last night, we actually had an hour free before the band hit the stage - it’s a step in the right direction.” Pulling the pieces together for the scenic elements was Head Carpenter Keith Ramirez and his three crew. Ramirez commented on the division of labour he deployed on the run. “We split the work in half, with two of the team taking care of building the stage while the other built the columns that hold the projection screen. The biggest challenge for us is probably the columns as each one is made of almost 50 pieces. Also, because they’re a projection surface we need to ensure each object is in exactly the right place. Each venue is different and you have to think about the space your trying to fill before laying down the stage. But after several shows I think we have begun to get into the swing of things.” Finally, providing barricades for the tour was Mojo Barriers. Kevin Thorborn, Mojo’s UK Manager, elaborated: “We supplied almost 100m of equipment for the UK and European dates, with a bespoke barrier configuration that contoured the additional thrust and b-stage elements of the set. It was great to be involved with such a progressive tour. With so many productions pushing the boundaries when it comes to stage shows and production, we’ve seen an increased demand for our specifically designed touring barriers, which offer a more tour-friendly product whilst maintaining the highest levels of structural integrity and safety.”

anything I needed, from flight cases to encoder cables. You can call the office and they will have it over to you in a matter of minutes.” Head Rigger Johan Van Den Heligenberg made use of both Solotech and lighting supplier Neg Earth’s stock to run the show. He did acknowledge, however, that this created a mathematical challenge. “We have steel coming in from the ‘States which uses imperial measurements, whereas the equipment from Neg Earth uses the metric system.” Despite the challenge, Van Den Heligenber shrugged off the potential headache, joking that his dual Dutch and Canadian citizenship had trained him for the job. The show itself utilised 95 points and weighed 85,000 lb (38,591kg). He discussed some of the other considerations he took in his daily plots. “Due to the automation elements with the cube running along the track, I have to deal with the weight shift and incorporate them into my rigging plot. All the points are designed and calculated for the maximum weight as it travels very slowly. The speed at which it travels is actually a real blessing. Some projects, with fast moving automated pieces, often bump at the end of their track which gives you another 50% force which you need to consider.” LIGHTING AND VIDEO Coopersmith employed long-time collaborator, Lighting Designer Trevor Ahlstrand for the task. “For the last 10 years Trevor and I have split the workload. While I design the sets, Trevor gets to produce the lighting,” stated Coopersmith. “It’s a collaboration that has been really fulfilling.” Speaking from his Tennessee base, Ahlstrand discussed his approach to the tour: “The entire goal of the show was to capture the look and feel from the album. We went through a handful of concepts and many revisions but from a lighting standpoint my aim was to be able to tone and accent the band without ever interfering with the automation process or competing with the video. “It was great to collaborate with Jordan again. He is an extremely talented designer and always produces sets that are out of the box and extremely fun to light. With the amount of time we have been fortunate enough to work together we have a good understanding of each other’s styles and goals so it is easy to come together to make an amazing looking show.

UP IN THE AIR Taking the lead on automation and the build of the central cube was Ryan Staplehurst. He told TPi: “My usual trade is dealing with d3 Technology’s media servers,” began Staplehurst. “However I have had experience plugging automation into d3. That was the primary reason I was picked for this job.” All the automation was done using Brilliant Stages’ in-house kit and Staplehurst was keen to state the usefulness of working from Brilliant Stages’ HQ at Production Park for the rehearsal stage of the project. “It was fantastic. I was always able to pop over to Brilliant Stages site and get 90

WE ARE PROUD TO BE INVOLVED

Headoffice Austria: joerg@beatthestreet.net | klaus@beatthestreet.net | hannes@beatthestreet.net Office UK Buses: tim@beatthestreet.net | garry@beatthestreet.net Office UK Cars & Vans: ian@beatthestreet.net | mark@beatthestreet.net www.beatthestreet.net

AVENGED SEVENFOLD

To go with the ambitious new set design, production employed the services of 4U2C and LD Trevor Ahlstrand; Lighting Director Eoghan Tansey; Video Director Larn Poland.

Ahlstrand was on site during the rehearsals at LS-Live before handing over operating duties to touring LD Eoghan Tansey. “This is my first tour with Avenged, although I worked with Trevor on the last Slipknot tour,” started Tansey. “I came into the first show in Dublin while Trevor showed me the ropes. After a few days, I took complete control.” Ahlstrand added: “I have known Eoghan for a few years but this was the first time we got to work with each other. He helped out a lot in rehearsals when it came to timecoding a few parts of the show. It’s been a pleasure to work with him and hope that we are able to continue to do more in the future.” Ahlstrand deployed 62 Martin by Harman MAC Viper AirFX, 38 MAC Auras and several Martin by Harman Atomic LEDs on the lighting rig along with 24 Robe Spikies. There were also several Philips Color Kinetics ColorBlaze LED fixtures on the down stage area. Also present on the rig was the new Robe Spiider, the latest LED WashBeam luminaries from the lighting manufacture, which contain 18 30W and a single 60W LED. “I was really excited to put them on this show and now that I’ve gotten to program an entire show with the fixtures I’m an even bigger fan. Due to the height of the video I felt that I needed to frame it top and bottom, because of the limited space available I was looking for something that would be small and fit within the pods on bottom without being too big or obtrusive. The Spiiders fit the bill perfectly. They are definitely a big part of my programming in this show and something I am really looking forward to using again on other shows. Also on the rig were the Elation Professional 2-lite blinders, a must for the band who, according to Tansey, insists on being able to see the crowd throughout the evening. All control elements came from the MA Lighting grandMA2. A notable addition to the rig was the new Follow-Me spot system, the Art-Net based calibration software package that utilises moving lights as follow-spots. “I first heard of the Follow-Me system through my friend Niller Bjerregaard, who is the designer for Volbeat,” commented Ahlstrand. “When he had nothing but positive feedback I contacted them and started trying to work out how it could work in our show. I wanted to use the system with PSN information coming from it and have more control and availability

on the MA side of things. This way we are able to rotate which fixtures are aimed at which targets as well as being able to use any of the rig to highlight solos or specials. This takes an extra step in the calibration everyday but having these extra features available has really changed the way the guys can move around and still be highlighted when it calls for it.” Discussing the new technology was Lighting Crew Chief Antti Saari. “The system’s main advantage is that it gives so much control to the LD. Backstage we have five operators who have control of pan and tilt and keep their markers on each of the band members. Our LD, Owen, can then select which member of the band he wants to focus on.” Tansey added: “It’s a work in progress just like any new piece of technology. I do like how much control is given to the LD at the desk. The system also means that every song cue can be incorporated into the spots so colours match. Everything you do normally with a gel change we can now do over the board.” Concluding, Ahlstrand discussed the collaborations he undertook with Neg Earth: “Neg Earth and the guys out on road have been nothing short of amazing. Their gear and attitudes are always top notch no matter what changes or obstacles they were faced with.” On the other side of the arena holding down the role of Video Director was Larn Poland. The VD was brought in prior to pre-production, during a few one-off performances to become accustomed to the band’s material - along with the various personalities in the group. Poland elaborated: “During that time I got to know the various characteristics of the band and how they act on stage. This is not a one man show and I always want to ensure each member is given equal exposure on the screens. It’s good fun and makes it more interesting for me as a director to try and get that story across of who they are. “The goal of the design, as I always understood it, was to steer clear of having two big IMAG screens either side of the stage. Instead the band and the production wanted to have video content that integrated with their live performance.” In total, Poland had two robo camera feeds along with four from manned cameras. Two of the cameramen were situated at FOH with the other two in the pit. “It’s always interesting building a rapport with cameramen. The way I work is very much with zones. Each band member has their own starting position and each cameraman has their individual 92

AVENGED SEVENFOLD

Audio Tech Alexandre Bibeau with FOH Engineer David ‘Shirt’ Nicholls; Monitor Engineer Bruce Danz; Automation Ryan Staplehurst; Head Rigger Johan Van Den Heiligenberg; Lighting Crew Chief Antti Saari.

targets. The challenge is that this band does not stop moving! But it’s great to see the guys on the cameras have really got into the rhythm of the show and now are able to switch targets as they cross over the stage throughout the night without me telling them to switch. As a director it’s a joy to watch.” Poland used a Grass Valley Karrera video switcher with d3 Technologies media servers handling the final output. A total of 18 Christie HD-20K projectors were also used. Media Server Operator Eric Zimmer discussed the challenges of this ambitious video mapping project. “Calibration is always a lengthy process but we have found our feet with this one. Although the d3 system does all the maths, we still have to teach it all the positions and movements that the cube will do throughout the show. As every venue is different we have to start from scratch each day.” Although the show didn’t have as many visual gags as some of the previous A7X tours, the production could not resist one – a giant inflatable space man. The figure, which towered over the band during the later stages of the evening, was the creation of inflatable specialist, Airworks. Discussing the company’s involvement with the tour was Matthew Whitehead: “The spaceman we produced was based on the album artwork from the latest record. We are all very happy with how he looks and proud of the deployment system we created that enables him to rise up from behind the band.” The artwork on the inflatable is based on renders that Airworks made of a detailed 3D model commissioned specially for the show.

best sounding PA for this type of show. It’s got all the grunt with a lovely mid-range but it can turn your stomach inside out as well.” A new addition to the PA arsenal that the FOH Engineer deployed was the KS28’s. “They are fantastic!” Shirt exclaimed. “In my opinion they are more musical and much tighter than the previous range. Also, and most importantly, they’re louder. We have 24 out on this show and they have been working really well.” Ensuring the PA sounds its best each night was tasked to Audio Tech Alexandre Bibeau. Both he and Nicholls had worked together on the last Slipknot run and Shirt was very excited to keep him on. “When you build a good team it really makes no sense to break it up. It keeps everything consistent when you know how each other works. I don’t think I have ever walked away from the PA feeling disappointed. He does all the hard work really.” However, Shirt did also attribute his and Bibeau’s good working relationship to the several tonnes of Wine Gums he supplied the audio tech with throughout the tour. Speaking to Bibeau, he also expressed his admiration for the new Sub system. “They are so much tighter than the previous range which is so important with metal and rock ‘n’ roll bands. It’s a really good product that you can feel when you’re standing at FOH.” For audio control, Shirt opted for a Midas PROX. “I had been using the PRO9 model for a few years but it was time for a bit of an upgrade. So far it’s been great. It has a shed-load of effects options, although, for these guys I only use two delays for main vocals and another delay for guitars and hi-hat. Everything else is reverb. I’m a firm believer that the band should make all the sound, I just make it louder. I have never delved into the world of multiple plug-ins and nor do I have interest in doing so.” One of the biggest changes for the band on this run was adopting a new vocal microphone, the Heil Sound PR 35 with a Shure wireless system. Shirt expanded: “Compared to some of the other acts I work with M. Shadows, has a much quieter voice. He has tremendous control of his tone but is always conscious not to push his volume too far so as to maintain his voice. He also likes to spend a lot of the set out on the catwalk in front of the PA. This meant that we needed to find a product that had a good rejection level so as to avoid bleed from the PA. It also meant he could hear in his IEM’s when he was singing too far away from the microphone and helps maintain

AUDIO Despite the band venturing into new visual realms, one unchanging element of their show was the audio. Once again the band’s production brought in the duo of FOH Engineer David ‘Shirt’ Nicholls and Monitor Engineer Bruce Danz. Shirt kicked things off describing the run up to The Stage tour: “For a few years now I have pulled double duty working on both Avenged Sevenfold and Slipknot. At the end of last year, around November, the Slipknot cycle came to a close which gave me two glorious months sat on my backside! But it’s great to be back on the road again with these guys.” For this run Shirt again made use of a L-Acoustics set up, consisting of 14 L-Acoustics K1 speakers and four K2 on the main hangs. “For me it’s the 94

FOLLOW-ME REMOTE FOLLOW SPOT CONTROL Follow-Me is a cost effective Art-Net based calibration software package that utilizes moving lights as follow-spots. Where traditional methods of using FOH or truss mounted follow spots impose cost and rigging implications Follow-Me offers a cost saving, quick to implement alternative.

• One operator controlling multiple fixtures on a performer • Supports all standard moving lights • Follow multiple performers with a single system • No operators climbing above stage or audience areas • No truss seats • Manually operated INFO@FOLLOW-ME.NU • No sensors or beltpacks WWW.FOLLOW-ME.NU • No proprietary hardware

Fabrics & Flooring Drapes & Shapes HQ

Stage Engineering Tracks Consumables

Did You Know?

We have the world covered with offices on four continents and can provide bespoke design, manufacturing and installation services giving customers a turn-key solution anywhere on the globe.

MANUFACTURING, WAREHOUSE & SALES OFFICE SALES OFFICE

www.jcjoel.com

J&C Joel United Kingdom (HQ) uksales@jcjoel.com +44 (0)1422 833835

J&C Joel Middle East uaesales@jcjoel.com

J&C Joel Europe

J&C Joel Africa

J&C Joel Asia

J&C Joel Australasia

eusales@jcjoel.com

asiasales@jcjoel.com

sasales@jcjoel.com

ausnzsales@jcjoel.com

AVENGED SEVENFOLD

For the tour the LD Trevor Ahlstrand deployed the new Follow-Me spot system.

that sweet spot.” As well as a new microphone to aid Shirt in feedback issues, the FOH engineer had one more trick up his sleeve; the Rupert Neve Designs Portico 5045 Primary Source Enhancer. “It works almost like a noise gate in reverse. With gates, you can tell when a source is cut off and it sounds unnatural. The Portico on the other hand subtly prevents unwanted background sounds bleeding into mics so it’s almost unnoticeable to a listening audience. It’s a very intuitive piece of kit and you can set the parameters as you see fit.” For lead microphone the was a main and a backup with all switching happing on the same channel in monitor world. Heading up monitor duties for the tour was Bruce Danz. Having worked with the band for almost a decade, there are few who know A7X like him. For this tour the band completely did away with any on-stage sound, isolating all guitar cabinets and removing wedges. “It’s kind of an ideal world for a monitor guy to have a complete IEM show,” stated Danz, from his workstation underneath the stage. “For control I’m using a Yamaha PM5D. For me it’s been an incredibly dependable desk. I have thought about upgrading to the PM10, which would give me a few more options such as the inclusion of stage talk back microphone. But, honestly, once the show gets going we have very little communication and it runs really well.” Danz worked with 24 outputs and a full 48 inputs. Before the run began he had a few spare channels which have now been utilised for extra vocal microphones on the wings for the two guitarists, meaning that neither of them have to run back to their home positions for their various back up sections. “For IEMs we are using the Shure PSM 1000’s. The RF quality is great, and when you’re in an environment with so much potential interference it’s important to have the best possible kit.” With the large amount of integrated video content, a show click track was always going to be a necessity for the band. Danz expanded: “This was the first time we have used time code to this extent. I have control of six IEM channels of audio and there are two click tracks. One of the clicks is for the drummer, who is always on it, and the other is for the guitarists who only have it duck in and out when there are necessary cues.” A final highlight the monitor engineer was particularly keen to cover was with lead guitarist, Synyster Gates’ effects switching system. “He is running all guitar effects via a Fractal Audio Systems interface. We are sending out midi commands which then do all his switching for him. It means that he is given more freedom on stage. The only down side is that I have a bit more on my plate to ensure it doesn’t mess up. But it’s worked out so far.” Despite the addition of various digital elements to A7X live set up, Danz states that he still mixes in a traditional ‘old school’ style. “There are some guys out there that work several scenes during songs but I really like to mix on the fly. I also don’t have too many cues so it’s manageable. The fact that

I’ve used the same desk for so long was helpful as I simply loaded my old show file from the last tour and we were pretty much ready to go from day one.” SHEPHERD OF FIRE Eat to the Beat (ETTB), a division of Global Infusion Group (GIG), kept the artist and crew well-fed, supplying 2,250 meals during the nine UK show days. The ETTB team - including Richard Huggins, Ian Tomblin, David Lesh and Danielle Scoggins - provided the A7X crew with a taste of traditional UK cuisine. “We do quite a few American style dishes, although we have found that many of the crew that come from that side of the world have become slightly obsessed with Shepherd’s pie,” commented Head Chef Ian Tomblin. “Clearly they are all going home and spreading the word!” He continued: “We had previously worked with Jordan during Slipknot’s show, and clearly did a good job as we are back on the road with him again.” Finally, providing production trucks was Trucking Service and Beat The Street supplied band and crew transport. “I have had personal experiences with both companies in the past,” commented Coopersmith. “Trucking Service have been with the band for several years now. Funnily enough, after one tour they ended up hanging onto one of our props, a giant replica of the band’s ‘Deathbat’ logo. It has been in their offices now for almost four years.” The company provided a total of 11 trucks and drivers. Project Manager, Leo Steffen. “It is always great for us to have a tour of this size on the road during this time of the year. It’s a lot of work, but it was exciting as always and, at the end of the day, it is what we love to do. It was great to work with our friends from this production again, tackling new challenges together. Speaking of Beat The Street’s inclusion was the bussing titan’s MD, Jörg Philipp. “This was actually the first time we had worked with Avenged Sevenfold - although we worked with Jordan on the last Slipknot tour and got on really well.” The company provided three band busses and three crew busses for the UK and European legs. They also provided ground transport for the tour’s support bands, Disturbed and In Flames. “It’s is great to have an all-black tour,” joked Philipp, adding: “We are having a great time on this run. Both the band and crew are great to work with, so here’s to many more outings with them!” TPi Photos: Sarah Womack, Production Park http://avengedsevenfold.com www.jrcpsi.com www.ahlstrandproductions.com www.negearth.com www.solotech.com www.4u2c.com www.perryscenic.com www.airworksinflatables.com www.beatthestreet.net www.truckingservice.de 96

MEET THE NEWEST STARS OF THE STAGE

ZOOMING WASH LUMINAIRES PLATINUM 1200 WASH™

PLATINUM SEVEN™

19x 65W RGBW LEDs On Par With 1500W Discharge Wash Fixtures

19x 25W Multi-Chip LEDs (RGBW+Amber+Cyan+UV)

RAYZOR 360Z™

3x 60W RGBW LEDs Continuous Full 360˚ Rotation

Common Features

Color version

C/100 M/50 Y/50 C/98 M/88 Y/22 K C/0 M/0 Y/0 K/0

Advanced Cooling and Movement Control Smooth Color Mixing and Pixel Control • Selectable Linear Dimming Curves Flicker Free Operation for TV and FILM • Adjustable Refresh Rate Frequency and GAMMA 5pin DMX In/Out RJ45 Ethernet In/Out (Art-NET, sACN) • PowerCON TRUE1 Power In/Out

PUSH YOUR VISION WORLD HEADQUARTERS (USA) www.elationlighting.com info@elationlighting.com +1.323.582.3322

THE

LEADING EDGE.

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

GET SOCIAL

Grayscale version

C/50 M/50 Y/50 K/10 C/0 M/0 Y/0 K/0

ON THE ROAD

ON THE ROAD: BELGIUM TPiâ&#x20AC;&#x2122;s Stew Hume travelled to Belgium to meet some of the companies putting the small European country on the map for live events.

Touching down in Brussels airport early in the morning, TPi was met with a rare vision of February sunshine. Blinking in the dawn, we collected our thoughts on the adventure laid out in front of us. The mission; visit the companies and individuals that have helped to make Belgium a hive of activity for the live events industry, burgeoning over the last decade. With a rich heritage of festivals dating back to the Summer of Love, Belgium has nurtured a whole generation of innovators and entrepreneurs. Unbeknown to their fellow Belgians and the rest of the world, they would take the grassroots skills learned in the fields and extend them to the international market from their European epicentre. Fast-forward to today and almost every sector within the industry is represented here in Belgium. Now, thanks to its fantastic transport links to the rest of Europe, businesses from further afield are tarting to show an interest in the region, opening European HQs in the country. With several cities to travel to - and only five days to do it - we head straight to the train station, naturally praising the efficiency of Belgian public transport as we went. 98

TPi IN BELGIUM

DAY ONE - GHENT www.chauvetprofessional.eu

The first stop on our road trip was Chauvet Professional’s Ghent branch. The North American lighting manufacturer officially opened its European base in November 2015, although trading started six months prior. On a short drive out of the medieval city to reach Chauvet’s premises, Steven Batslé, the company’s European Sales Manager, told TPi why Belgium had been chosen. “Logistically, this country has a number of advantages. Here, we are able to serve not only the local market but neighbouring France, Netherlands, Luxembourg and western Germany. Furthermore, the domestic market in Belgium is one of the most vibrant in Europe, with a large amount of lighting consortiums, considering the country is relatively small.” After a look around the warehouse facility and a quick photo op with the entire team, executed with all the finesse of a school portrait, Batslé - along with Chauvet’s (and former TPi-er) Patrick McCumiskey - lead TPi up the blue-lit stairway and into the cave of wonders that is the company’s show room. Pointing out some of Chauvet’s latest fixtures, Batslé discussed some

key products: “Recently our Strike 1’s have received an excellent response. Their tungsten emulating dimming effects have already been specified on a number of high profile events, such as the Hair musical and Belgian girl band K3’s recent tour. The Maverick Series has also been very popular since it was showcased last year during the festival season on many of Belgium’s main stages.” The tour ended back in the city centre of Ghent with a couple of rounds of traditional Belgian beer (perhaps yet another reason why so many companies choose to move to the region.) With our glasses full, Batslé summed up his thoughts on Chauvet’s first two years in the region: “The growth which the Belgian operation has seen since its inception is staggering, and we hope to continue upon this upwards trend by fortifying relationships with existing customers and accommodating the needs of new ones. With an ever-expanding team and an increasing number of fixtures in stock, we’re ready for all that 2017 has in store!” 99

TPi IN BELGIUM

DAY TWO - TILDONK www.prg.com; www.thepowershop.nl; www.stageco.com

Day two, and TPi, with no hint of a hangover, headed east to Tildonk, a small oasis for the live events industry. Just down the road from the Rock Werchter festival site, this neighbourhood is home to PRG Belgium, The Powershop and Stageco - all of which share the same street. First on the itinerary was PRG. Handling almost 1,200 productions a year, PRG Belgium is able to provide a complete turnkey option for events, including audio, lighting, video, rigging and automation services. The towering three-story warehouse contains an impressive smorgasbord of gear, including one of the largest Adamson speaker stocks in Europe. Needless to say, the 100 full-time employees on site have their hands full. Over a welcome cup of coffee, TPi spoke to COO of Central Europe, Thomas Van Lokeren, who talked through some of the initiatives PRG Belgium had in store for the coming years. “At the moment our real focus is on the quality of stock we distribute and the service we provide. A trend we have seen across the board is the price of equipment dropping with smaller companies being able to invest in products. What we want to be able to provide is an unmatched service ensuring our products are maintained to the highest quality. So when you see the PRG logo on a flight case, you know you’re getting the best.” It is not just the quality that PRG Belgium has been striving for in the past few years. When it comes to staff, the quantity matters too. In fact,

the company has even run an incentive to give local youngsters a gateway into the live events industry. To explain, TPi spoke to Birgit Everaert, PRG Belgium’s Marketing Executive: “The name of the campaign was Jobbattle. We had 40 students come to our office and compete in various warehouse challenges against the clock, such as hanging several PARcans on a piece of truss and packing away several metres of cable. The goal was to give local youngsters a chance to experience what it was like to work in the live events industry. We had great feedback and have even gained one fixed employee from the day. It’s a hands-on industry and this incentive was perfect to see if they measured up. We want them to start their career at PRG!” Just next door to PRG is generator and transformer specialist, The Power Shop. The company’s Managing Director, Jan De Meyer, started from very humble beginnings - as he freely explained himself: “Like many others in the region I started my career at Rock Werchter festival. In those days we had no grand business plan, but many of us believed there was a real potential to make a career out of what we loved to do. Turns out we were right, and in only 10 years these companies have become some of the biggest in the world.” Although the festival market is surely what made The Power Shop, nowadays the company is also hailed for its work in the live touring sector. 100

To be unveiled on April 4-7

@ PROLIGHT+SOUND 2017 Messe Frankfurt Hall 3.1 Booth A37

Monitoring your investment

Asymmetric 100° by 30° horn with adjustable orientation

#unique www.k-array.com

TPi IN BELGIUM

Managing Director of The Power Shop, Jen De Meyer; General Manager of Stageco Hedwig De Meyer at U2’s 360 tour; PRG Belgium’s Marketing Executive Birgit Everaert and Thomas Van Lokeren COO Central Europe.

“The niche we fill is with American artists touring through Europe who have to deal with the differing electrical standards as well as the differing voltage,” explained De Meyer. “The Power Shop acts as an interface to ensure their productions are a success.” It is not just equipment that The Power Shop has to offer but knowledgeable personnel. “We have a fixed team of 10 engineers who often go out with a tour or a festival to ensure everything goes off without a hitch.” The company has certainly gained an impressive array of international clientele and just this year has worked on tours with the Red Hot Chili Peppers and Justin Bieber. Moving forward, De Meyer stressed that one of the company’s goals was to ensure the environmental sustainability of the solutions it offers. “Oil management is very beneficial as well as replacing small generators with battery power. We put more time into measuring and controlling the oil systems. That’s the way to make the most savings. Power is always a big cost for a production and, as the productions get bigger, so does the cost.” People often say this industry is one big family. In Tildonk, this statement rings true. Jan De Meyer’s base is situated next door to Stageco, which is run by none other than Hedwig De Meyer – his brother. Last year’s winner of the TPi Outstanding Contribution Award, Hedwig De Meyer has spearheaded Belgium’s impact on the global touring world. Over its 32 years in business, Stageco has provided custom staging for Pink Floyd, The Rolling Stones, U2, Coldplay and Beyoncé to name just a few. Guiding TPi around the facility, De Meyer retold the Stageco narrative;

from the muddy roots of the festival circuit to the international player it is today. “While working on the various festivals, I made contact with some fairly high-profile production managers and the one who really gave Stageco a leg up was Genesis’ Morris Lyda. He hired us to build the stages at four venues on the 1987 European leg of the Invisible Touch tour, and that led to us working on Morris’s next project: Pink Floyd’s Momentary Lapse Of Reason tour.” After the genesis - pun intended - of the company’s involvement in the touring industry, Stageco went from strength to strength, taking on bigger and better challenges, and setting standards that remain the benchmark for concert staging. Today, Stageco has expanded its physical presence with branches in France, the Netherlands, Germany, Austria and the US. Despite a growing global base, the company’s home is still very much in Belgium. “When we first started the business, I didn’t realise just how central the country was. We are conditioned from school to be multi-lingual and, logistically, our location is ideal, with amazing transport links to the UK, Europe and the rest of the world. More than that, however, I feel being based in the country is now vital. So many of our peers are also based in the region - and even this street. It leads to a deeply collaborative and creative environment.” This summer, the company will tour with U2, Coldplay and Robbie Williams, as well as maintaining its presence on a diverse range of European and American festivals. 102

TPi IN BELGIUM

Painting with Light’s Luc Peumans, CEO and Creative Director.

DAY THREE - GENK www.paintingwithlight.com www.luminex.be

After a rather bizarre night in Leuven where our ‘hotel’ turned out to be a single room above a restaurant, TPi met up with industry PR guru, Louise Stickland in her Abarth pocket rocket and hit to road. Strapped into a racing harness - that’s no exaggeration - we sped along to our next appointment in Genk with Luc Peumans, Painting with Light’s CEO and Creative Director. Peumans cut his teeth in the theatrical side of the industry. Today, from its ultra-modern building - the former pit pony stables completely reimagined and renovated - that sits shadow of the old C-Mine shafts, Painting with Light services a varied clientele from large scale theatrical productions and musical performances to slick and inventive music shows. “I have always been interested in investing in new technology,” Peumans began. “When I formed the company, I invested in a WYSIWYG system. I think a few of my peers thought I was crazy at the time but I knew the only way to move the company forward was to always stay ahead of the curve when it came to technology. It was the right call as now WYSIWYG is an industry standard.” Continuing, Peumans explained that this drive to innovate comes from being based in Belgium: “Because we are a small country, we do not always have the luxury of having big budgets. Rather than seeing this as a negative I think it forces show designers to be more creative. For example, early on in my career I knew that to be successful would require a level of multidisciplinary application. This started with

lighting and scenic / set design and then as time passed resulted in Painting with Light increasingly exploring and delivering video design and content creation as that became more common in a broader range of productions” Looking to the future Painting with Light has some fairly ambitious goals. Due to its recent investment in both d3 Technologies and Cast’s BlackTrax realtime tracking system, the company has found itself providing services for an ever-increasing international clientele. However, there are still one or two ‘bucket-list’ jobs on Peumans’ radar. “My ultimate goals are to work on the Opening / Closing Ceremonies of the Olympic Games and also to design a Broadway show. I think we are on the way to getting there but we will have to wait and see…” ” The Genk region has also begun to attract other members of the industry such as Luminex Network Intelligence, which is set to move to the area in May. The company has invested €2m in the new build. CEO, Bart Swinnen, discussed the latest developments. “We have certainly come a long way since the release of our flagship product, the Ethernet-DMX8. In the last four years we have gone from providing lighting control equipment to delivering wider networking options for audio and video.” In the past few months Luminex has continually been a prevalent force in the live touring industry including being used on Muse’s Drones world tour. The company also has plans to expand its physical holdings with the opening of a Japanese branch in the near future. 103

TPi IN BELGIUM

TPi’s ride for the day, Louise Stickland’s Monster; WIcreations’ Hans Willems.

DAY FOUR - HEIST-OP-DEN-BERG www.wicreations.com Buckling back into Stickland’s mini monster, TPi travelled to Heist-op-denBerg, to pay a visit to WIcreations’ Hans Willems. A veteran of Stageco, which he started working for in 1991, Willems was already a familiar face within the industry before setting up his company. “I got to a stage in my career where I wanted another challenge,” began Willems. “I had always been interested in automation and other creative staging elements so I struck out on my own to see how I would fair.” The first show with which Willems was given a chance to spread his creative wings was with Belgium rock legends Clouseau. “Their production was requesting for an ambitious movable stage. I was brought into the project as somewhat of an advisory role but ended up taking control of most of the set design. That ended up being WIcreations’ first show.”

From the very beginning, Willems always wanted to keep as many of the processes in-house, with initial technical design all the way to fabrication all taking place under one roof. “The foundation of WIcreations is having a backbone of engineers. In my opinion you always need to start show design from a theoretical standpoint. Recently, many companies have invested in motion hoists but few could go as far as we do with actual design. This requires some very specific mathematical understanding and both the capability and the attitude to pull off extremely ambitious shows.” WIcreations is certainly placing itself at the forefront of innovation in terms of what is possible with automation, devoting half of its staff base to the R&D department, with pads of paper on every table in the building ready to scribble down the next groundbreaking idea.

BAND

Heistse Hoekstraat 3D | B-2220 Heist-op-den-Berg | info@wicreations.com | +32 (0) 16 85.21.60

Own weight: MAX Load: MAX Speed: MAX Lifting Height:

75 - 10

55kg 75kg 1,0 m/sec 20 m

Art-Net Compatible Sturdy design Silent operation

Picture by Philippe Wuyts

NEW

BGV- C1

Integrated control system

www.wicreations.com 104

CClass

35% more compact, 100% dLive Experience next generation digital mixing with the full power of dLive’s 96kHz XCVI processing core, intuitive Harmony UI and DEEP embedded plugins. Now in an agile new compact class.

3 new Surfaces + 3 new MixRack sizes Includes 19” rack mountable C1500 surface 128 inputs / 16 FX returns / 64 configurable busses Dante, Waves, MADI + Optical option cards Full dLive ecosystem - apps, software, expanders + remotes

ALLEN&HEATH

WWW.ALLEN-HEATH.COM/DLIVE

TPi IN BELGIUM

AED Group’s CEO Glenn Roggeman; AED Rent’s Managing Director Steven Mansvelt.

DAY FIVE - WILLEBROEK www.aedgroup.eu; www.arkaos.net

Before flying back to the UK, TPi had one final stop. Situated just north of Brussels in Willebroek, is AED group’s expansive headquarters. When entering the main reception of the company, the first thing that catches your eye is a huge poster that outlines all the various services that the AED Group has to offer. Currently the company is separated into six factions; Rent, Display, Distribution, Store, Lease and Second Hand. If that wasn’t enough, AED also now has its own private studio which has played host to some of the most ambitious filming projects in Europe. During TPi’s day with AED, we visited each section of company and the discovered the relationship each of them have with one another. Laying out the company’s mission statement was Filip Van Vlem, the company’s international PR and Communications Manager. “During 2003

AED underwent a dramatic change when Glenn Roggeman (CEO of AED Group) took the bold decision to take the company out of the production side of the business to focus on solely becoming an equipment bank. From that point on AED has focussed on becoming a business that is able to accommodate any rental house’s given circumstances. We offer a solution that allows customers to have the latest technology without endangering their balance sheet by offering a whole array of financial options - from outright purchase, renting and even leasing products.” Moving onto the warehouse floor, TPi caught up with Steven Mansvelt, AED Rents Managing Director. Throughout the tour Mansvelt walked us through some of the latest products in the group’s equipment catalogue including its plentiful stock of L-Acoustics K-Series speakers. “We have invested in L-Acoustics for a very long time purchasing our first system back 106

THIS IS

NOT

STATE-OF-THE-ART WIRELESS COMMUNICATION SEE RIEDELâ&#x20AC;&#x2DC;S NEXT STEP AT

www.riedel.net

TPi IN BELGIUM

AED’s stringent assembly line to check each fixture is in working order; Scale model of the AED’s HQ; the AED warehouse team taking a welcome break for a quick family photo.

in 2002. Last year we made a sizable investment with a purchase of 96 K1 cabinets, to strengthen the K1 network and help to meet the continuing demand for this large-scale line source array.” Another notable element to the AED Group’s stock was the company’s own in-house Luxibel range of lighting fixtures - a new line of entry-level products for the lighting industry. “When designing the warehouse, the goal was always to have an efficient and effective work flow,” stated Mansvelt. “Everything from our integrated digital manuals on every floor to our stringent quality control

processes are in place to ensure our products are kept to the best standard. More than that though, we wanted this facility to be as sustainable as possible. A high percentage of our power comes from solar panels and all the water that we use to clean trussing, and even flush our toilets, comes from recycled rainwater.” Walking around the AED campus this eco-driven visions can also be seen with several electric car charging points and the sizable fleet of Tesla vehicles. Regrettably, one company that TPi didn’t manage to catch while visiting

Self Contained Studio

@johnhenrysltd

2100 sq ft Kitchen & Lounge Production Office Rehearsals Dance Studio Yamaha QL5 Desk Monitor System

Specialist Suppliers to the Entertainment Industry

Mic Package Dedicated Wi-Fi Fibre Optic Broadband

The latest addition

Climate Control London Skyline Views

to our rehearsal studio facility

Studio 7

63a Mains Kings Cross

16-24 Brewery Road, London N7 9NH | www.johnhenrys.com | e: info@johnhenrys.com | T: +44 (0)20 7609 9181 108

Meet your next pro audio partner Visit us at Prolight + Sound Frankfurt for access to our exclusive evening event with new equipment unveiled, insight sessions and live performances. Discover why venues worldwide are choosing Pioneer Pro Audio systems and how you can become one of our business partners.

WWW.PPAEVENTS.COM Visit us at Prolight + Sound Frankfurt, 4-7 April 2017, Hall 3.1, Stand A91

#madeintheuk | Pioneerproaudio *See full terms and conditions at www.ppaevents.com

PRO_AUDIO_INSTALLER_CAMP_SPEAKER_AD_TPI.indd 1

08/03/2017 10:37

TPi IN BELGIUM

AED Display’s Joeri De Clerck; ArKaos’ CEO Marco Hinic.

the country was lighting and video expert ArKaos. At the time the company were in the middle of moving to a new facility. However, we did manage to grab Agnes Wojewoda, the company’s Managing Director to discuss what lies ahead for ArKaos. “Our Founder and CEO Marco Hinic has always had one goal; innovation and our simplicity doesn’t compromise performance!” Since the inception of the company we have always wanted to produce software that is user

friendly and prevents customers’ creatively being blocked by technology.” As well as developing user friendly software, the company is also making strides to educate its customer base with the new ArKaos Academy. “This is all coinciding with the new move,” explained Wojewoda. “Every month we are looking at organising various classes and panels to show end users more tricks and tips how to better use our software.” At least TPi has an excuse to travel back to the region when the facility opens…

110

More than just stages Call Now +44 1234 772233

info@StarEventsLtd.com www.StarEventsLtd.com

INTERVIEW

JOE LAMOND Ask a person over a certain age how they first got into the audio industry and there are two common answers: the tech heads who are fascinated with the physics of audio; and those who started out wanting to be a rock star, but eventually realised they had to get a real job. For current President and CEO of NAMM, Joe Lamond, his story begins with the latter, although, like many others, he has managed to achieve the perfect blend of a good living in an industry he is truly passionate about. Rachael Rogerson-Thorley carried out the transatlantic interview to learn more about the man behind what is arguably the industryâ&#x20AC;&#x2122;s largest tradeshow for MI and pro audio, organised by a non-profit association.

JOE LAMOND

NEW GENERATION

Growing up in East Aurora, New York - where his parents still live might not immediately denote a career in the music industry, but Joe Lamond’s musical family set him on the right track. His mother is a pianist and the piano was a centrepiece in the family home. His father listened to a lot of music, with Joe describing him as ‘a hip guy for that era’ for enjoying the likes of The Rolling Stones, The Beatles and Crosby, Stills and Nash. Joe and his five siblings were, in fact, all influenced by music growing up and everyone played a different instrument. Joe chose drums. “I was just drawn to the drums,” he said. “Maybe it was the sound of them. I also always thought of the drummer as the anchor, a reliable, sturdy position. My first gig was at aged 12 with my older brother, and of course, I was playing the drums. From then on, I’ve never really looked back, I can’t remember a time when I didn’t consider myself a drummer.” Upon entering his teenage years, Joe developed a second love, the outdoors. He was always outside, so much so that when it came to choosing a college major, Joe opted for forestry. He attended Paul Smith College in Lake Placid in upstate New York. “It was very interesting because it was a lot of science, learning about the science of trees and forests, but I had a romantic view of it. I thought I would be walking through the forests and up mountains looking for forest fires, but when that didn’t materialise - after about a year and a half I realised I didn’t want to be a forest ranger, I really wanted to be a drummer,” he continued. But instead of a cut and run into the unknown world of rock ‘n’ roll, Joe took advice from his parents and transferred to State University of New York (SUNY) to get a Business Administration degree, so that he had something to fall back on. Two months after graduating though, Joe did go after his dreams and moved to California. He recalled: “I was in a band in Buffalo, New York. When I first auditioned, I’d noticed Californian licence plates on the guitar player’s car, so I figured he must have a connection there, and it turned out to be a family member in Sacramento. After a couple of gigs in the middle of Winter in New York, loading out in the freezing cold and two foot of snow at 3am, I said, ‘hey, what’s Sacramento like?’ He said, ‘a lot warmer’, so I said, ‘let’s go.’ I had a girlfriend in California, so that’s where I wanted to be. A month later we loaded up his 1962 Station Wagon and we drove across the country to Sacramento, and the only thing we had lined up was a place to stay for the night when we arrived - the guitar player’s relative.” That was 1982 and Joe was just 21-years-old. He needed an income so he started looking for work in music stores and was quickly hired as a book-keeper, which then turned into managing the store. Having just moved 3,000 miles away from home, Joe grew up quickly with the responsibility of living on his own and managing a business at the age of 21. Drum & Guitar City - which no longer exists today - sold guitars, drums and PA systems during the ‘80s and it was by working there that Joe attended his first NAMM Show in 1983. “I was 22-years-old, so I didn’t know anything. I look back at myself, going to the show at the age of 22 and look at myself now and I think, ‘oh my God, if only I could go back and see it with those eyes again.’ It was huge and overwhelming. In fact, only two halls, just a fifth of the size it is now, but I remember thinking ‘oh wow, this is unbelievable!’” Over the next 15 years, prior to joining the NAMM team, Joe continued to work different day jobs to ensure he could pay the rent, but he played in a number of bands too. He played with Tommy Tutone, which had a successful record, 867-5309/Jenny - one of those phone number songs - and he travelled the world with the group. Japan was and still is Joe’s favourite place, having racked up a total of more than 30 visits during his touring career and his NAMM career so far. “I love it because I am actually a big Japanese history fan. Japan was a good place to suss out the bugs of the tour before it went over to the States,” he explained. “At the end of a show, there was an army of workers that tore the stage apart, the truck would be loaded within an hour, and it really was so efficient. The audiences in Japan are just amazing - and I left that tour with a deeper appreciation for the Japanese people and their culture.” Joe had his ‘Spinal Tap moment’ when he was touring with Tommy Tutone. In the words of Nigel Tufnel - the fictional character in the 1984 mockumentary This Is Spinal Tap - ‘it’s not that the audience is shrinking, it’s just that they are becoming more selective’. So as the tours began to get smaller, Joe took on some of the business duties: collecting money from the box office at the end of a gig; sorting advanced payments; and ensured all the production was in place ready for the band. “I soon realised that in itself was a job… a production

ELECTRIC CHAIN HOIST LP

WEATHERPROOF LIGHT ROBUST

QUIET POWERFUL DURABLE 3 YEAR WARRANTY

GIS AG I Swiss Lifting Solutions I CH-6247 Schötz I Phone +41 41 984 11 33 Fax +41 41 984 11 44 I tel@gis-ag.ch I www.gis-ag.ch

113

JOE LAMOND

manager,” Joe remembered. “I started getting a little extra on top of my drumming salary from Tommy, and I quickly realised how much I connected with this side of the business, it seemed to fit with how I was wired inside and how my brain worked. “I then became Production Manager for Todd Rundgren - as well as subbing on friends’ gigs when they had double booked themselves - but primarily I worked for Todd. He was one of my idols growing up, he was just such a great musician, producer and engineer in his own right,” he continued. Joe was on the verge of turning 30 at this point, and he came to the conclusion that he wasn’t going to make a career out of drumming, and that actually the production side was much more engaging. “Todd taught me about sticking to your vision and always giving 100% to everything you take on,” Joe said. It was also around this time that he met music retailer, Skip Maggiora from Skip’s Music in Sacramento California, who taught Joe about the music business and the joy of helping others to make music. He considers both to be influential figures, who entered his life at the pivotal moment - which also happens to be when he met his wife, Alyson - when in his own words, he needed to get serious about his career. Reliving his early days as a PM, Joe remembered how he had to quickly get to grips with the audio and lighting technology that was obviously part and parcel of any gig. “We experimented so much and made every mistake in the book,” he said. He particularly remembered the first version of IEMs - which are obviously much more sophisticated today - but back then were essentially a Sony Walkman ear bud and an ear mould stuck together. “There were no dedicated frequencies for these of course, we were kind of rogue on this. We would use a small FM transmitter, a Walkman radio, and for every city we went into, I had to find an open bandwidth, usually down in the 80Hz area. Quite often the frequencies would be wide open, so I would just slip through white noise and then I would dial in the transmitter and receiver, and we would have a connection. It had a very

short range and not a lot of power, but if you were within a five-block radius of the theatre we were playing at you would be able to listen to live on your radio. Sometimes, we’d find an open frequency in the afternoon during sound check, but then by the evening, it would no longer be open, so I’d be rushing to readjust it in time for the gig.” Something else Joe remembered is hiring the best companies he could find for lighting, staging and the PA. “Sound on Stage was one of the sound companies we used all of the time. They had the best gear and the best people. I think what I learnt from that, which I use now at NAMM, is that you don’t need to know everything yourself, but you need to be able to hire people who know everything in their area of expertise.” Joe spent seven years on the road touring as a PM, spent a year at home, before heading out for an additional year ‘on the road.’ It was after that he decided he needed to be a little bit more settled in his home life with his wife and young children. Joe’s passion for music took on a slightly different turn when he got involved with creating programmes aimed to get more people into playing music, one of which was called Weekend Warriors - basically a programme to get lapsed musicians back into playing again in an easy way - and it was this that led him to connect with NAMM. Weekend Warriors took place in music stores. “A room was set up with all of the latest gear and the store co-ordinated the people who were interested. They placed a drummer with a guitarist and a bass player who all liked the same kind of music, and these individuals formed a band who would practice together. NAMM had seen the programme for Weekend Warriors and approached me to license the programme so that all of their music products dealers could use it setting up this license agreement meant I got to work with NAMM market development,” Joe explained. When an opportunity came up at the association, the NAMM team thought of Joe for the position. “What interested me about the role was that 114

Now available

DIGITAL 6000

Compromise is not an option when everyone is counting on you.

Better performance, quicker setup, immediate payoff: Digital 6000 was developed to exceed the expectations of audio professionals and business managers alike. Our new professional wireless series delivers reliable performance in even the most challenging RF conditions. Intermodulation is completely eliminated by Digital 6000, enabling more channels to operate in less space.

Digital 6000 utilizes groundbreaking technology from our flagship Digital 9000. Dependability is guaranteed by our renowned Long Range transmission mode and proprietary audio codec. Digital integration is seamless with AES3 and optional Dante output. Monitoring and control of the two-channel receiver is at your fingertips, with an elegant, intuitive user interface.

Discover more: www.sennheiser.com/digital-6000

20170224_210x297_tpi_UK.indd 1

21.02.17 18:20

JOE LAMOND

I would be able to transfer what I was already doing in Sacramento and the in charge, although he said the growth is more a by product rather than Weekend Warriors; but I would be able to do it on a larger, national, possibly the primary aim. “I look at it like a recipe, in a recipe you have to get just global scale. It was a difficult decision, as all I had done up to that point the right amount of everything,” he said. “I tend to look at it in terms of the was work in retail, touring and production. I hadn’t really worked for an velocity of purchasing power rather than just straight registration numbers. association before,” said Joe. But he decided to take a leap of faith, joining The incentive for us is really about getting the right mix rather than just the NAMM in 1998 as Director of Market Development. “The office was 500 miles numbers. away from my home, so I did a lot of commuting and I did this for three and “I like to think of the NAMM Show as the crossroads of the global music a half years, but I absolutely loved it.” and sound products ecosystem. We focus on three main pillars at our show: When Joe’s CEO predecessor Larry Linkin announced his retirement a robust tradeshow floor where innovative new products are launched in 2001, he didn’t consider himself as the and business relationships and opportunities obvious choice to fill his shoes, but the are reinforced or made; the best education association had different ideas. Clearly available - free to all attendees to enhance they saw something in Joe and felt he had their businesses or skill sets; and the the skills needed to take on the position of hundreds of networking events, parties and President and CEO, which he still holds today. concerts that make it one show you don’t Joe moved his family from Sacramento want to miss. And then I think of it as the show to San Diego County and began what he with a heart, because revenues from the event thought was going to be an ‘alien’ role, but, are then reinvested to support music, and “I realised that really it was just a he remembered: “When I sat down I realised music education in the US and around the combination of everything I had that really it was just a combination of world.” everything I had been doing for the past 20 The reinvestment is triggered by been doing for the past 20 years in years in the business... it was very much to the ‘Circle of Benefits’ model, which Joe the business... it was very much to do with relationship building, which is one of explained further: “Our model is pretty simple the things you learn on tour. I was also very really, produce successful events and after do with relationship building, which fortunate to have the support of the NAMM all the bills are paid, invest the proceeds is one of the things you learn on Board of Directors and the incredible staff; into creating more music makers. A growing they deserve all the credit for the successful market results in a growing industry, which tour.” transition.” in turn leads to further growth in the NAMM Joe Lamond Obviously, the show has grown and Show; it is a circle that has been repeating evolved over the 16 years that Joe has been since NAMM was founded in 1901. The President & CEO, NAMM 116

JOE LAMOND

strategy to grow the market has evolved for sure, music education has always been a core target but we are involved in so many more areas today. The NAMM Foundation is the leading voice in music and music education policy in the US and increasingly, around the world.” The Circle of Benefits model was actually brought about by trying to simplify the concept of NAMM. Joe said: “I even struggle to explain it to my wife! She gets asked what it is that I do and she simply says, ‘I think he’s in the music industry but I’m not sure exactly what he does’.” The Circle of Benefits has replaced a 12-page set of objectives and over 2,000 words with a one-page document that is 200 words and can now be explained to anyone who asks in a very short conversation. The NAMM Show has evolved as the industry has evolved. Each year Joe and his team start planning with a blank piece of paper and ask themselves, ‘what are the needs of our communities this year?’ “It’s a powerful concept, as it allows us to explore how we can be of service to the industry at-large,” Joe continued. “The results are reflected in positive growth and customer satisfaction, expanded educational and training opportunities and the continued growth of the show to the complete signal chain. However, our work always begins and ends with asking what our members need and meeting those needs of the industry segments.” Looking ahead to the NAMM Show 2018, it will be the first time the association has had the opportunity to remodel the store in 15 years. A new building is being erected, which will allow for a redesign. “We will take what we have learnt from studying all aspects of the show including floor traffic, noise reduction, segments that are growing or shrinking, and the increasing global nature of the industry and ask that big question of, ‘what do our members need to be successful in 2018 and beyond?’ said Joe. “And based on that, I suspect you will see measured and well communicated changes.” Joe likened the show redesign to neighbourhoods, and what makes people want to live in a certain area - having things in common and wanting to socialise with those around them. Transferring that idea to NAMM, Joe and his team will be aiming to create like-minded neighbourhoods, which will connect neighbouring stands, making the show easier and simpler to navigate. The new layout and the new hall will also allow companies to grow, in terms of floor space coverage. “I think the industry is in a state of flux with lots of change happening and the entrepreneurial nature of our members is very unstable by definition. Therefore, our role is to be stable, predictable and reliable, we need to be that platform that they can count on.” When Joe isn’t working - although he doesn’t always consider it to be work in the strictest sense because he loves what he does - he does find some spare time. To be fair, when your work includes going to The GRAMMYs, it is any wonder it doesn’t feel like work? “Going to The GRAMMY rehearsals and meeting all of the people who work in the trucks and the staging guys doesn’t feel like work to me, but I guess it is.” But aside from that, Joe does enjoy going fly-fishing with a group of musicians. And now his children are grown up - his daughter a graduate and living in San

Francisco and his son at university in Texas - it does mean that Joe and his wife, Alyson have got more time on their hands, and the aim is to travel together a little more. But if Joe does need to get away from it all and have a thinking session, he says the best place to do that is on the back of his motorcycle. He tries to take one long trip a year. “Some of the best thinking and planning occurs on the back of a bike!” For a man that was influenced in his early years by the likes of Ringo, Charlie Watts, and John Bonham, and later Stewart Copeland, Larry Mullen Jr. and Steve Gadd, Joe Lamond has fallen a long way from that tree now. But he is part of an industry he loves and has become somewhat of an icon himself for the younger generation to look up to. Summing up, he said: “For many of us, myself included, we’ve spent our careers playing professionally, going into retail, manufacturing or the studio, some into touring, lighting and installation; some, like me, have dabbled in all those things. As I age, I reflect on many NAMM Shows and am reminded that no matter your title or role in the industry, we are cut from the same cloth and unified by our love of music. The recognition of that fact is what makes the annual reunion at the NAMM Show so special.” TPi www.namm.org

YARA

UNIQUE BRACKET DESIGN TOURING PROOF SMOOTH RGBW COLOR MIXING IP65 RATING SILENT OPERATION SMOOTH PROJECTION POWERCON TRUE1 IN & OUT RDM READY

Outdoor RGBW LED Fixture Affordable lighting essential

WWW.CLF-LIGHTING.COM

118

CLFLIGHTING

PROFESSIONAL

With DeltaQ technology, new ShowMatch array loudspeakers more precisely direct sound to the audience in both installed and portable applications. Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house. Learn more at SHOWMATCH.BOSE.COM

NEXT-GENERATION ARRAY TECHNOLOGY

INTERVIEW

DAVE RAT DEBUTS M FORCE-POWERED SDS30 SUPERSUBS WITH RED HOT CHILI PEPPERS The growing number of high profile adopters of Powersoft’s M-Force subwoofer technology has added eminent American Sound Engineer and System Designer, Dave Rat of Rat Sound Systems to its ranks. TPi finds out why...

The Florence HQ of Powersoft has been the latest port of call in Dave Rat’s mission to push back the frontiers of sub bass reproduction, while the band he has been mixing for around a quarter of a century, Red Hot Chili Peppers (RHCP), provided the perfect opportunity for him to evaluate the new Rat Sound System speakers, dubbed the SDS30 SuperSubs. Offering an extremely high output to size / weight ratio and a frequency response that extends from below 23Hz to 80Hz, the key differentiator of M-Force is that the heart of the system is the radical Moving Magnet Linear Motor Transducer. This is designed to deliver unbelievable performance in terms of power handling, electromagnetic conversion, reliability and SPL. It’s small wonder then that when Dave Rat first learned about the new product from Powersoft US Sales Director Kurt Metzler around three years ago, he responded immediately: “Kurt told me there was a product I would be interested in, but people weren’t sure what to do with it yet,” he said. That was sufficient to whet the appetite - and set the challenge of

implementation. Massimo Minardi, Sales Manager for the M-System division, takes up the story. “Having just presented M-Force to the market it was important to receive feedback from such an experienced FOH engineer, with a long history of designing speakers. “I think Dave already had the concept behind the [30”] SDS30. The philosophy of minimising cabinet losses, with its transfer of energy to usable power and increasing sound quality even in the very low-end part of the spectrum was crucial. “Having such a powerful and highly efficient transducer, with such low distortion, excited him immediately. The SDS30 would be the final piece to transform a live concert into an event that the attendees will remember for many years - not just with their ears but with their body too.” It looked like the perfect fit - in every sense - as the cabinet was 32” wide, to house the 30” HDPE (high-density polyethylene) cone, while in 120

powersoft-audio.com

POWERSOFT M-SYSTEM

THE MOST POWERFUL AND EFFICIENT TECHNOLOGY FOR LOW-END APPLICATIONS IN THE WORLD Based on M-Force® moving magnet linear motor transducer and M-Drive® switching mode amplifier module with Differential Pressure Control - DPC® -Technology

come and visit us @ booth 3.1 C41

GLP German Light Products GmbH

Photo: Paul Gärtner | Design: Bertil Mark

NEW

THE ULTIMATE HYBRID FIXTURE ^ ^ ^ ^ ^ ^

NEW: OSRAM 440W SOURCE 2.5° TO 55° ZOOM 2 GOBO WHEELS (22 GOBOS) CMY PLUS COLOR WHEEL THREE PRISMS ONLY 25 KG

 Industriestraße 2, 76307 Karlsbad  /GLP.German.Light.Products

Please visit us at our Stand G20 in Hall 4.0

 +49 (7248) 972 19 0  info@glp.de  /GLPimpression  www.glp.de

RAT SOUND

the four corners were long ports for time delay. His philosophy uses highly symmetrical, precision loading techniques, with everything facing forward. “It’s a 95% radiating surface so it’s true point source,” noted Rat. While in Florence, he worked closely with the company’s Claudio Lastrucci and Mario Di Cola. “And they don’t follow conventional thinking,” he smiled. “I already had the acoustic design ready and I knew I could tackle the mechanical side.” The test enclosure itself went through a number of hand-built prototype stages. “As soon as I listened to it I understood the concept and then I figured how to do predictions on it. I listened to what Mario was saying and did successive predictions.” Eventually he was ready to correlate his prediction software and tune the system for the real world. Back home, Dave Rat undertook a number of tests on the way to producing an industrialised design. He wasted little time in blogging about the technology, noting, “These transducers are literally a new technology. They are not moving coil in a magnetic field like most loudspeakers, they are not rotary woofers using a fan and they are not ServoDrive subwoofers that use a rotary motor to drive belts attached to opposing cones. “What these are is a flat composite paddle-like structure with four embedded magnets surrounded by fixed coils, such that the paddle moves linearly inward and outward guided by precision bearings. The protruding threaded bolt is then attached to a 30-inch diameter HDPE cone.” He immediately deployed a 16-box set on the RHCP tour (eight each side in cardioid arrays). Initially he chose to under-run them. “But after three days I started opening up the bottom end and understanding what was going on because they are not resonant at all - which was a wonderful thing. And I absolutely loved it,” he added. On tour, several aspects of the sound immediately became apparent, he said. “Firstly, these subs go so low that I had to high pass them so as not to overwhelm with frequencies below 30Hz. Secondly, they are fast, like hard hitting punchy fast. The kick jumps out in ways I have not heard since mixing on horn-loaded subs, yet without the low frequency limitations and pesky,

non-linear peaks that plague those systems. “Also the box resonance is so low that it’s subdued and a non-issue. Beyond messing with the high and low pass filters, I used no external EQ. Typically dialling in sub EQ is one of the more challenging aspects I face when tuning a system.” As the voyage of discovery continued Rat discovered better rejection in the off-axis zones than previous array setups had displayed - due to the reduced resonance at the tuning frequency. Going further, he said: “With a conventional 2-inch x 18-inch I was using four bands of parametric EQ but the current processing we had no EQ and just 12Hz high pass filter inside. I put in in two more minor EQs and they were sounding perfect.” The journey to developing to the SuperSub can be traced back to his development programme with Blink 182. “I have been pushing cardioid arrays to get loud clear sound and to control the energy - but I knew I could go further. So with RHCP I have been able to apply these [M-Force] designs.” And as for speed of deployment, the subs are wheeled in on castor plates. “We built a template and rolled in all eight boxes (four stacks of two) with the stage piece on top. In fact the load-in time was superior.” Summing up the SDS30, Rat commented: “These are truly something new and offer a combination of fast, powerful transients with an extended LF response unlike anything I have ever heard before.” Meanwhile he will continue to refine the SDS30 SuperSub, adding setting and EQ buttons, while collecting interest from potential purchasers on his website. A major upcoming festival exposure will give him further information on his journey to creating final specs. After pricing and warranties have been set the demonstration programme and introductory seminars will begin. “But the initial interest has been phenomenal,” he confirmed. TPi Photos: Courtesy of Rat Sound www.ratsound.com www.powersoft-audio.com 122

IN PROFILE

JBL: 70 YEARS OF INNOVATION With a rich tapestry of manufacturing, a heady mix of rock ‘n’ roll heritage and an list of interesting ownership under its belt, loudspeaker titan JBL is a live force to be reckoned with. Having undergone some recent strategic changes via the helm of SVP Bryan Bradley, JBL continues to rise to the top of its game. At the company’s HQ in Northridge, CA, TPi’s Kel Murray sat down with the man himself to discuss business progression and what the future holds.

JBL - named after founding father, engineer James Bullough Lansing - is, after 70 years, one of the most well-known loudspeaker brands in pro audio. During its seven decades of innovation, the brand has naturally seen various changes, successfully survived economic recessions and enjoyed some technological breakthroughs in sound engineering. As it stands today, JBL is a Harman Professional Solutions brand alongside Crown (celebrating 70 years, alongside AKG), Soundcraft, AMX, BSS, dbx, Studer, Martin, SVSI, Lexicon, IDX and DigiTech, yet in November 2016, Samsung Electronics placed a bid of $8 billion USD to take ownership of Harman International Industries, a move which would see Harman’s technological scope expand. Interestingly, Harman continues to run as a standalone operation, allowing its brand directors to move forward with the expertise they’ve honed. Running JBL Professional’s day-to-day is Bryan Bradley, who since 2015 has been the company’s Senior Vice President & General Manager for the Entertainment Business Unit, during which time he’s implemented changes within the company that has seen some impressive results.

Since its inception in 1946, JBL has been at the forefront for some historical moments, and boasts some of pro audio’s significant firsts including the 1962 launch of the very first 2-way studio monitor, which used a highfrequency motor lens. Its early foothold in the market allowed the name to become well known. Once bought by Sidney Harman in 1969, it went on to achieve great success for live concert sound. In 1974 CalJam used a sound system comprising of JBL components, also in that year, the Grateful Dead’s audio engineer Owsley ‘Bear’ Stanley took out the band’s famous ‘wall of sound’ design, a system designed to act as its own monitor system, controlled by the band, which among others, consisted of an eye-watering 586 JBL speakers. Weep. Back to the present day, and meeting at JBL’s Northridge, CA, headquarters, Bradley discusses his introduction to the fast-paced world of pro audio. “I was the Music Supervisor on The Young and the Restless soap opera, so I wrote music for TV shows. I segued from that to the business side, working for Guitar Center in its corporate office. I started out as a buyer and worked my way up, eventually in the Strategic Planning division. 124

JBL

First page: James B Lansing, founder of JBL. Below: Woodstock in all its glory.

From there I went to Alfred Music Publishing, which is in the education to use our own products. sector. I worked there until Blake Augsburger - Executive Vice President of “That was our biggest problem. Therefore we had to make a change; Harman Professional - hired me to run JBL Professional.” 17 months ago we did a major restructure. Instead of being brand-based, In the four years that followed, Bradley has become Senior Vice President we are now vertical-market-based,” said Bradley. He explains that the & GM, Entertainment, at Harman Professional Solutions. Upon his arrival division went from having five brand SVP/GMs to two vertical-focussed to the JBL family, it’s fair to say that all of the different brands were run executives, including him and Enterprise division SVP, Kevin Morrison. like companies, and he elaborated: “JBL Professional was one group, Bradley now oversees Harman’s MI retail business, including Guitar Center; Crown was another separate group, AKG Microphones was separate, as the recording, touring, and cinema businesses. were Soundcraft mixers. The businesses were all run that way and we “Now, when I want to make the next studio headphone, I can brand had 10 of them, with five different presidents running each businesses. I that AKG or JBL or Crown; the brands are there to be used to produce the personally looked after JBL and AKG. When I started here four years ago we solutions that we want. We have end-to-end control of what the customer were a $620 million USD business, we are now needs, leaving just one person dealing with the a $1.1 billion USD business. The way that grew retail product. This has actually been the most so fast is that we bought Martin Professional significant change to the business in the past 20 [now Martin by Harman] and AMX Audio Video years,” he said. Control Systems [now AMX by Harman]. Those As with any major change, the first six acquisitions, combined with strong organic months were a somewhat difficult time, and the “An employee went from being growth grew the business. necessary transition led to almost everybody’s “What we discovered was that the way we job role undergoing change - unless you worked an expert in amplifiers to being were structured meant we had hit a wall. For in the factory. an expert in retail products; example, I am running JBL and I want to make Continued Bradley: “An employee went from a powered loudspeaker. Harman owns Crown being an expert in amplifiers to being an expert so, there was a big shift. Over amplifiers but JBL is a separate company to in retail products; so, there was a big shift. Over a year later, I think it is has Crown, which has its own targets and goals. If a year later, I think it is has been a huge benefit Crown made an amplifier to put in my speaker, to our customers. The people that they interact been a huge benefit to our they wouldn’t get any revenue. Therefore, I was with have the power to create the change. For customers.” using other companies to make my amplifiers. example, if Guitar Center said they want to The structure we had meant it didn’t make sense rebrand AKG headphones to JBL, the product Bryan Bradley 126

TRUSS ON TOUR

SUPPORT

NEXT SHOWS 04. April 05. April 06. April 07. April

Frankfurt | Prolight + Sound Frankfurt | Prolight + Sound Frankfurt | Prolight + Sound Frankfurt | Prolight + Sound

GLOBALTRUSS.cn | GLOBALTRUSS.de | COSMICTRUSS.com |

ASIA & MIDDLE EAST EUROPE AMERICAS

/GlobalTruss

JBL

Bryan Bradley, SVP of JBL; JBL speakers were the system of choice at CalJam in 1974.

manager handling the headphones category would have the power to agree to that. Before, they couldn’t have that conversation, so from a customer perspective, we are now focussed and able to pull the resources in. “It started with SRX speaker, but we now have a Crown amplifier - which I think is a better amplifier than the ones we were using previously. Our customers can now leverage Harman’s strength,” he explained. A prime example of this integration comes following the 2017 NAMM Show, where visitors to the impressive Harman Professional booth saw a connected PA system. This notion doesn’t just stop with enabling superb manufacturing, it also introduces artists to every brand within the portfolio, as Marketing Specialist Becki Barabas explained: “If an artist comes in as an AKG artist, I can ask them what kind of monitors they use or if they use portable PA systems. I can then bring in our other brands and can combine them together for a tour rig so the artist becomes part of the Harman Ambassador Programme. Instead of just enjoying an AKG or JBL endorsement. It’s fine if they are only in need of one brand, but the point is we can offer a complete package for all of our artists, regardless of what genre they’re part of. We have brand expose on so many levels too; from bands playing small clubs, to touring for thousands of people, and sound engineers.” Within this streamlining, roughly, there’s an even split between what Harman manufactures in-house and what is deployed to outside factories. Bradley continued: “For us, on the high-end of JBL, we are one of the only companies - if not the only company - that actually manufactures all our own components. We don’t trust - with high-end needs - other people to produce our transducers, for example. We design and build it ourselves, and make sure it passes our stress tests and policies before we put it in one of our products. At the same time, there is a lot of lower-end stuff that we don’t have the scale to make worthwhile; the cost would be too high if we

tried to manufacture ourselves, so we use third party manufacturing.” Now part of the vertical marketplace, distribution channels have also taken on a new era. “If you are a distributor for Harman, we don’t just evaluate you on one number, we look at your business based on the vertical markets and that is where we make decisions. As an example, if you are doing great in the installation market and hospitality is going well for you, but you haven’t invested in the touring market and can’t grow our business in that area, we may pick a new distributor for touring only in that region. In the normal course of business, we evaluate all our partners, whether they are reps or distributors, based on their success in each vertical market. As an example, we’re launching a new product and will identify the customers we think are the influencers for that market. Another example is that we recently got into the video panel business, so with our first product shipping, we pre-identified the top 12 partners in the US that we wanted to trust with this product.” Leaving Bradley’s office, it’s clear that 7 decades in, JBL today is in very good hands. With a clear business strategy now in working order and an SVP who is as knowledgeable as he is approachable - so much so that we asked him to be part of the first ever TPi Awards Daytime panel on concert touring technology’s paradigm shift (P.10) - it seems that JBL is moving into another successful year. We couldn’t leave the building however, without a tour from Director of JBL Technology, Mark Gander; a hugely respected industry veteran with, refreshingly, the enthusiasm of a brand-new graduate. From the locked doors of R&D basements to the disorientating anechoic chambers, the awe-inspiring detail of JBL’s history never fails to impress. Long may it continue. TPi Photos: Courtesy of JBL and John Chester www.jblpro.com 128

DINING

P R I VAT E TA S T Y

ALL THINGS

I N F O @ R O C K P O O LT O U R C AT E R I N G . C O M

PHONE

+44 (0) 7912964100

W W W . R O C K P O O LT O U R C AT E R I N G . C O M

EVENT

C AT E R I N G

TOUR

C AT E R I N G

W E L O V E F O O D, M U S I C & PA R T I E S

IN PROFILE

IN PROFILE: A.C. LIGHTING The story behind A.C. Lighting goes right back to 1971 - and it’s one that has seen many twists and turns, however, at the heart of it is continued development, growth and, the key to it all, innovation.

Over 45 years ago, co-founders Richard Floyd and David Leggett set up Alpha Centauri Light Show to provide lighting and projection to clubs and other multi-purpose venues. From there, the company was renamed A.C. Lighting, with offices and separate divisions opening over the years. Then, in 2008, the company restructured and changed its name to A.C. Entertainment Technologies - highlighting the vast portfolio available from the dedicated divisions. Including audio, rigging and video, along with lighting, too. From there, A.C. Lighting was introduced, like the other divisions, as a separate entity to help support the UK-based parent business in North America. Based in Toronto, with a distribution centre in New York State, the aim is to provide a dedicated service that meets the specific needs of clients in Canada, the US and Mexico. From its 43,000 sq ft office in Toronto, A.C. Lighting supplies lighting fixtures, along with associated rigging and video products, for the likes of

theatres, houses of worship, exhibitions, film, television and commercial markets. As an exclusive North American distributor for a whole host of world-class brands, such as Jands Vista, LumenRadio, ArKaos, Prolyte and others, the company is able to provide instant solutions to their clients as a true distributor. However, A.C. Lighting in North America is much more than that, as JF Canuel, the Managing Director for the past seven years, explained further: “As well as a true distributor, we also cover research and development, design, manufacturing and other areas, too, like technical support and training.” With a range of departments under one roof, it’s clear that A.C. Lighting can cover the lighting needs for various industries. A huge part of this is, of course, Chroma-Q, which is A.C. Lighting’s very own LED lighting brand. Since its launch in 2004, Chroma-Q has produced innovative, awardwinning entertainment and architectural lighting products that have 130

WWW.PRODUCTIONFUTURES.CO.UK

SAVE THE DATE

11th October 2017 For more information contact Justin Gawne â&#x20AC;&#x201C; j.gawne@mondiale.co.uk

brought to you by

A.C. LIGHTING

First page: JF Canuel, Managing Director at A.C. Lighting.

become a huge success with lighting designers, venues, events and shows Canuel added: “People we have worked with for a long time told us that right across the world. they were happy with our fixtures - how they are performing, what they Over a decade has passed since the launch of the Chroma-Q Color provide for their event or venue. So, if they are happy, we want to continue Block DB4 - its very first LED product - which was revolutionary at the time, that by extending their return on investment as much as we possibly can. as its ‘building block’ design allowed users to create a complete LED system Whatever industry you are in, It’s clear that too many things are disposable. using just one fixture type. We’re not about the short term when it comes to our products.” After the initial success of the Color Block DB4, the Color Web LED matrix With this in mind, Chroma-Q’s products have been specifically designed system soon followed, with the Color Block 2 offering further improvements to be both upgradeable and backwardly compatible when used alongside in 2009. The innovation didn’t stop there, fixtures from a previous generation - even to the though, with Chroma-Q soon delivering “the true point where they use the same accessories. For successor to conventional tungsten lighting” in example, customers who are still happy with the form of the Color Force range. their Color Block range can use the Color Block How do the team at A.C. Lighting maintain Plus Replacement Engine. this formidable track record of introducing That ethos runs through the company, high-performance, energy-efficient LED lighting with the 95 staff at the Toronto office all solutions? John Fuller, Global Brand Manager working together to leverage the assets that “Whatever industry you are in, for Chroma-Q, puts it down to knowledge and they have, which are always expanding within It’s clear that too many things listening to what the industry wants. each department. No stone is left unturned “With the demanding nature of the at A.C. Lighting, with extensive research and are disposable. We’re not about entertainment industry - not to mention the development allowing the team to design the short term when it comes to other industries we work within - the only way to products from scratch. The whole team work succeed is to listen to the customer. They want on projects from start to finish - right down our products.” the best possible experience with the products to designing and producing their own tools, JF Canuel and that’s exactly what we look to provide,” said equipment and prototypes using 3D printers. Managing Director Fuller. The manufacturing team assemble the 132