TPi October 2018 - #230 by Mondiale Media

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • OCTOBER 2018 • ISSUE 230

JUSTIN TIMBERLAKE: MAN OF THE WOODS The unstoppable showman returns with a technological twist on nature.

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GEAR HEADS: RIEDEL 1200 SERIES SMARTPANEL • U2: eXPERIENCE + iNNOCENCE • ELROW TOWN RESISTANCE AT PRIVILEGE, IBIZA • LARMAC LIVE @ CREAMFIELDS • THE POPE LIVE IN DUBLIN

OCTOBER 2018 #230

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EDITOR’S LETTER

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SO LONG, OLD PAL! This is Ste’s last issue as Assistant Editor at TPi. In 3.5 years as my righthand man, it’s safe to say that our Viking made quite the impact. During his time here, he become a husband and a father, the latter being the main reason we can no longer send him off on adventure after adventure. Although, you’ll no doubt still see his scribblings in these pages, as he’s venturing into PR for some lucky brands. We’ll see you at a bar somewhere soon, kiddo - best of luck! The October issue front cover is in fact Ste’s last article for us, and what a show it was! The Man Of the Woods tour hurtled itself full throttle into Manchester Arena as the (rescheduled) very last date of the European run. He even made JT’s Instagram as part of the crew with Monitor Tech Boyo. Ste if this is all a rouse, and you have in fact run away on tour, now’s the time to tell us… Check out the mighty production on Pg. 40. Elsewhere, U2 return to the stage to bestow their huge tech efforts on expectant crowds at the AccorHotels Arena in Paris. Don’t fret, they did remember to pack all 8 DiGiCo consoles…! I jetted off (on the orange one!) to Ibiza to attend a Resistance show at Privilege. Now, if you’ve met me, you’ll know that clubbing on the White Isle was not the scene I grew up in, so I feel, ahem, privileged to have experienced the biggest production on the island as mixed by FunktionOne man himself, Tony Andrews. I forget my earplugs in a 10,000-capacity club (sorry mum!) and my ears weren’t ringing one bit. I don’t know how he does it, but it’s some kind of audio magic... 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 Stew Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

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

STAFF WRITER Jacob Waite Tel: +44 (0)161 476 8385 Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk ADVERTISING EXECUTIVE Lauren Dyson Tel: +44 (0)161 476 9119 Mobile: +44 (0)7415 773639 e-mail: l.dyson@mondiale.co.uk ADVERTISING EXECUTIVE Lyndsey Hopwood Tel: +44 (0)161 476 8360 Mobile: +44 (0)7800 557094 e-mail: l.hopwood@mondiale.co.uk GENERAL MANAGER - TPi MAGAZINE & AWARDS Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk

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

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EDITORIAL INTERN James Robertson COVER Justin Timberlake by Ralph Larmann PRINTED BY Buxton Press • www.buxpress.co.uk Issue 230 - October 2018 Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW). Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk

www.tpimagazine.com www.tpiawards.com TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence. ISSN 1461-3786 Copyright © 2018 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2018 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Publishing Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.

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ITINERARY

EVENT FOCUS

Elrow Town Avolites A1 R8 servers in action at East London’s psychedelic festival.

The Pope Live in Dublin Sound Design Ireland utlised its Nexo stock for Pope Francis’ Irish visit.

Knight of Illumination Awards A look back at the newly knighted lighting designers from KOI 2018.

Astro Spatial Audio Demo Day The immersive audio experts team up with 2B Heard.

Leisuretec Lighting Basics Sessions The company opens the Tech Zone for 3 days basic luminary training.

PRODUCTION PROFILE

U2 The irish rockers break creative and technological boundaries with the landmark eXPERIENCE + iNNOCENCE.

40 Justin Timberlake Ste meets the crew behind JT’s lavish new production. 52

Resistance @ Privilege TPi hits White Isle to experience the mighty Funktion-One force behind 9 impressive weeks of dance music.

FESTIVAL FOCUS

MARKET FOCUS 84

TPi profiles the innovations in LED Screen technology.

ON THE ROAD 92 TPi’s Ste and Lauren travel to the Czech Republic and Slovakia.

INTERVIEW 100 Vectorworks’ CEO Dr. Biplab Sarkar lifts the lid on the company’s new ‘creative toolbox’.

PRODUCTION FUTURES

102 We speak to Truckingby Brian Yeardley’s Jordan Potts.

GEAR HEADS 104 Riedel’s Marco Muckenhaupt informs TPi about the the 1200 Series SmartPanel.

PSA: THE BIGGER PICTURE 106 The H&S measures championing U2’s latest eXPERIENCE + iNNOCENCE tour.

INDUSTRY APPOINTMENTS 110 The latest movers and shakers.

BACK CHAT 118 Harman’s latest recruit, Roly Oliver, takes the hot seat.

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EVENT FOCUS

ELROW TOWN

AVOLITES AI R8 SERVERS MAP COMPLEX STAGE DESIGN AT ELROW TOWN When the bombastic elrow Town festival landed in East London’s Olympic Park it had one main aim: to take revellers on a psychedelic trip through the Swinging ‘60s to Latin Samba. Challenged with serving up the eye-curdling visual effects was Philip Mayer of GaiaNova, utilising an Avolites Ai R8 server.

Main stage photos went viral, as attendees shared images of its kaleidoscopic, swirling colours and enthusiastic performers kitted out in tie-dyed clobber on social media. elrow Town’s headliners included Fatboy Slim and Idris Elba, as the up-for-it crowd danced to some of the best tech-house and leftfield tracks around. An Avolites Ai R8 server pumped out projection mapped content onto the complex 3D stage structure. The visuals were created by Wayne Ellis at Afterlife, and mapped onto the stage structure, along with some content from the Ai stock library. In addition, a live feed of 16:9 HD content from Fatboy Slim’s regular video playback team was taken and live mapped onto the stage’s panels, combined with some custom-made clips. “Pre-programming involved building a 3D model of the stage within the R8 and dividing this in to several UV-mapped parts,” said Mayer. “There were a number of clips from Wayne that were encoded in to the Ai Server’s AiM codec. I then created some palettes of appropriate clips from the Ai content library. “Because Ai inherently understands how to display video as UV-mapped content on a 3D model, it was fairly straightforward to build a custom 3D model of the stage, and map this in such a way that regular 16:9 content would be intelligently mapped across it. By dividing the stage model in to several parts, I was able to send different video elements to different areas of the stage, and manipulate these all in real-time, working from the single 16:9 live video feed coming from the stage.” Given that the festival was an outdoor event, the team only had the

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hours of darkness on the night before in order to make the complicated set up live show ready. “Using Ai, I was able to create the 3D stage model, projection map it, and have the live feed running across it, all within the first couple of hours of the overnight load-in,” he added. On the night, the show was performed on the fly, with Mayer at FOH, on comms with Fatboy Slim’s onstage video team, mixing and layering their live feed over the pre-rendered video clips playing from Ai. “All in all, it went surprisingly smoothly, considering none of us knew quite which track Fatboy Slim was about to play next!” he laughed. “It was a good example of live collaboration, and the complete opposite of the fully timecode-playback ‘live’ shows I’ve previously worked on.” The Ai R8’s outputs were routed through a Lightware 16x16 DVI matrix switch to 4 quad-stacked Barco 30k laser projectors, hitting the stage with 120,000 lumens of projected light. “The Ai servers worked flawlessly, as ever,” Mayer concluded. The creative brief for the show came from the elrow Town organisers, with the technical aspects being overseen by Mark Neil at Production Hire. Bob Jaroc was the Video Director and Stephen Abbiss was lighting designer for Fatboy Slim, using an Avolites Sapphire Touch. TPi www.elrowtown.com/london www.avolites.com www.gaianova.co.uk

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EVENT FOCUS

DUBLIN UP FOR THE POPE Two years ago, Sound Design Ireland invested in a small modular line array inventory from French manufacturer NEXO. This summer, SDI more than quadrupled that system to provide full production audio for the sold-out stadium show for the Pope in Dublin. TPi talks to John Vickers about the joys of scalability.

He is the biggest draw on the planet when it comes to audience numbers, so the Supreme Pontiff Pope Francis could expect a full house when he arrived at Croke Park Stadium in Dublin for the Festival of Families. This was no dreary Sunday morning mass: it was a dazzlingly colourful and dynamic concert extravaganza, featuring everyone who is anyone in Irish entertainment and a cast of 2,000 performers and flag-bearers. As largescale production goes, it was the biggest public celebration in Ireland since, well, the last time the Pope was there. 82,500 people from all the Catholic corners of the world rolled into the iconic Croke Park, the largest stadium in the country and one of the widest in the world. The Festival of Families is the culmination of the World

Meeting of Families, which is held every 3 years in cities around the world, most recently in Philadelphia, an event at which 6 women went into labour – clear evidence of a miracle or mere statistical coincidence? Sorry, I digress. This was a prestigious win for the city of Dublin, even as controversy swirls around the role of the Catholic Church in Irish life. The roll-call of performers included the country’s biggest stars, including Daniel O’Donnell, Patrick Bergin, Moya Brennan from Clannad, the nimble-footed Riverdance, and the Orchestra of Ireland, and was closed by the legendary tenor Andrea Bocelli. As the Tyrone Productions team marshalled a cast of cardinals and priests, sopranos and ceilidh bands, Riverdancers and schoolchildren, 10

THE POPE IN DUBLIN

John Vickers and his Sound Design crew huddled in their mix tent on the stadium floor, looking ever so slightly amazed at what they’d pulled off… and for whom. Sound Design was founded 21 years ago, and, in recent years, has established a solid reputation as audio rental providers with expert chops, specialising in sound design for glamorous TV spectaculars such as Dancing with Stars and The Voice of Ireland. Hooking up with French loudspeaker manufacturer NEXO marked a step change for the company, first through its appointment as the distributor in Eire, and then, in 2016, with the purchase of an inventory of the NEXO modular line array, STM Series. Since it launched its flagship STM modular system, NEXO has focussed its marketing on the unique scalability aspect, which encourages system owners to pool resources, creating the large inventories needed for big events and tours without giving their own bank manager a heart attack. The Festival of Families in Dublin was a perfect illustration of this philosophy, with Sound Design sub-hiring the necessary additional hardware from Belgium (VDB PA, sending its rigs direct from the Pukkelpop festival), the UK (Sound of Music) and France (NEXO’s own touring demo system). On the day, Croke Park stadium resembled a NEXO loudspeaker warehouse. A tall PA for an ultra-wide stage was flanked by long side arrays, with 4 delay towers punctuating the stadium floor like exclamation marks. 175 cabinets were in play for the main PA and delays, not counting NEXO’s line monitors and GEO M10 sidefills on stage and a quantity of the perennially popular PS Series point-source boxes doing the odd jobs. Incrementally, more than 150 NEXO GEO S12-ST line array cabinets are

spread throughout the stadium’s overhang roof, permanently installed this summer as part of a major upgrade to the stadium’s technical facilities. In fact, the installation deadline was brought forward by stadium owners the Gaelic Athletics Association specifically to handle the Papal visit. No doubt beaming with pride, Pope Francis became the first to benefit fully from Croke Park’s new ability to tie event PA into the stadium’s fixed PA, using the GEO S12 system to provide coverage for all the uppermost tiers of the stadium. “This is a rare privilege for any manufacturer,” commented NEXO’s Field Support Manager Val Gilbert, “to bring in an event PA and be able to tie it into a house system of our own design.” One of the first visitors to the mix tent was Croke Park’s resident engineer. Kevin O’Dwyer has seen all the biggest live music productions come and go. “Taylor Swift, Rolling Stones, Michael Bublé: my compliments go to Sound Design because this system, to my mind, performs better than all the others. It sounds extremely natural, not at all amplified, and the coverage is extraordinarily good.” Having handled Ireland’s centenary celebrations in Croke Park 2 years ago, John Vickers was well-placed to make his bid for the big event. “We knew we had the expertise to handle it, and the nature of STM’s scalability meant that we could assemble the system necessary. NEXO has set up an effective network of STM users, which makes it easy to cross-hire speakers and amps: funnily enough, the logistics headache lies in all the small bits such as flyware and motors needed to operate the large-format configuration. “We knew that STM was the ideal system for this event at this location. 11

THE POPE IN DUBLIN

Pope Francis enjoyed a warm welcome from the Dublin crowd.

We were confident that it would sound outstanding. And with NEXO on the final shortlist for permanent installation, it was a great opportunity to align the brand in the live environment with the fixed install. The company gave us superb support, including sending three fine engineers from its field support division for the duration of the event.” Vickers was closely involved in the creative process, but the production practicalities were another matter altogether. “Our setup window shrank from 3 days to just over 1 day, so we were under a lot of pressure.” Croke Park is situated in a highly residential neighbourhood, permitting just 5 concerts in the stadium every year. The Festival of Families was the 6th show of 2018, taking place under a special license from the Irish Government. “Evening noise restrictions meant that we had just half an hour to tune the system. As well as running the groundstacked subs in cardioid mode, the colouration from the rear of the STM arrays is a lot less than other systems, so noise levels were substantially lower and we were allowed to run it during the day. The propagation test people just said, ‘keep going: have a nice day!’” Vickers himself took desk duty for the show, mixing speeches, MCs and the Pope’s address on his Yamaha RIVAGE PM7 digital console. Music was mixed by right-hand man Paul Keegan, with Paul Moore and JC Campbell on monitors. “As long-term Yamaha users, we knew how well suited RIVAGE PM7 would be to an event where both music and speech were equally important. Plus, of course, I was fully confident in the reliability of Yamaha consoles.” The signal routing backbone for the entire show was run from the RIVAGE PM7. Every input and output coming to and from FOH was routed through a Yamaha TWINLANe network, working seamlessly with Dante, using RPio622 and Rio3224-D I/O racks. This provided up to 400 channels between stage and FOH, with incredibly low latency at a native 96khz, 32-bit sampling rate. With an orchestra, choirs, playback and numerous microphones to accommodate, it was a complex show. The music was submixed before being routed to the RIVAGE PM7 for the final mix. One of the major challenges facing Vickers was ensuring that all speech at the event was crystal clear, with the Rupert Neve 5045 Primary Source Enhancer plug-in playing a key role, maximising gain before feedback and preventing any unwanted squeals. “The Pope’s microphone was the most critical input of the whole show and his main speech was to be given from this catwalk, in front of the main PA,” said Hans Metger, Support Engineer from Yamaha Commercial Audio. “Managing this aspect of the system

MODULARITY RULES The modularity principle of NEXO’s STM Series line array makes use of 4 loudspeaker elements that can be configured to cover any application. In a large-format system, each full-range M46 main module is paired with the B112 bass enclosure. At Croke Park, the left and right arrays each featured 18 sets of this combination, finished off by 3x STM M28 downfill modules. Subbass was provided by L-R arrays of 15x S118 modules, with an additional 28 x S118’s groundstacked in 2 blocks in front of the stage, running in cardioid mode to reduce the level of subbass on stage. M28 cabinets placed on top of the S118’s provided frontfill for the VIP area. Side arrays used 18 x M28 ‘omnipurpose’ modules. Each side, 7 x NEXO Universal Amp Racks, each containing 2 NXAMP4x4 amplifiers, powered the system. Four delay towers placed on the stadium pitch, approximately 80m apart, each carried 12 x M28 cabinets, powered by a single NUAR. “Sound Design’s system inventory is made up of STM M28 and S118, cabinets which can be paired for a complete all-purpose system,” explained Val Gilbert of NEXO. “Because they know how to fly STM, and know how it should sound, it’s easy for them to add in the M46 and B112 elements and scale up to a perfectly integrated large-format system.”

UNSUNG HEROES Working to cruelly tight schedules, Sound Design’s system engineers Andrew McGrain and Adam Jackson were joined by 3 NEXO specialists, Val Gilbert, Nicholas Poitrenaud and Robin Shamsnejad. Since Gilbert joined the company in 2013, NEXO’s Engineering Support Division has grown tenfold, a reflection of our times, as manufacturers meet expectations of ever greater levels of service and support to its customers. Poitrenaud works virtually full-time on NEXO’s free international seminar and training programme, while Shamsnejad manages NEXO’s busy demo systems. “These guys went way beyond the call of duty,” commented John Vickers. “They are expert in their field, and they have great confidence in their product. My only regret is that our timetable didn’t allow me to take them for a well-earned pint of Guinness!”

THE POPE IN DUBLIN

FOH Engineer Paul Keegan and Sound Designer Ireland’s John Vickers; L - R: Adam Johnston, John Vickers, Paul Keegan, Val Gilbert (NEXO), Nichola Poitrenaud (NEXO), Robin Shamsnejad (NEXO), Andrew McGrane.

was crucial and the Primary Source Enhancer helped us to do just that. Using it alongside a well-designed sound system goes a long way when you are trying to squeeze out every last bit of gain. Due to the high profile nature of this show, any extra peace of mind also went a long way!” Stage wedges were NEXO 45°N-12 line monitors, custom clad in what can only be described as blue stockings by Riverdance’s dressmaker, in an effort to make them vanish visually against a blue stage set. Radio techs Sinead Conlan and Alannah Hayes looked after 60 channels of radio mics, all Sennheiser 2000 and 3000 Series. Under the leadership of Tyrone Productions, the event was put together

by Ireland’s best creative brains; Music Director David Brophy arranged and conducted a powerful musical score, Production Services Ireland supplied the show lighting, under the direction of LD Peter Canning, and another French connection, Cosmos, delivered spectacular graphic backdrops over 3 primary screens on stage. The show was broadcast through Ireland live on RTE, and distributed to worldwide media to an audience of around 2 million. TPi www.sounddesign.ie www.nexo.fr

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EVENT FOCUS

KNIGHT OF ILLUMINATION 2018 The leading lights of the entertainment production industry descended on London’s famous Eventim Apollo on Sunday night, where the winners of the 2018 Knight of Illumination Awards were announced.

A record number of people attended the glittering ceremony this year, which brings together entertainment technology professionals from around the world. The Knight of Illumination Awards celebrate the achievements of lighting and video designers working in the fields of Theatre, Television and Concert Touring and Events. This, the eleventh Knight of Illumination Awards, saw more nominations than ever before, with the winners in each category chosen by a wholly independent panel of judges, all experts in their respective sectors. The winners of the 2018 Knight of Illumination Awards are as follows:

• The Hawthorn Award for Musicals: Paule Constable for Follies, National Theatre TELEVISION • The Light Initiative Award for Events: Andy Stagles for The MOBO Awards 2017 • The Altman Lighting Award for Small Production: Andy Stagles for Songs of Praise • The Green Hippo Award for Video Design and Graphic Display: Kate Dawkins for WW1 Remembered: Passchendaele • The SLX Award for Light Entertainment: Dave Davey for The Voice Final • The Philips Strand Lighting Award for Drama: Martin Kempton for Upstart Crow, series 2 • The Ayrton Award for Contribution to Television Lighting: Steve Wells CONCERT TOURING & EVENTS • The MA Lighting Award for Club: Tom Campbell for Nick Mulvey • The disguise Award for Video Content: Tom Colbourne, William Baker and Rupa Rathod with Blink for The Killers

THEATRE • The PRG Award for Projection Design: CHOU Tung-Yen & Very Mainstream Studio for Formosa, Cloud Gate Dance Theatre of Taiwan, Sadler’s Wells • The ETC Award for Dance: David Plater for The Suit, Ballet Black • The ADB Award for Plays: Jack Knowles for Barber Shop Chronicles, National Theatre • The Robert Juliat Award for Opera: Fabiana Piccioli for Eugene Onegin, Scottish Opera 14

KNIGHT OF ILLUMINATION 2018

Opposite: The 2018 KOI winners. Below: The GLP German Light Products Award for Arena: Cate Carter & Mike Smith for Elbow; The MA Lighting Award for Club: Tom Campbell for Nick Mulvey.

• • • •

The Avolites Award for Stage: Rob Sinclair for David Byrne The HSL Award for Events: Gerry Mott for Royal Edinburgh Military Tattoo 2017 The GLP German Light Products Award for Arena: Cate Carter & Mike Smith for Elbow Enrico Caironi Lifetime Recognition Award

Each year, the Enrico Caironi Lifetime Recognition Award, named in fond memory of the co-founder of The Knight of Illumination Awards, is presented to an individual to honour their outstanding accomplishments. This year’s recipient was Keith Benson, in recognition of his exemplary 44 years with Glyndebourne opera and his work as production electrician on a range of big-name shows including the original Cats, Les Misérables, Starlight Express, Sunset Boulevard and Crazy for You. He has worked for the Royal Shakespeare Company, toured with Dame Shirley Bassey and supported many world respected lighting designers with creativity and generosity. Many of those who have worked alongside Benson cite his support as a major contributor to their career. All the night’s winners were presented with the coveted trophy of the

Knight of Illumination Awards, the ornate broadsword. In addition, each was given a more portable sword in the form of a pin badge to signal the designers’ achievements and their right to be recognised as masters of their craft. The headline sponsors of KOI 2018 were Claypaky and Osram. In his welcome speech, Pio Nahum, CEO of Claypaky, said: “Congratulations to all of tonight’s shortlisted and winning designers. KOI began because we wanted to celebrate lighting designers and their mastery of the art of light, regardless of the tools they use. We should never mistake: when lighting moves our emotions, it is because of their skill, not because of technology.” The evening was skilfully compered by renowned lighting designer and KOI co-Founder, Durham Marenghi and included mind-bending entertainment from mentalist magician Chris Cox. The occasion also launched The Knight of Illumination Awards USA, which makes its debut in Las Vegas on 20 October, to coincide with the LDI trade show. TPi www.knight-of-illumination.com 15

EVENT FOCUS

2B HEARD HOSTS ASTRO SPATIAL AUDIO DEMO DAYS The historic Hackney Empire - a unique 21st century variety theatre in London – rolled out the red carpet for 3 days of 3D sound demonstrations by Astro Spatial Audio, hosted by 2B Heard.

Taking place between 29-31 August, the demonstrations marked the first full UK demonstrations of Astro Spatial Audio’s uniquely powerful immersive audio solution. A guestlist of industry VIPs responded, with more than 50 industry influencers gathering to experience not 1 but 2 full demos designed to illustrate Astro Spatial Audio’s extraordinary scalability. For the first demonstration, the stage of the Hackney Empire was ringed with 16 pole-mounted K-array Kayman KY102 line array columns configured for wide coverage plus eight overhead Domino KF210 enclosures and 4

Thunder-KMT218 double 18-inch subwoofers. Guests were invited to stroll freely around the stage as they experienced perfectly phase-free, seamless 3D audio courtesy of a single 3RU Astro Spatial Audio SARA II Rendering Engine, calculating the position of each audio object in real time. In addition, with just 2 microphones positioned above the stage, attendees experienced the SARA II’s interactive room acoustics module, transforming the Hackney Empire into entirely different acoustic space with the press of a single button. Finally, having demonstrated what Astro Spatial Audio can achieve 16

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ASTRO SPATIAL AUDIO

Above: Dave Wooster, Director of 2B Heard; Astro Spatial Audio Managing Director, Bjorn Van Munster.

with an extensive loudspeaker set-up, the audience was moved into the II, we switched from a set-up with 28 speakers to a basic left-centre-right theatre’s main auditorium, where the same fully immersive, seamless configuration with 2 rear channels, and we did it at the touch of a button. performance was repeated with just 5 K-array That’s the kind of solution that professionals can Firenze KH7 speakers and 2 Firenze KS8 take seriously.” subwoofers. Guests reacted with a mixture of “The 3 demonstration days hosted by our delight and astonishment. solutions partner, 2B Heard, were a tremendous “Some people assume that immersive audio success and far exceeded our expectations,” means filling a venue with speakers, and of course commented Astro Spatial Audio Managing you can achieve more resolution that way, but it’s Director, Bjorn Van Munster. “We were honoured possible to achieve incredible results with a much that so many influential guests attended and had more traditional system,” enthused Dave Wooster, the opportunity to experience true object-based “Some people assume that 2B Heard Director. “Because Astro Spatial Audio audio.” immersive audio means filling 3D is object based, it’s completely scalable from one Van Munster concluded: “We have utilised the venue to the next with nothing more than the system at Borough Market, theatres, cruise ships, a venue with speakers, and of coordinates of a loudspeaker set-up. corporate events and all kind of locations. The course you can achieve more “From an engineering perspective, it’s really room acoustics differ with the type of market we nice to find technology that’s allowing us to push are catering for. The system is still performing resolution that way, but it’s the boundaries of what we hear, achieve and well.” possible to achieve incredible create. It’s not a one-thing-fits-all solution, but in TPi some situations, you may need this technology to Photos courtesy of Astro Spatial Audio results with a much more improve how the audience receives the sound and www.2b-heard.com traditional system.” how they enjoy the show,” explained Wooster. www.astroaudio.eu “At the Hackney Empire, with a single SARA Dave Wooster, 2B Heard Director www.k-array.com 18

EVENT FOCUS

Above: Day 3 group with tutors Andy Friedli (far left) and Mandy Bullock-Williams (fourth from left).

LEISURETEC EXPLAINS A FEW LIGHTING BASICS Eaton’s Zero 88 series continues its enthusiastic support for professional lighting, audio and AV distributors’ Leisuretec’s Introduction to Lighting Basics course, an innovative 1-day fly-through of some of the fundamentals of stage, event and venue lighting, devised and presented by their lighting specialist, Andy Friedli. During the third of four Lighting Basics sessions run by Leisuretec throughout 2018. Over 30 customers and interested parties [including TPi’s very own Lauren Dyson] attended one of the these 3, 1-day courses. Leisuretec has now trained over 170 people via this straightforward, hands-on process, with great results. Friedli devised and developed the course, initially for Leisuretec staff, 3 years ago, having joined the Leighton Buzzard based company 5 years ago. With a background in theatre and a 25-year career that includes working for leading production lighting companies, he’s seen a lot happen in that time and recognised that a little basic information goes a long way. Friedli commented: “The course can assist sale teams to better understand the precise needs of their customers, and for those working in other technical departments, it can provide insight into some of the theories behind, and reasons for making light work.”

The first courses proved so popular that Friedli and his colleagues at Leisuretec decided to open the training to its customers - specifically systems integrators and venue or event production staff and crew who maybe involved in the peripheries of lighting, and who can benefit massively from a little bit of extra knowledge. As the concept gained traction, Friedli appealed to the leading lighting brands in Leisuretec’s portfolio and asked for their support, including Eation, who were delighted to participate by providing a selection of consoles to illustrate the control side of lighting. The current package of desks includes the new Zero 88 FLX S range which are perfect for learning. “Training and technical support that empowers end-users is right at the top of our agenda,” confirmed Zero 88’s International Sales Manager, Tyler Holpin. “We have supported Andy’s initiative right from the start, and it’s 20

LEISURETEC

great to see it become such a success.” In fact, the Eaton Zero 88 team took it one step further when its chief UK Technical Sales Manager Mandy Bullock-Williams joined Friedli as the second presenter. “We work extremely well together, commented Friedli. “Being able to have banter with a second instructor is good fun and livens up the atmosphere. To have another knowledgeable person to bounce ideas off and share their own experiences is highly beneficial. So, it’s very much become a collaborative effort.” Bullock-Williams’ career as a lighting professional began 46 years ago, when she became fascinated whilst still at school, and at that time, ‘training’ was virtually non-existent. “That’s all changed now,” she observed. “But there is still a real need for concise, practically based courses like this which will give individuals already working in the industry more insight into a specific aspect. Anyone interested in taking their lighting knowledge further now has several options.” Topics covered on the Lighting Basics course included looking at the different types of available fixtures, what they do and how and when to use them – including profiles, fresnels, washes, PARs, LEDs, tungsten, arc sources and moving lights – for which Eaton provided several generic fixtures from Italian theatrical specialist, LDR. The control section introduced DMX and basic desk programming and operation and goes into how to achieve colour changing in LEDs or making a light move and how to work effectively with gobos. Grass roots wiring and electrical theory are also part of the daily syllabus. Each course culminates in the 2 groups being asked to set

up some lighting for a theoretical corporate event utilising between 4 and 6 of the luminaires - with which they are now familiar - and a wind-up stand, while Friedli poses as the fussiest, most pedantic and hard-to-please event client / keynote speaker. The daily class is split into 2 in Leisuretec’s purpose-built TecZone area, allowing both sub-groups to work on an identical set of fixtures and get properly hands-on with these, and the numbers are limited to 12 maximum per session. It’s an intense amount of information to absorb in a single day, but the feedback received by Friedli and Bullock-Williams, Leisuretec and Zero 88 has allowed them to optimise the content so it’s thorough and sufficient for everyone to digest comfortably, yet not so overwhelming that they forget everything as soon as they leave. Zero 88 and Leisuretec also stage console dedicated courses at other times in the year which currently focus on Zero’s awardwinning new FLX and FLX S ranges and how easy they are to use. Zero 88 also run its own product training and awareness programmes. Friedli also ran a Lighting Basics Juniors course for nine 13 / 14-year olds as a one-off day event, which he described as: “probably the most rewarding course I have run. They had a genuine interest”, and followed the exact same course as the adults, “fully embracing the technology even though none of them had ever handled lighting equipment before.” TPi Photos: Louise Stickland www.leisuretec.co.uk www.zero88.com

#016

COMING THIS DECEMBER WWW.TPMEAMAGAZINE.COM 22

TOTAL IMMERSION Few bands have influenced the evolution of live concert production quite like U2. For more than 25 years, the bandâ&#x20AC;&#x2122;s tours have consistently broken creative and technological boundaries, and their pioneering spirit continues in earnest with eXPERIENCE + iNNOCENCE. Mark Cunningham reports from Paris.

PRODUCTION PROFILE

Above: The Irish 4-piece triumphantly return to the stage.

Less than a year after spectacularly reimagining The Joshua Tree for the album’s 30th anniversary, U2 have returned to the road to deal with some unfinished business, namely eXPERIENCE + iNNOCENCE, the belated concluding half of a loosely autobiographical tour cycle that began in 2015 with iNNOCENCE + eXPERIENCE. Five dates into the current European leg, TPi arrived at the AccorHotels Arena in Paris to meet a raft of familiar backstage faces and witness the revised show. The 2 tours’ associated albums dominated much of U2’s electrifying performance, though not at the expense of old gems such as New Year’s Day, Pride and Vertigo. Meanwhile, Bono – fully recovered after losing his voice a few days earlier – maintained his protagonist role, punctuating the songs with a compelling call for unity in Europe, and reprising his diabolical character from Zoo TV, MacPhisto. While the frontman basks in the limelight with The Edge, Adam Clayton and Larry Mullen Jr, many of U2’s loyal touring entourage are equally championed throughout the industry – people like Joe O’Herlihy, the fount of audio wisdom now celebrating 40 years with the band, Willie Williams, U2’s creative visionary since ’82, and Jake Berry, the peerless production field marshal. Together, they raise the bar and then set it higher… and higher. Williams explained that while this current campaign was slated as part of a 2-year project, with back-to-back tours succeeding their associated records, fate decided it would take 5 years. He worked closely with Es Devlin and Stufish’s Ric Lipson throughout the design process that began in 2013 with a “mad weekend” in the south of France. “It was our first meeting with the band and Mark Fisher was in attendance, but was gravely ill. Very sadly, this was one of the last things he ever did,” said Williams of the mentor who died just months later. “Unusually, instead of talking about stages or shapes, the band discussed the record they were making – Songs Of Innocence – and how they were going to dig into their upbringing. Being the same age and coming from a similar background, I’m able to relate to many of their childhood memories.” Acclaimed set designers in their own right, Lipson and Devlin

established a fluid alliance with Williams alongside regular creative contributors including Gavin Friday, Sharon Blankson and Morleigh Steinberg. “I learned from Mark that if you trust your team, you can be very loose about the boundaries,” explained Williams. “While Ric is very much about the technical design but appreciates the conceptual, Es comes from the narrative angle but understands how things are built.” Rather than be guided by CAD, the trio created a large ‘style guide’ scrapbook for presentation to the band. Williams: “Es and I were cutting things out and sticking them on pages next to drawings and paintings, and this book carried the spirit of everything that came out of our weekend with the band.” Lipson jokingly referred to this “workshop of weirdos”, adding: “Es’ input was central to teasing the stories out of songs and placing them in reality. The aesthetic of her hand-drawn imagery drove the style of Innocence and that’s how we came to source Oliver Jeffers to make the screen illustrations for Cedarwood Road, an important part of the story that places Bono back in his old street.” BALLAD OF THE BARRICAGE On the eve of the first Paris show, Jake Berry welcomed TPi into his office for a chat about life in general… and Guy Oseary’s firm Maverick, which took over management of U2 after Paul McGuinness’ departure. “It hasn’t changed anything in terms of what I deal with on tour,” he insisted. “Some things we do have been etched in stone since I arrived 17 years ago and you can’t rewrite the Ten Commandments.” Berry’s A-team of vendors load in at each venue one day prior to a show, the technical production in Europe travels in 31 Transam trucks and Beat The Street transports 85 crew in 8 buses. With the drivers and the band’s entourage, U2’s personnel swells to around 160 by late afternoon. Representing social division and providing the show’s main focal point is the ‘Barricage’, a 29m long, 7m high, double-sided billboard screen that splits the arena in 2 and is suspended 5m above the runway. Although U2 have essentially repurposed i+e’s basic design, there are numerous key differences such as the Barricage’s significant upgrade following 26

Above: Design trio Es Devlin, Stufish’s Ric Lipson and Willie Williams.

the decision to add movement to the previously static internal catwalk, enabling it to rise, descend and tilt up to 5° on 18 automated Nav hoists, independently of the screen structure. To guarantee sensible weight loading, Tait and PRG collaborated to reimagine the components. Aaron Siebert, Senior Project Manager at staging and automation provider Tait, said: “We had to build new header trusses that could accommodate the automation to support the 27m long catwalk and distribute that load. The Barricage itself moves up and down on 8 of our 3 ton jumbo hoist motors built into a custom spanner truss.” The structure also features a staircase and a small lift at opposite ends to allow the band to exit on to the stages. Tait’s universal equipment package travels on 9 trucks and loads into each venue within 8 hours, with Flory Turner and Robin Henry heading the carpentry and automation teams, respectively. “Owing to the Barricage being so central, it’s difficult to conduct other work during its construction, but load-out takes around 3 hours,” added Siebert. Another major difference is the video medium itself. While V-Thru made an impression in 2015, PRG’s brief was to develop a screen that had the same appearance but was considerably lighter in weight. Coincidentally, on a recent trip to China, Frederic Opsomer of PRG Projects had discovered a highly transparent LED screen that had been designed for shop window advertising, and saw its live show potential. Pure 10 was born. Compared to V-Thru, Pure 10 has 10 times the pixel resolution and at just 10kg per square metre, there is a weight reduction of 40%. Being intended for a different environment, however, meant that its elements were too exposed to deal with touring. PRG responded by packaging the product within a thin protective carbon fibre structure. Opsomer’s PRG colleague Mark O’Herlihy said: “V-Thru offered more of an effect than image fidelity and coming so close to The Joshua Tree, when

we were doubling up 4K resolution with the pixel power we had, meant that returning to 28mm pitch may have been seen as a step in the wrong direction.” The crispness of its image reproduction allows Pure 10 to make maximum sense of the video content, especially its many political statements. Opsomer commented: “Obviously, weight was the big consideration but out of that we gained a huge resolution upgrade that will open up many doors outside of music.” ROLLING ON Bookmarking the Barricage and 36.5m long runway are the main I-stage and satellite E-stage. Measuring 19.4m wide and 10.8m deep, the I-stage remains virtually identical, save for a few amendments that have cleaned up some of the lighting looks. The 7.3m diameter E-stage, however, was another rebuild comprising of PRG’s Rolling Video Floor Risers and a Tait sub-structure. Said Opsomer: “PRG Projects developed a special riser system last year and it’s been upgraded for the E-stage. Each riser contains 2 ROE Visual 4mm tiles – offering fantastic scope for video content and the ‘e’ logo – and integrated magnets that enable a fast build and breakdown. Jake is particularly happy with this system because we have [1.6 high] custom dollies that each accommodate 6 risers and dramatically reduce air freight costs.” An automation grid above the E-stage uses a Smart Winch and 6 Nav Hoists to move props, such as the LED ring and mirror ball in Even Better Than The Real Thing and the final song’s light bulb. To allow seamless element transitions, Tait Navigator operates all show elements and provides real-time 3D position feedback. Having the band play sideways down the arena creates a stunning

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Tait’s Aaron Siebert; PRG Projects’ Frederic Opsomer; members of the Treatment team include Technical Project Manager Julia Goldberg, and Producer Lizzie Pocock.

vantage point for the audience on the north and south sides of the Barricage. This means, however, that those seated at the east and west ends are not so fortunate. Williams accepts the limitations: “The traditional best seats have almost become a dead zone although being in front of the E-stage is great because the band spend so much time there. It’s arguably not so good if you’re behind the band on the I-stage, but the cheaper ticket pricing reflects that so we’re being very transparent.”

shadows, pre-filmed as an illusionary precursor to the big reveal. Lights Of Home uses the physicality of the screen rather than being a video medium. Likewise, while the screen isn’t performing miracles on Cedarwood Road, the band does interact with the cage itself, with Bono walking along the catwalk as an illustrated street scene rolls past him. In Act Two, the band appear on the E-stage whose LED content adds another dimension with an adaptation of Run Wrake’s 2005 illustrations for Vertigo, psychedelic imagery for Even Better Than The Real Thing and a simple moon in You’re The Best Thing About Me that morphs into the sun for Summer Of Love. City Of Blinding Lights features The Edge’s daughter Sian Evans on-screen along with content that is updated on an almost daily basis by touring animator Brandon Kraemer. He explained: “With songs like City, I’m gathering material that is specific to the city we are playing and the lead times for this are often very short. In Lights Of Home, we show a custom particle map that evolves into a night image of the city taken from the International Space Station. It’s an obvious crowd pleaser when fans recognise their home town.”

ARTISTIC CONTENT At a time when rock show visuals can be art for art’s sake, the most refreshing aspect of e+i is that every single frame of video content is significant. Around 85% of the material is brand new and the task of creation and curation was handed to Treatment, the business co-owned by Williams and Sam Pattinson, whose team includes producer Lizzie Pocock, Technical Project Manager Julia Goldberg and production manager Helen Campbell. “We continue to update the content,” advised Pocock. “While U2 dealt with some rather obvious US-centric issues on the American leg, the EU is a big focus in Europe and so it’s a great moment when the blue, starred flag appears.” The American leg was also notable for the show opening with exclusive content delivered to smartphone users via a clever Augmented Reality app. As fascinating as it was, the idea was scrapped when Treatment completely reworked the intro for Europe. Leading with pulsing visuals of an MRI brain scan, Charlie Chaplin’s final speech from the 1940 movie The Great Dictator is cut with devastating scenes of war-torn European cities, provoking a moment of hushed reverence. For the first two-thirds of The Blackout, the band are inside the Barricage but remain unseen. Instead, they are represented by distorted

CREATIVE CUT The big change amongst U2’s video crew is the introduction of Video Director Matt Askem who, at the recommendation of Jon Shrimpton, took over from Stefaan ‘Smasher’ Desmedt in March. Askem is juggling feeds from 12 at his Grass Valley Karrera S-Series switcher. He said: “My preference is for manually operated cameras and I’m mostly reliant on eight of them with Grass Valley LDX-80 heads and a selection of lenses, but there are also Panasonic robocams and a selection of small cameras that can be put in odd places if necessary. PRG’s video department is carrying a small warehouse of accessories, 30

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Lighting Director, Mark ‘Sparky’ Risk and Willie Williams; Video Crew Chief, Stuart Heaney; Video Engineer Jim Toten; disguise Operator, Colleen Wittenberg and Video Director, Matt Askem.

including a tower cam and a Furio remote dolly, reported Askem. “I’m spoilt because these are expensive items that aren’t found on most tours. The Furio dolly runs along the runway as Bono is walking and the camera head is very high so it’s tracking his eyeline all the time, allowing him to ‘play’ to it.” Adjacent to Askem at FOH, Colleen Wittenberg handles the programming of the disguise gx2 media server and content triggering. Askem said: “I’m concentrating on directing and cutting the camera feeds and the IMAG at the east and west ends where I have to deliver a show to those who can’t see the Barricage. That’s the reason why, at crucial times, the IMAG screens will show a composite mix of content and camera images. “Being blessed with very knowledgeable technical people like [Video Engineer] Jim Toten, [Video Crew Chief] Stuart Heaney and Colleen means I can focus on the creative aspects of directing.” At showtime, Jim Toten assumes position behind his fader rack to effect real-time correction of all the cameras before reaching Askem’s switcher. He also records every gig on Telestream Lightspeed multichannel units that are in line with an AJA Video Helo system. As the band leave in their getaway cars, they are handed a H.264 format recording on SD cards to review at their convenience. Toten elaborated: “U2 are incredibly diligent about watching each show to see how they can improve on it. They get to see wide views, a programme TX and a camera we call ‘B-Follow’ which is dedicated to Bono and also used as a reference for his wardrobe people. Another bonus is that I can provide recordings to order for the press and the U2.com team.”

Risk, who explained the approach to lighting the band when they appear within the Barricage. He said: “The solution is all about using the shutter facility on Best Boys to keep the light off the actual physical structure of the video screen. In some songs the band are in a set position where I’ll have a couple of lights on them with the shutters down. Other songs will just need a general wash. The rest of the job is then about balancing the colour and intensity with the screen content. If you get that wrong, a lot of the show’s meaning could be lost.” Piloting the show from an MA Lighting grandMA2 full-size console, Sparky’s main workhorses amount to 32 Bad Boys, 121 Best Boy Spots (including 18 assigned as followspots), 120 Nitro 510 white LED strobes and 42 of the 510-C RGB models, positioned on towers on the stage periphery and within the Barricage. As well 45 dimming channels of understage lighting, 77 custom LED fluorescent tubes were created as part of Tait’s broad package. They are featured in numerous ways: on the stage and runway, and at the bottom of the screen to create the illusion of an underpass. The tubes first appear horizontally on I Will Follow, the start of the band’s ‘punk club’ set. Fastforwarding to near the end of the show, the magnificent City Of Blinding Lights sees an additional set of tubes with pastel gels descend to form a random horizontal and vertical matrix. To reinforce the disco-themed video content on the E-stage, Even Better Than The Real Thing makes a feature of a mirrorball surrounded by a Taitmanufactured LED ring. “The LEDs are programmed to chase with an ’80s flavour,” said Risk. “It’s brilliant that we only use this once – U2 understand the value of a momentary impact.” Over the course of the project, Williams assisted with the design of PRG’s GroundControl remote followspot system, arguably the biggest recent development in show lighting. “PRG has continued to develop it such that a single unit can now run 4 different [Best Boy] spots,” Williams commented. “Alex Murphy is directing the spots and communicating with his 10 backstage operators, but you can have spot locations wherever you want them and you’re not paying for an big team.” Historically, Williams and the band have their ‘What next?’ conversations before a U2 tour finishes. At the end of the massive 360°,

FIREPOWER It’s not unusual for Willie Williams’ ambitious design schemes to present their own challenges. “As always with lighting, I tend to shoot myself in the foot!” he laughed. “There are some parts of the show that are so hard to light, notably when they are inside the Barricage.” The answer to his dilemma was PRG’s hybrid Bad Boy and Best Boy spot which – along with Philips Nitro strobes – present all the firepower needed to activate a powerful light show even under these conditions. Williams’ other major assets include Lighting Director Mark ‘Sparky’ 32

Above: PRG’s Mark O’Herlihy; Ric Lipson and creative contributor, Morleigh Steinberg with the LED light bulb used for the song There Is A Light; Jake Berry and his production office team.

Bono stated a wish to begin the next tour under a single light bulb. “That’s where the idea of featuring the light bulb in There Is A Light came from,” he said, referencing the emotional climax to the show when the singer removes an oversized polycarbonate resin LED bulb from a model of his childhood home and cradles it. Said Lipson: “Taking it out of the house was something I came up with one day. The house is effectively a black Plexiglass lightbox with line artwork that only becomes visible when the bulb is switched on. Everything about the light bulb is custom made including a complex LED core that was designed to produce a specific colour.”

manner of bright ideas, not least when negotiating PopMart, 360° and last year’s Joshua Tree, which relied on Stageco’s cantilevers for optimum PA placement. For 2018, the scale of the Barricage dictated a 15.8m trim height for the PA and this in turn encouraged the choice of Clair’s latest product, Cohesion CO-10, which was designed specifically for this application, joining the CO-12 and CO-8 in the flagship series. “Our arena sound has been designed to be omnipresent, immersive in its very even coverage and highly intelligible,” claimed O’Herlihy. “Given the show’s multiple zones, we couldn’t entertain a conventional system layout, so we hang our speaker arrays off a curved rectangular grid above the Barricage, surrounding the central hockey dasher that’s found in most arenas. With cross-pattern referencing, we needed cabinets with a distribution degree that was different to the i-5 we have previously used, and the CO-12’s 120° dispersion was perfect.” A stereo image is spread across 12 vertical arrays of 12 CO-12’s that are positioned equidistantly, and complemented by eight hangs of three Cohesion CP-218 subs. “Bass steering is all-important in arenas but it’s pivotal with this design. The solution was to put CP-218’s in the air and employ the cardioid method to avoid bass spillage on to the stage.” The system also includes 32 CO-10’s as down fills and centre fills above the front of the I-stage, the Barricage, the runway and E-stage, while 18 CO-8 front fills are aligned at stage level to maximise quality on the arena floor. In total, 100 Lab.gruppen PLM 20,000k 44+ amplifiers with internal Lake processing drive the Cohesion system and 4 Lab.gruppen LM44’s process the self-powered CP-218 subs.

SOUND DESIGN A vast chunk of U2’s luxurious tour brochure is dedicated to the man who, for the last 40 years, has nurtured the band’s live sound. Sporting the most famous beard in concert touring, Cork native Joe O’Herlihy had just come to the end of a long period as Rory Gallagher’s engineer and was planning to concentrate on his PA rental business when he met the iconic foursome on 30 September 1978 at the Arcadia Ballroom in Cork. A future beckoned. “They were barely capable of playing their instruments,” remembered ‘Joe O’, “but there was a certain spark and Edge’s guitar sound was key to that. Our relationship was founded on a mutual respect and it’s been a tremendous journey.” One event from that journey has left Poppa Joe with a golden memory. “We were touring the US in ’87 and the band booked me a seat on Concorde so I’d get home in time for the birth of my daughter Louise. What U2 did for me is worth its weight in gold,” he said, adding that it’s rewarding to have Sarah, his other daughter, on the road as assistant to Tour Manager Scott Casey, as well as regularly seeing son Mark from the PRG video camp. “And when my wife Marian comes out to join us, she’s affectionately known as ‘Tour Mum’.” With U2’s production designs being so visually-led, a recurring question has been “Where do we put the PA?”. This debate has driven O’Herlihy and his friends at Clair Global – U2’s live sound partner since 1983 – to devise all

A DiGiCo SHOWCASE Tracking down O’Herlihy’s FOH position wasn’t as simple as one might expect. It fact, he was stationed way up in the balcony, side on to the Barricage – an odd place for show control but one would be hard pushed to suggest a better position. “Theoretically, we could be anywhere but we get a perfect stereo image here,” he said, making reference to close 34

THE KMS SERIES

All of a sudden I had accessible to me the widest dynamic range that I wouldn’t have expected on stage.

Photo: Elena Eggers

OLA ONABULÉ

Singer-songwriter and producer Ola Onabulé talks about the KMS series and stage microphone technique. Watch the videos here:

en-de.neumann.com/kms-videos

KMS_210x297_tpi_UK.indd 1

21.09.18 19:05

MacPHISTO RETURNS Bono’s contrary alter-ego MacPhisto, the secret love child of Lucifer, Batman’s Joker and Weimer cabaret goddess Anita Berber, makes a comeback on this tour after a 25-year absence. Referenced during the interval’s ‘Hold Me, Thrill Me, Kiss Me, Kill Me’ graphic novel film, the antagonistic MacPhisto comes to life in Act Two, reminding us that “it’s when you don’t believe I exist that I do my best work”. Wearing a top hat, the singer is made up for this part of the show and addresses the audience through a customised iPad device that acts as a mirror. Picking up Bono’s image, the camera is ‘hijacked’ by facial recognition software that sends a grotesque version to the big screen via Apple TV. Ric Lipson explained: “We’re currently on the fourth generation of the mirror. Gavin Friday and I teamed up with a guy who designed a recognition filter for Facebook to create an older, grungier and more sinister MacPhisto. It took a while to get it to the point where it didn’t appear hokey and persistence paid off because the effect can be pretty alarming.” The face of Zoo TV, MacPhisto is Bono’s vehicle for preaching the polar opposite of his own beliefs. Keeping up with current affairs, the script changes every day with Bono feigning an eccentric English luvvie accent. “On-stage, it’s as if Bono is seeing MacPhisto’s reflection in the mirror,” said Matt Askem. “After ‘Acrobat’, we shoot over his shoulder as he removes his make-up and the evil gradually dissolves.”

Bono’s contrary alter-ego MacPhisto, making a comeback on this tour after a 25-year absence.

companions Jo Ravitch (long-time cohort and senior FOH systems engineer), Joel Merrill (Clair Crew Chief & Assistant Systems Engineer) and Brandon Schuette (Pro Tools / System Engineer). It’s up here in the gods that 2 of 8 – yes, 8! – DiGiCo SD7’s are under Joe O’s control. Another 3 live in monitor world; 2 assigned to a private rehearsal room that is set up at each venue, and the other is a floating spare. Our man presides over 118 input channels and insists there is zero duplication. “The second desk to my right,” gestured O’Herlihy, “is a mirror image of the one I’m running during the show. We have instantly recallable snapshots of over 100 U2 songs programmed in and all the settings are identical on both consoles. If a bucket of beer suddenly drenches my desk, I can go straight to the back-up and continue. It’s one of the redundancy measures that are in place across all departments and we’re well protected.” He continued: “The SD7 is extremely creative; the EQ in the console is very transparent so I get to where I need to be fairly quickly. And while the onboard dynamic processing is up to date, I have more of a ‘vintage’ approach with my choice of outboard devices, like Summit DCL200’s and Lexicon PCM70’s. There are 2 Manley Vox Boxes in the rack, primarily for Bono’s vocal, and the Avalon 737SPs I use for Edge’s vocal is really a onestop solution for de-essing, compression and EQ. Then I have Lexicon 480Ls and TC 2290’s which are my bulletproof reverbs and delays.” This brings us neatly to the vocal mic choices and despite this microcosm of reinvention, Bono’s preference remains a Shure SM58A. The latest incarnation of Edge’s hybrid headset mic uses a black Shure Beta54 capsule within the frame of a Crown CM-311A. Sennheiser, Shure, AKG and Audio-Technica mics are placed on the 3 drum kits, and while other standard models prevail, the DPA 4088 miniature mic fitted to Bono’s EUbranded bullhorn is noteworthy.

actually happened to Styx. Well, it’s no coincidence that one of my jobs on arrival at each gig is to stick yellow tape arrows on the floor every 20 steps from the dressing room to the stage, to safely guide everyone in and out.” Reedy’s duties include overseeing the stage’s underworld and the ‘secret’ route that takes the band from A to B, or in this case, I to E. “We take them under the stage into what we call the ‘Rabbit Hole’ and then lay them down on carts that we roll into place on track decks. The magician doesn’t want to let the audience know how he saws the lady in half, so certain things happen very discreetly.” Never knowingly under-equipped, the underworld houses three monitor systems – one on which Alastair McMillan prepares Bono’s mix, one for The Edge (Richard Rainey) and a third manned by C.J. Eriksson that is shared by Adam and Larry. These are connected by the mic inputs that go into an transformer isolated splitter with three sets of the outputs sent to DiGiCo’s 96kHz SD-Racks. “We’re handling 170 inputs down here,” announced Niall Slevin, Senior Monitor Systems Engineer and RF tech, “and Anne Butt, our ‘Grand Mistress Patch’, is the reason all this works!” Although monitor world has been gradually evolving towards fully internal dynamic processing, some outboard devices continue to be favoured. Edge’s mix has 3 Summit EQs that are run in line to reduce latency; a Smart compressor is applied to Adam’s mix and Bono’s vocal is treated with Bricasti Design M7 reverb. Slevin explained: “Bono’s vocal processing is completely analogue with zero latency from the mic to his ears. When we originally embraced digital, sample rates were much lower and we had trouble settling the vocal down because of the latency, so we’ve since gone through several different approaches. Currently, when the signal comes in, the first thing it hits is a pair of old Neve channel EQ/mic pre-amps. That output runs in line with a distressor for compression and the output from that goes to two channels of an SSL X-Desk. At this point, the mix carries a little latency but the vocals are analogue straight through, and the output is combined through a TC 1128 graphic EQ prior to sending them to Bono’s ears.” The band use JH ear moulds – JH-16s for Bono, Larry and Adam, and the Roxanne model for Edge – with Sennheiser SR2050 transmitters. Also in the wireless department, Shure Axient is deployed for Bono’s vocals while UR4s cover Edge’s vocal and the Beta 98 on Larry’s marching snare. Due to the amount of system redundancy, between 54 and 64 frequencies are licensed for each venue. The underworld is also responsible for the multitrack recording of each show on a 96kHz system housed within Diablo Digital’s EXIII 128, which

INTO THE UNDERWORLD U2’s crew boasts many vibrant characters but few are as colourful as Stage Manager Rocko Reedy, a musician in his own right whose band Rocko & The Devils opened for his bosses in 2006. A road warrior whose 44 years of touring tales beg a future autobiography, Reedy was a consultant on the classic movie This Is Spinal Tap. “I was on the Styx crew on a late-’70s European tour when [the producers] followed us around and took notes,” said the U2 mainstay. “You know that scene when they get lost and can’t find the stage? That 36

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TRAGEDY RELIVED IN 360° SOUND

audience into silence. It’s a brave and chilling way to make a point but one can only imagine how this will be received at Manchester Arena in mid-October, when the 2017 bombing is so fresh in the memory. Up at FOH, Brandon Schuette manages playback, a lot of effort goes into this 90-second sequence. His rack includes 2 SSL XLogic Delta-Links that connect to an Autograph Signature series XMAD-1 switcher via MADI. The switcher output then goes to the RME MADI converter that interfaces with the DDM4R within the FOH SD7 Optocore loop. Schuette explained: “Joe O picks up all 12 tracks from the Pro Tools session as individual channels on his SD7 that are then matrixed back into the PA. Therefore, ‘Track 1’ in Pro Tools will correspond to ‘Hang 1’ of the PA, and so we achieve a true 12.1 surround effect.” Joe O’Herlihy added: “Gavin Friday and Carl Glanville created that incredible montage, and its harsh sense of reality is a compelling example of what can be done with surround sound in an arena context.”

A specific requirement of U2’s 2018 audio design was for it to be fully capable of delivering surround sound from up to 12 independent source locations. Occasionally, the net effect is overwhelming especially when, at the end of ‘Sunday Bloody Sunday’, the audience is taken back to Dublin in May 1974, when 33 civilians were tragically killed in a series of rush-hour car bomb attacks. Apprehension fills the air as lone saloon car appears on-screen and a ‘sonic theatre’ montage gathers pace, enveloping the crowd. Leading with the 6pm report by RTÉ newsreader Caroline Erskine, the roving soundscape builds to include a backdrop of contemporary songs as Mullen Jr stands alone on the runway, slowly thrashing his military snare until, finally, the brutal sound of an almighty explosion shocks the

Above: Niall Slevin, Senior Monitor Systems Engineer and RF tech with Anne Butt; The U2 audio crew; FOH Engineer Joe O’Herlihy; Stage Manager Rocko Reedy.

interfaces with a Mac Mini. Custom designed as a simple plug and play solution, the EXIII 128 provides I/O capabilities for 128 tracks of MADI on Pro Tools. Each monitor engineer records with one of these systems to provide the band with specific reference files of each show.

would be rude not to!” he said, flashing a knowing smile. “There are 3 ideas in the bag. They are now off the tracks in terms of what a band should be doing and that is immensely liberating for all of us.” TPi Photos: Danny North, Mark Cunningham, Remy/U2start.com, Stufish, Tait, PRG www.U2.com www.taittowers.com www.clairglobal.com www.prg.com www.stufish.com www.treatmentstudio.com www.soundmoves.com www.beatthestreet.net www.transamtrucking.com www.eventsafetyshop.co.uk www.diablodigital.com

REFLECTION Around 2 hours before the second Paris show got underway, Eat Your Hearts Out’s catering area became swamped as backline world’s Dallas Schoo enthused about The Edge’s newest gear and Celtic rock legend Barry Devlin discussed his temporary gig as a creative assistant. The band’s pioneering architect Mark Fisher and tour manager Dennis Sheehan may now be gone but their presence continues to be felt. They would be rightly proud of this latest saga – one that is far from over. Partly to avoid boredom and remain current, the show is a constant work-inprogress and plans are afoot to replace a large portion of Act One. “As we intend to film the last show in Berlin [13 November 2018], we don’t want anything that was in the 2015 show,” Williams revealed. “So the band have been shaping up alternative numbers while we’re programming. Most bands would do that during their production rehearsal period whereas these guys are happy to carry on.” Not for the first time, one ponders on how U2 could possibly follow this latest tour. Does Williams have anything up his sleeve yet? “Of course… it

In this month’s PSA column (Pg.106) find out how a tour of this scale handles stringent health and safety demands… 38

THE NEW REFERENCE POINT

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PRODUCTION PROFILE

JUSTIN TIMBERLAKE: MAN OF THE WOODS Despite the rustic, lumberjack-core aesthetics of his new album, creative mastermind Justin Timberlake returned to UK arenas with a lavish production. TPiâ&#x20AC;&#x2122;s Ste Durham was on site at Manchester Arena to meet the crew behind this unique production.

JUSTIN TIMBERLAKE

It’s pretty much a given in the world of live event design and technology that a Justin Timberlake tour brings with it next-level technical production and unparalleled creativity. The artist’s latest effort is no exception, and features an elegant, projection-centric show design and a gigantic stage system. Man of the Woods - Timberlake’s 6th solo headline tour - follows the release of his 5th studio album of the same name, and presents his music in several ‘worlds’, which are themed around the original aesthetics of his now extensive back catalogue… The Man of the Woods stage, fabricated by Tait, stretched almost the entire arena floor, with a winding runway that features 2 satellite stages and several performance areas where Timberlake could engage with fans. The 35 projection silks that lined the stage were a key aspect of the design, serving as a canvas for both IMAG and original video content. Each silk was an 8ft wide ‘roll drop’ curtain that could be released at 3ft per second by Tait Nano Winches, creating 50ft of projection space apiece. Tait and Production Manager, Robert ‘Hydro’ Mullin, worked together on The 20/20 Experience tour back in 2013, and were reunited again with an extended team for Timberlake’s Man of The Woods tour. Other key creative members were Production Designers, Josh Zangen and Brian Bucker, and Creative Producer and Lighting Designer, Fireplay’s Nick Whitehouse. Kelly Sticksel, Fireplay Producer and SFX and Laser Designer, and Alex Barratte, Video Technical Designer and Screens Programmer, also lent their talents to this mammoth undertaking. “It’s a very choreographed show because we didn’t want to block any seats. A lot of work went into making sure that everything can be seen everywhere,” said Whitehouse. “Even when the transparent roll-drop screens come down for video projections, the audience can see through them for a really cool effect.” The opening of the show saw Timberlake emerge from a tunnel of light, under a 30 x 30ft ‘MOTW’ lighting rig constructed from LED rods. The rig is lowered and hangs from 16 active Nav Hoists above the 68ft wide, circular main stage, which includes 2 upstage scissor lifts that connect to 2 ramp

lifts and a centre stage ramp lift creating an on-stage, automated walkway. The walkway sits upstage from a pair of revolves - 22ft in diameter where Timberlake’s band, the Tennessee Kids, began the show. To create the main stage walkway, Tait Navigator cues the main stage revolves to rotate clockwise and anticlockwise, while also cueing the scissor lifts and ramp lifts into proper set positions. A massive, roller coaster-like runway, decorated with scenic trees and etched flooring, extends from the main stage to a B-Stage, via a central VIP Stage that featured a full bar, an LED flooring section, and was enclosed by branch-like handrails. John Wagoner of Guardian Barriers Services supplied a key element to the show. He stated: “The Man of the Woods stage layout has been designed in such a way that it affords Justin the ability to get perform within close proximity to his audience. The multiple curves in the design can be difficult for some barrier vendors to keep the tight profile, but with Guardian’s Variable Corners, this is executed simply and safely, allowing Justin to interact with the crowd. Worldwide tours such as the Man of the Woods require international coverage and with our recent expansion into Belgium this allows for a quick, global execution.” Indeed, mid-way through the show, Timberlake and a few of the Tennessee Kids made their way to the B-Stage to share an acoustic jam session around a faux campfire that ascends from below the stage on an electric prop lift. Additionally, the B-Stage slopes down to a lower performance platform featuring 168 grass actuators. During the performance, ‘grass’ grows under Timberlake and his dancers’ feet as they strut down the runway. These custom-made grass actuators were also cued by Tait Navigator. Automation Engineer, Aaron Levy, commented: “This show is a very busy! There’s 7 stage lifts, revolves, the roll drops, and a 12,000lb sign grid. The Nano Winches - which were originally developed for Red Hot Chili Peppers - have been adapted for the roll drops and have been super reliable. They give us the ability to control the screens so they move more 42

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JUSTIN TIMBERLAKE

organically, and we managed to pair it very well with the video projection during production rehearsals.” Levy continued: “During the show the rest of team and some of the carps are spotting all over the place to make sure it’s a safe as possible. I end up calling the show for everybody, as automation runs the show channel on comms and everybody else breaks off from there, if necessary.” The crew headed to former sporting event and concert venue, Meadowlands Arena - previously known as the IZOD Center - in East Rutherford, New Jersey, for 2 months of rehearsals. “We went through a pretty big shift during that time,” noted Levy. “A show loaded in, then and a whole bunch of stuff got cut, moved around and redesigned. The video content was being produced while we were there at a quick rate. The nice thing about this rig and working with Nick is finding ways to incorporate everything. This meant doing overnights for a while but the design team is great so it just felt fun and creative to put it all together. You have more ownership of it this way, particularly as I programme the show as well. “That creative period is one of the best parts of my job; Justin has such a clear sense of what he is producing that for him, it’s a whole piece of theatre, not a night that’s all about himself.”

Whitehouse told TPi: “I have been working along side JT for 12 years now. When we started this process, we wanted to do something unique and different; we wanted to create a stage that encompassed the whole arena and turned it into an intimate experience whereby from each vantage point, fans got to be up close and personal. As Fireplay, the creative team took this on and worked closely with JT and his team to create something that could deliver this inspiration by using elements from his Man Of The Woods aesthetic & we brainstormed together. “We had some crazy ones; the camp fire, the grass growing out of the stage and the VIP Dance floor. A great deal of time was spent developing these internally at Fireplay and with Tait and Strictly FX, and ultimately, JT himself. He’s very hands-on in the design process. We worked through rehearsals and programming, and he often worked late into the night, tweaking audio tracks, lighting and laser choreography. All these elements were tweaked in unison, which is why the result is so cohesive and polished.” Zangen joined the conversation: “I first got involved with Justin in January of 2013 when I got a call from Nick Whitehouse to see if I was able to fly out to Los Angeles to start developing the Grammys performance of Suit and Tie,” recounted Zangen. “Jumping on an airplane that night to met with Justin the following morning to talk through the albums, concepts behind them, and ideas on how to create a visual world around the upcoming announcement/release and run up to a fall 20/20 world tour. It was a very organic process and during breaks Justin would come by and talk through the concepts and continue to develop new ideas. He’s heavily involved in all parts of the process and super engaged in everything we have developed with him.” Moving the conversation onto the current Man of the Woods run,

LIGHTING / SHOW DESIGN Many of those on the Man of the Woods crew roster had also been integral to Timberlake’s previous arena tour, 20/20, which graced TPi’s cover in May 2014. One such returning crewmember LD Nick Whitehouse along with Production Designer Josh Zangen and Brian Buckner - also part of the Fireplay team - were the creative producers and overall designers of the show. 44

JUSTIN TIMBERLAKE

The core audio crew - Andy Meyer (FOH) and Paul Joseph Klimson (Monitors) - with the Clair Global engineers; The Man Of The Woods video team; Laser Tech, Justin Seedle; Lighting Director, Brian Vaughn; Automation Engineer, Aaron Levy.

Zangen explained some of the original concepts to the show design. “The whole tour revolved around 2 opposing forms – nature and the modern digital world,” he outlined. “We wanted to make sure the space always felt immersive and that you were connected directly to the performance. This is where the natural winding stage concept mimics the Mississippi River and gives a natural flow to the environment. In addition to this, the flown projection surfaces play a key role in allowing video and IMAG to be extremely flexible and placed where it makes the most impact in any of the many scenes in the show.” Always wanting to push boundaries, the Timberlake camp were keen to create moments that were atypical to the standard arena tour. “The campfire is the biggest departure from a standard concert environment,” stated Zangen describing the moments when the singer and several of his band sat around stage prop creating, “the most intimate and truly natural humbling experience of comradely and friendship.” Another key moment that demonstrated the amalgamation of technology and nature was seen when grass ‘grew’ through the stage. “The black gloss trees around the space are a homage to American artist and designer KAWS who Justin is a huge fan of, and bring together a very natural element with a more modern form of texture/finish, allowing them to play a more sculptural role in the space,” added the Production Designer. Finally the giant ‘MOTW’ logo element was one of the later additions, being brought in during rehearsals. The production wanted something that was much more over the top and bringing the “modern digital” elements to physical life, while using the projections, lights and lasers to enhance as the less tangible transformations. “This is why the rehearsal period is so vital,” stated Zangen. “You have the time to play with all the toys and see what is possible. For Man in the Woods with the projectors we stumbled across so many beautiful moments using them

as more than just a source of projecting images on surfaces, but also as wonderful light displays just in the haze in the air.” Zangen continued to talk about the logistics of moving a tour of this scale across the Atlantic. “For staging and automation of the European leg, these systems were a carryover from the North American tour by Tait and their communications throughout the build and while out on the road has been fantastic,” he enthused. “We always love working with them because they make sure everything is taken care of for a seamless and worry free process.” All the scenic props including the trees and the campfire, were all fabricated by New York based Czinkota Studios also made the trip across the pond to ensure a true replication of the US run. “We are really happy with the final design and of the finished show product,” concluded Zangen. “But, like every new concepts, there are always ways you can further explore ideas and continue to hone the art we create – that’s what keeps it fun and us on our toes. We can continue to develop these thoughts for the next run and grow as we learn more from each endeavour.” Creative Producer and LD, Nick Whitehouse, specified 312 Robe Spikies, 130 GLP JDC-1, 68 Claypaky Scenius Unicos, 32 Philips Vari-Lite VL3015 Spots, 32 Philips Vari-Lite VL4000 Spots, 320ft of LED RGB Tape, bespoke RGBW Man Of The Woods sinage and a custom Follow-Me System. He said of the Claypaky Scenius Unicos: “This is my first time using Unico. I was looking for a spot and beam fixture and have had very good experience with Claypaky products before. A lot of vendors are buying Unicos and recommending them, so I decided to give them a try.” Lighting Director Brian Vaughan added: “The Unicos have been our workhorses and we use every feature they have. They’re a great wash; a great spot with interesting gobo patterns; they key the band, the dancers 46

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JUSTIN TIMBERLAKE

and Justin; and they can go down to a Sharpy-type beam. We even use the shutters to shutter off the edges of the stage for a super-clean look.” A total of 68 Claypaky Unicos are in the air while 2 are positioned on the floor directly behind the stage for entrances and exits. A total of 36 fixtures are dedicated to what Whitehouse described as “an Instagram moment”, when a 30ft x 30ft logo panel surrounded by 36 Unicos descends from the ceiling, tilts and assumes a number of different looks in the show’s opening. Montreal-based Solotech provided the entire lighting rig for the Man of the Woods tour along with 2 full-size MA Lighting grandMA2’s at FOH and a grandMA light at the tech desk. “Using grandMA2 is second nature to me now,” noted Whitehouse. “It’s really fast to program and with almost 600 lights on the show we used a lot of the system’s features.” Vaughan tapped the layout feature to create 16 different layout views for the stage. “Every part of the stage has a layout view and there are a few for the entire stage, so I can pick out lights all over the stage very easily,” he said. “I also used the new bitmapping feature in conjunction with the layout views.” The ability to write custom plug-ins for the MA Lighting grandMA2 has been key to this show as well. “Alex Barrette at Fireplay wrote a cool custom plug-in to work with the Art-Net merge process so I can enable the tracking on Justin to assign lights to follow him on stage,” Vaughan explained. Esential to any visual feast, 4 MDG theONE foggers/hazers were positioned in the arena - one in each corner. “I spec them for every show,” enthused Whitehouse. “We like haze!” Vaughan added: “They’re the best I’ve ever used. We use the fog feature to fill the arena quickly – in just 6 to 7 minutes – before the crowd arrives then kick back to a 10 percent haze mode for steady atmosphere throughout the show.” As for the end results? Whitehouse commented: “I am really proud of what we managed to achieve and the feedback from fans and peers who have seen this show has been fantastic!” he smiled.

day, we aren’t starting focus from scratch each day, especially if trim is the same. We deal closely with the automation department to ensure all of the disguise and Navigator communication is seamless.” Lambert added: “This is the only 4K system Solotech owns, and I believe we’re the first to tour it, as of when we rolled it out. Once it was integrated, the 4K possibilities really opened doors.” Media Server Tech, Andréanne Lafrance, was charged with handling the arsenal of disguise media servers. She said: “We have 9 disguise gx 2 media servers - 2 of which had custom 4K inputs - that receive signal from Navigator to track the movement of the screens. The rig changes a little each day so I have to focus all of the screens to account for trim height and any other adjustments. Only one of the songs is content-only, and some make use of overlay, colour delay and so on. We have Notch on 3 songs. All of this was programmed during rehearsals.” She continued: “I make sure I hit the 5 cues I have during the show and there is one effect that goes in live because it’s dependent on the lights. We also control full content on the LED dance floor, which is triggered at beginning of song.” LED Tech, Quincy Yip, went into further detail: “The dance floor is stage right of VIP, and is 56 x 56 pixels, per tile. There’s 12 tiles from upstage to downstage then 8 stage right to stage left, which display the content that’s fed through servers. It ends up being a kind of Saturday Night Fever style setup, but he’s right down with the fans in the VIP so it’s a cool moment. The tech comes from Thatrixx Technologies out of Montreal - Solotech bought some of their xVision floor tiles as an investment back in the day so it’s been great to use them for this. As well as being eye candy and a set piece, they also serve as a lighting element down there in the crowd.” AUDIO As well as establishing a good relationship with Timberlake since he came on board in 2005, FOH Engineer Andy Meyer has spent a number of years becoming familiar with DiGiCo consoles, having switched to them 2 years later. The 2018 Timberlake run sees the mighty DiGiCo SD7 at FOH. He began: “I love the way that you can integrate analogue gear with DiGiCo, and there’s a great workflow. I’ve also noticed a huge difference in the clarity and warmth with the new 32bit cards. The vocals are much more vibrant and they seem to sit better in the mix. I’m using Optocore X6Rs and DD32R-FX for my I/O, which is DiGiCo protocol. All the gear shows up as a stage rack in the console, which made the integration really simple. There’s also limited cabling as it’s all inside the rack.” Meyer continued: “I love the sound of analogue and the precision and control of digital, so I researched how to create a hybrid environment.

VIDEO Head Projectionist, Danny Lambert, had 36 Barco UDX 32,000 lumen units to conjure up the textures and images required for the roll drop screens - all of which appeared in 4K resolution. He said: “I start by converging 2 projectors using their software, then Andréanne comes in with server software and adjusts the image. Although the images can be viewed from either side of the roll drops, the main stage is technically front projection, while the VIP projection comes from the inside. “The projectors are packages in a very tourable design - we fly each one in around 10 minutes. As they are rigged close to the same place every 48

JUSTIN TIMBERLAKE

When you mix a record you have it master it, and I started thinking about implementing that live as well. I use mastering gear from Thermionic Culture, MASELEC and Neve on the PA, which gives a nice polish and makes it sounds like a big, fat record.” Most of Meyer’s inputs are live instruments, the rest are wireless. For drums Meyer chose Audio-Technica ATM230 to mic the toms, Milab DC-96Bs for the overheads, sE Electronics sE5 on the bottom of the snare and hi hat, sE8’s on percussion, a V7 on the piccolo snare, and a V7X on the detuned snare. Meyer also selected Audio-Technica AT4060’s for guitars and Rupert Neve DIs. A Shure Axient with a V7 capsule captured Timberlake’s vocals. “It’s a very challenging show to mix for sure,” he said. “He mixes multiple genres of music and spends a lot of time under the PA. It’s a more bombastic sound than on the record, and there’s more going on musically.” With 4 brass players, 4 backing vocalists, 2 keys players, 2 guitarists, a bassist / bass synth player, a drummer and percussionist, Meyer had a lot to stay on top of - as well as a Pro Tools rig underneath the stage that sends multiple tracks and timecode. He continued: “We’re shooting into these rooms so the way each venue behaves quite often dictates what kind of day you’re going to have. I use 200 snapshots all of which are fired via timecode. They are really just starting points really, as you have to push differently every night. We do all of the room integration during the day and can always make adjustments during the show as my System Tech, Justin [Lenards] walks the room.” The impressive audio setup at Manchester Arena, courtesy of Clair Global, consisted of 8 hangs of 12 CO-12’s and 4 hangs of the new CO10 for infill, with 14 flown CP-218’s and 7 more on the ground for bass reinforcement. There was also 6 hidden CP-6’s as front fill and 8 JBL speakers doing surround sound in the VIP area. Lenards commented: “Myself and Andy worked very closely to design this system. We’ve done some things that Clair hasn’t done before, like the 4 custom-built amp racks we have flown. We had to come up with a system design that could go in and out of buildings quickly, but still being powerful and efficient. With the flown racks, and using chain sliders for all the cables,

all of the arrays can come down independently and leave racks in the air.” The flown racks also allowed Meyer to fly his Optocore boxes, facilitating a straight fibre connection right from the desk. “We’ve noticed a great impact from that, sonically, and we have less cable to run out,” the System Tech said. “During rehearsals we implemented spatial audio things like bird and clock noises that could be used during transitions. This was present in the arena and mirrored in the VIP area. Due to a lack of software we had to use matrix sends from the DiGiCo but we figured it out eventually!” “It’s my first time touring with the Cohesion system but it’s performed brilliantly. This design allows you to mix more quietly and still have the sound in your face and intelligible without exciting the room too much. There’s tonnes of power Meyer laughed. “I use primary source enhancer plugins, selective gating, and just work through it with the room. More artists are coming out in front of the PA now so it’s just become one of the daily challenges but it’s more than manageable with this setup.” Timberlake is well renowned for getting thoroughly involved when it comes to his live offering, and this goes for audio as well as show design. Meyer explained: “He is always involved in rehearsal and building the show. When the tour starts he has enough stuff to think about so he expects us to act professionally and do our part. We discuss the room with him each day, and there’s nothing left to chance.” MONITORS Paul ‘Boyo’ Manuel [he’s Welsh, in case you didn’t guess!], Monitor Tech, and Paul Joseph Klimson, Monitor Engineer, were stationed in the depths of underworld, just below the stage left revolve that housed the drum kit. Between them, they were responsible for ensuring that the dynamic (and mobile) stage performers and integral crewmembers all received crystal clear, tailored mixes of the show. Klimson has been with Timberlake since the Australian and US tail end of the 20/20 Experience, and has built an instinctive rapport with the artist in that time. He said: “I started with the band during rehearsals in LA, before we moved to the IZOD Centre. It’s not an entirely new show file but it’s been

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JUSTIN TIMBERLAKE

altered as a bunch of new songs are in there and some of them have been rearranged. “I kept the band EQs and compression pretty flat, then I have groups for Justin where I dig in a little more to make it work in his ears. This particularly means holding off on the bass. He’s very hands-on with writing and producing of these songs so he knows the signature elements of them.” Klimson also trusted a DiGiCo SD7, with a Shure PSM1000 IEM system for the artist, band and crew’s monitoring and Jerry Harvey Audio JH16V2 PRO moulds that matched Timberlake’s own. He chose a Rupert Neve Designs: Portico II Master Buss Processor to “give the band a squish”, with a Smart Research C2 compressor on the stereo buss “for a little extra love”. He continued: “The audience mix for is panned for him so he knows where someone’s shouting out to him and so on. He interacts with the audience more than most artists I’ve worked with, and that’s always at the forefront of my head. Any other gig I’ll be passing through the band throughout the show and tweaking things but he’s so dynamic that I spend most of my time on him. “I alter the mix when he’s in the middle for timing reasons, bringing the hi-hat forward for example, and a couple of the falsetto bridges are quite tricky, but it just requires me to push the lead a fair amount. It’s almost instinctive now, and I leave myself a lot of notes in the desk. “As well as the CCTV system, I have another monitor tech, Hugo, out there with ears and a talk-back on to look after any necessary changes. The boss knows what he looks like and can raise any concerns. There’s also a Midas Venice outboard rack for the 9 channels of audience mics.” Boyo was yet another long-time DiGiCo user, and so was comfortable with the setup underneath the stage at Manchester Arena - not to mention during the one-off Timberlake shows that he stepped up to mix. He said: “We have about 30 ears mixes in total - all of the techs and band have talkbacks as well. We use the DiGiCo SD-Nano Rack to get into the Optocore loop. As these are 360-degree shows, we have a Shure VP88 Stereo Condenser Microphone upstage to get upstage audience on top of the sE8’s dotted around. Boyo continued: “Although some songs are only one snapshot, we do have some such as Suit & Tie with 3 sections that are a little more complex to mix. The C2 goes across his mix for some nice warmth and fatness, and we use distortion and phaser on specific songs. It’s quite a complex session but nowhere near as complex as Andy’s!” SPECIAL EFFECTS Kelly Sitcksel designed all the effects and lasers built by Strictly FX. Tour Operator for Strictly FX, Justin Seedle, was stationed by Meyer’s side at the stage left FOH structure, up in the heady troposphere of the VIP boxes 50

JUSTIN TIMBERLAKE

FOH in the Gods, where the DiGiCo SD7 reigns; Monitor Engineer Paul Joeseph Klimson with Monitor Tech ‘Boyo’, [It’s Yorkshire Tea or bust, in case you were wondering].

at Manchester Arena. He said: “We have the MA Lighting dot2 for flame and cryo effects – which are fired by another operator – while I look after the laser systems. We have 2 systems running Pangolin Beyond, which controls 40 lasers in total.” Upstage centre were 3 30W units upstage, which were used for the opening ‘tunnel’ look, with another 16 in the central ring truss - 8 15W and 8 6W ARCTOS lasers - that terminate on the VIP Stage for the ‘laser cage’ look for Suit & Tie. There was also 11 lasers on the upstage roll drop - 9 6W units bookended by 2 15W for extra punch - that terminated on stage and 10 more on Spikie ‘dot wall’. Seedle continued: “We have 3 big laser songs, which are the intro Filthy, Suit & Tie, where he dances within the lasers, and Supplies, where we use all of our units at same time. Everything runs via fibre on our own FX network down to the rack. There are a lot of beam looks and some fans, and the cage effect on the VIP Stage look particularly good.” As well as the laser gags, there were other FX highlights such as the low lying fog that rolled down the length of the stage for Cry Me A River, and the faux campfire that rose from the stage via electric lift and served as the centrepiece of the acoustic covers section of the set. Seedle laughed: “I sometimes feel like were loading a stadium rig

into an arena! There’s 3 of us hanging the show, with 6 FX crew overall. Sometimes we impress ourselves by getting show-ready by 3pm after getting in around 8:30am. It’s almost robotic at this point, as we’ve been out since 29 January.” In the UK, Stagetruck provided tour trucks, Austria’s finest, Beat The Street tour buses became a home from home for the crews and Munich, Germany-based Delico fed the teams. The tour continues in North American through to the tour’s conclusion in Denver in early 2019. TPi Photos: Ralph Larman & TPi www.justintimberlake.com www.strictlyfx.com www.solotech.com www.clairglobal.com www.taittowers.com www.fireplay.com www.beatthestreet.net www.stagetruck.com www.delico-catering.de

PRODUCTION PROFILE

RESISTANCE AT PRIVILEGE, IBIZA Ultra Enterprises has spent its 2nd consecutive summer in Ibiza, delivering 9-weeks of Resistance at the world’s largest nightclub. In keeping with the group’s consistent production values, a special Funktion-One Vero sound system was deployed for each event, along with an exquisite show design and a talented tech team. TPi hit the White Isle to find out more…

On 17 July 2018, Resistance took up residence at Ibiza’s iconic Privilege club for an impressive 9 successive Tuesdays, running throughout summer until 11 September 2018. TPi attended a special show in early August – when superstar DJ and Funktion-One advocate, Carl Cox, celebrated his birthday with hordes of dance music aficionados. The underground electronic music event landed with the promise of delivering ‘the biggest production on the island’, and backed that notion up with video, lighting and audio standards that have set a new precedent for Ibizan club nights. Indeed, stepping off the plane at the island’s small airport, clubbing guide promoters are handing out booklets, the ‘must see’ bible acknowledges Resistance at Privilege as a priority. A quote from Cox himself reads: “The Funktion-One sound system and the lighting on this night makes it feel like no other club – truly amazing.” So what is this new club sensation all about? Launched in recent years as an offshoot of the Ultra Music Festival brand, (you know the one; Miami elegance and the world’s biggest names performing at North America’s most prevalent outdoor dance event), Resistance is the brain child of brand founder, Russell Faibisch, and in its own right has grown a global reputation as championing the best in live techno. In addition to having stages at 10 international festivals, parent group Ultra Worldwide produces 30 standalone Resistance shows around the world each year – including this summer’s return to Ibiza’s biggest clubbing space following its 2017 debut. Key to the success of this Ibiza run – and all Resistance shows - is the stunning visual and acoustic canvas it provides for the in-demand line up.

The Ultra team pride themselves on enabling the best possible audience experience, by using the best technology available. PRODUCTION DESIGN Richard Milstein, Creative Director of Ultra Music Festival and Resistance Production Designer spoke to TPi during a busy build day. “Ultra has been around for 20 years now, and 10 years ago we began to do worldwide events. Due to the success we saw on a global scale, it enabled us to really push the envelope when it came to future production designs. “Sound is obviously an extremely important component of any design. Funktion-One - especially for our Resistance brand - has been our number one sound system for years. As a manufacturer, they keep a great level of contact with us, because they’re much more than that. Tony Andrews always recommends the best products for the space we’re using, and when we’re in Europe, we only use him. When we go to Asia for example, it’s a little more difficult, but we always ask our Asian production partners to give us Funktion-One as our absolute first choice,” said Milstein of what allows Resistance to make a stand out impression in Ibiza, which at times can feel somewhat oversaturated with club nights. He continued: “A lot of our production is video-heavy because we like to give our artists a canvas to be able to create a feel for their own show. This is something we’ve done with Ultra for many years. We’re not like other festivals in that we don’t do traditional set design - we use straight up technology in our creativity. “We’ve taken on the Resistance brand seriously in the last 2 years, 53

RESISTANCE IBIZA

Funktion-One’s Tony Andrews mixes on his desk of choice - the Cadac CDC5; Funktion-One’s Ann Andrews flew out weekly to help oversee the audio elements of the show; Ultra Music’s Richard Milstein is the Resistance Production Designer and creative lead; Production Director, Jim Baggott and Production Manager, Charlie Canavan.

meaning that we’ve really developed an identity with the concept of design and you can see that in the visuals we produce. This can be encapsulated by a figure who appears on the screens we’ve called ‘The Seeker.’ The Seeker is neither a man nor a woman… but the notion that we’re seeking people, we want the people, the masses, to believe in the brand of Resistance. Throughout the night, you’ll notice we use a lot of the same colours at the early part of the night and when our headliners come on, we then show visuals tailored to them.”

Privilege with the new Vero system and having such a versatile speaker in here for Resistance, it was the next step up. Tony and Ann fly out from the UK each week, but this is a special one, so Tony is mixing tonight,” he nodded in approval. “The Visionlite crew first worked with us at Ultra Europe in Croatia when we were looking into using an automated roof system which we use in Miami, and this is where the Ibiza concept came from. The first year that we had it in Croatia, Visionlite brought in a Kinesys system we got on with their team very well. Since then, we’ve teamed up for Resistance and now have them running automation lighting and video. They’ve also built a custommade DJ booth which makes life easier during change overs.” Charlie Canavan, Resistance in-house Production Manager, added: “Jim looks after every Resistance show but as it’s grown, it’s gotten to the point where he can’t do every show in person, which is why I’m always on site.”

PRODUCTION TECH Milstein noted that the production team – led by Jim Baggott and Charlie Canavan - Tony and Ann Andrews, Lighting Director, Andy Hurst, and the Visionlite crew, which supplied automation, rigging, lighting & video, plus the local crew, had all been “fantastic to work with, I’m very lucky to be working with the best.” Baggott, the Production Director who oversees Resistance shows worldwide, joined the conversation: “I work very closely with Richard, and once he’s given us the concept and some renders, we work out what type of screens and what type of lighting fixtures we’re going to use, depending on where we are in the world. “Tonight’s one of our biggest nights because it’s Carl Cox’s birthday. I’ve personally been working with Carl for 15 years - I’ve toured the world with him 7 times!” reminisced Baggott. “It’s great to have him as one of our main ambassadors for Resistance. We want to be one step ahead of anyone else who is putting on nights in Ibiza. Both the Ultra and Resistance brands are renowned for their production quality and the team we’ve got are all at the top of their game. For example, Andy Hurst was brought in last year as the Show Director for Privilege and did such a great job that he’s been the LD for resistance worldwide ever since. “Funktion-One has also been a favourite of ours for a long time. I’ve worked with Tony and Ann Andrews for years, especially when I was out touring with Carl. What we achieved in Space [helping to create the most sought-after clubbing experience for over 2 decades], by always having a Funktion-One install in there, was brilliant. So, by bringing them into

AUTHORITIVE AUDIO Canavan also has a lot of respect for the audio element of the show. “It’s a treat to have Tony Andrews here, and something I really enjoy telling our guest engineers or visiting tour managers; if they’re worried about their DJ, I really take pride in telling them not to worry about a thing because we’ve got Tony Andrews here mixing, and he’s tuned the system himself!” At this very moment, Andrews is walking the floor, making sure everything’s just right... “Tony’s never afraid to tell you if something’s not perfect. He’ll gladly spend an entire day tuning a system. In my opinion, he’s one of the very few geniuses left working in this industry. I think the Vero is a great system, and he’s tweaked it since last year even, so now it sounds even better. It’s also the only system Carl likes to use. I think one of the emails we had went along the lines of “If there’s no Funktion-One, there’s no Carl Cox!” And it’s true; Carl has an amazing relationship with Tony that goes way back. He and Ann are really nice people and they genuinely care. There’s not too many people in the industry like that these days; Tony doesn’t just send you a system, he comes out with it, installs it, tunes it, and the outcome is always brilliant. He’s a legend to me.” The Resistance team were adamant that each show should stand head 54

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and shoulders above everything else that the island had to offer. To achieve this, audio wise, they once again brought in a full Vero vertical array system, to be used exclusively for the weekly shows. The 2 Vero hangs - placed near the walls to prevent secondary reflections and to heighten the immersive stereophonic sound – are designed to fill the entire room. Each is topped with 2 V60’s - hitting the VIP area right at the back of the room - and completed with 3 V315, 3 V90’s and a further V60 to penetrate deep into the cavity beneath the balcony. The Resistance team allows Andrews the freedom to explore and experiment, which led to the ground-breaking asymmetric bass setup in Miami and now Privilege. Positioning the V221’s (bass) on one side and V132’s (sub-bass) on the other ensured singularity of delivery and avoided cancellations - resulting in punchy, well-defined bass. The V132’s utilise cutting-edge linear motor technology from Powersoft. Funktion-One specifies Lab.gruppen 20,000Q amps as the perfect power source for Vero’s high resolution sound. Andrews commented: “Vero has been designed for touring and large events, for that we need an amplifier that is well-respected in those applications and, more importantly, sounds really good and offers bulletproof reliability.” For Andrews, Resistance is a humbling endorsement of the Funktion- One philosophy. He commented: “The fact that Funktion-One is the only system Carl’s willing to work on at Resistance - the biggest production of any club this summer - is fantastic. That kind of genuine product support is really rather amazing and unusual. It’s also pretty significant that Russell Faibisch - the owner of the Ultra brand - has brought Vero in especially, and wants to keep it exclusive.” Indeed, during the 9-week period, Vero stays in the club, but is only used on Tuesdays for the Resistance residency as a means of setting the audio standard in Ibiza. Andrews continued: “Russell considers the quality of the sound to be part of the brand – and Funktion-One delivers that quality.”

In turn, this huge vote of confidence has been repaid with an incredible level of hands-on support from the entire Funktion-One team. As Canavan noted, Andrews’ expertise and commitment to achieving the best possible sound quality make him an invaluable presence on site. And at FOH, Andrews yet again chooses Cadac, this time a CDC5 console. [As well as shots of fresh gazpacho to keep energy levels high until the early hours!] He told TPi: “I was introduced to the desk 2 years ago, initially with the CDC6, and it was an absolute revelation for a modern console. The high frequencies are sweet, smooth and transparent, and that’s something you hardly ever get with digital machinery.” LIGHTING, VIDEO & LASERS Well-known LD, Andy Hurst (Prodigy, Tinie Tempah) was brought into the fold last year in order to pull all the elements of the show together and produce a live show ready for the 9-week run. He began: “I knew some of the production team already from my time with Ultra, and have had many acts play at the festival in Miami over the last 10 years. This year, I became LD for the Resistance brand worldwide working in conjunction with Richard Milstein following what I put together last year here. I now oversee the Carl Cox arena in Miami too. “Every Resistance show design is different, but I always use a High End Systems Hog console as my first choice when I’m programming or operating. The desk used for Resistance this year was a Road Hog 4. FOH for Kinesys, lasers, video, pyrotechnics and lighting is up on the balcony of the club, and away from the sound desk, which is on the main venue floor. I do operate the lights sometimes, but generally I have an operator and call the show live on our comms system to the operators of each discipline.” This is quite integral to the show, as the various ops don’t know what the DJs are going to play in advance. “It’s basically a 7-hour live show and we have lots of elements programmed with the moving truss with different effects for lasers, lighting and video.” 56

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RESISTANCE IBIZA

Adam Gaca worked on behalf of Visionlite; Show Director and LD, Andy Hurst.

The rig for the 2018 summer shows in Ibiza comprised a Barco S3 video switcher, LED tiles of 3.9 and above a 12mm curtain above the dance floor. For lighting, 153 Pro Lite LED Bars, 23 Claypaky A.Leda B-Eye K10’s,13 Kinekt Lasers, 36 Robe MiniPointes, 16 Martin by Harman MAC Axioms, 15 Martin by Harman Atomic Strobes and 6 Laser Blades. The lasers added even more slick production value to the nights. Ryan Hagan, ER Production Co-Founder and Laser Tech, Harry Boyde handled the club’s laser effects. Hagan stated: “This was our second year supplying Resistance Ibiza, and this year, as well as the Kinekts and Laserblades, we also supplied 12 Physco2 Jets in the main room, and 4 Kinekts and 2 Pyscho2 Jets in the second, smaller room of the club.” The use of lasers is key to full on technological impact of the show. Kinekts were placed on the upstage side of each of the Kinesys-controlled video pods (52 motors in total), which moved almost continuously during several segments of the night. Boyde, who was on site in Ibiza, added: “With various focuses throughout the show, the challenge for us was to make the most out of our static 60-degree projection scan angle and satisfy the various Kinesys moves throughout the show. By the time rehearsals were over, we had great focuses in both vertical and horizontal screen positions. The Laserblades were rigged upstage on the lighting towers, focused to run along the same diamond formation as the screens. Hagen furthered: “The Physco2 Jets were rigged along the length of the room and around the VIP balcony, positioned so that we could use the tilt to get a full coverage of the crowd. This was by the far the biggest production on the island this summer, so it was essential for us to be able to leave all control and cable elements in without hindering other shows taking place at Privilege. Every week our technician, Harry Boyde, was able to arrive and simply add the heads into the rig and we were show ready.”

MOTION CONTROL AND RIGGING Canavan made note of the fact that Privilege is quite a difficult venue to work in, when putting a large-scale production inside. “We installed a BGR70 Prolyte truss from Unlimited Productions subsidiary Unlimited Rental. It’s retractable and can take a lot of weight. This year, as we’re in our second season, we know the room a lot better so it was easier to get a smooth start to the production install.” Visionite’s Production Director, Adam Gaca, took up the story: “From the very first moment Richard sent the designs through, we began to adapt it to the environment here. Starting with all the calculations for trussing, hoist control and those vital rigging details, the roof began to take shape. “I’m a structural engineer by trade, so I take full responsibility for everything that goes above peoples’ heads. Safety first, always. We’re using 8.5 tonnes in the roof at Privilege, and I’m proud that we were chosen to be the automation and rigging experts here.” To bring the best and the safest system into the club, the “obvious” answer lay in a brand new Kinesys Apex system, according to Visionlite’s Blake McNally, who added: “As a motion provider, Visionlite is responsible for both the health and safety of the workers, and the audience during the show. All plans needs to be done according to the roof weight capacity, and all points need to be calculated with dynamic loads for the risk assessments. Therefore, Kinesys is the key component within our equipment. “We are very proud to be a part of this amazing production and we hope that this production will open up new possibilities and make motion control more commonplace, or on the same level as lighting and video within the show design.” In order to create a sufficient self-supported structure, Unlimited Productions assisted with the challenge. Together with Unlimited Rental, it supplied a complete BGR70 pre-rig solution and was responsible for all the 58

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RESISTANCE IBIZA

rigging positions and points. inside the truss span, thereby reducing total trim-height.” Unlimited Productions’ CEO, Willem Loos said: “The BGR70 truss is designed to create large spans that can hold heavy loads. Compared to RESISTANCE RESULTS conventional 100’er truss systems, the BGR70 truss is 40% stronger and The results of this combined production effort certainly had the island saves up to 35% transport volume. Rectangular profiles create a truss that talking. The last word goes to Richard Milstein, who concluded that: can be used for spans up to 45m, still allowing a centre point load of 750 “Privilege is the only venue that has the capacity to accommodate this size kg. Due to its low volume and height, combined with a high load bearing of production, so this was the right venue for what we wanted to produce. capacity, the BGR70 truss is extremely suitable as a mother grid, or to “The team here have made it happen, week after week, but none of this support a front façade for large sets, like on dance festivals. Due to its zero would be possible without our brand owner - who has strongly believed deflection, the BGR70 truss is ideal in applications with motion or LED in my efforts and really given me the opportunity to do great things for screens. him - Russell Faibisch. It’s been quite a summer for “Using the unique pre-camber options, you Resistance!” he smiled. can create an absolute straight truss. Depending If chilling out (or dancing until you can’t feel your on the applied load, a combination of spacers feet) is your thing, then Resistance at Ibiza is certainly ranging from 0mm to 4mm can create a prea must attend night. Don’t just take our word for it, the camber effect that will result in zero deflection, 2018 DJ Awards crowned it the best Ibiza Night. After despite the applied loading. This is a great feature a hugely successful season at Privilege, the dynamic when using motion or LED screens. production and in-demand line-ups saw Faibisch and “Due to its 4-sided webbing the BGR70 truss co wearing a smile all the way to the end of season can be used in vertical as well as a horizontal closing party... plane, or a combination of these. Creating TPi possibilities for outdoor and indoor applications, Photos: Crew shots by TPi as well as combinations in 2 or 3 dimensional Show shots by Maxx McInernry structures. It is a tool-less system, no tools are Rob Burgione & Gerado Arteaga “In my opinion, he’s one of needed for assembly and disassembly. www.resistancemusic.com the very few geniuses left “A special hoist adapter is designed for the www.privilegeibiza.com BGR70 truss. This adapter can be used either www.funktion-one.com working in this industry...” at the end of the span or in between 2 truss www.visionlite.eu Production Manager Charlie sections, offering a fully integrated suspension www.unlimited-productions.com system. The hoist can be mounted above or www.er-productions.com Canavan on Tony Andrews 60

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FESTIVAL FOCUS

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

CREAMFIELDS 2018 Since launching in 1998, Creamfields has firmly woven itself into the fabric of UK dance culture. As the world around us has changed and musical movements have come and gone, Creamfields has consistently evolved and adapted. It is iconic. Artists and punters want to be part of it and the organisers work hard to give them even more each year.

The 4-day festival, which is held in a field just outside Daresbury, Cheshire, takes place over the August bank holiday weekend and showcases a line-up of leading DJs and artists from the worlds of EDM, house, trance, D&B and grime. Curated by the Cream brand – which shot to fame in the 1990s thanks to its Liverpool club nights – the festival now attracts 70,000 people and over 300 of the world’s hottest dance acts. But it isn’t just the music that has taken Creamfields to legendary status, the event is renowned for its ‘go big or go home’ production ethos – staging, visuals, lighting, sound and special effects that combine to create visual and aural spectacles. To fulfil the ambitious production design for Creamfields 2018, 86 trucks of technical hardware (twice as many as last year) and another 120 trucks of staging were required. All of those elements are managed by LarMac Live, with Production Manager Ian Greenway at the helm. “We’re way bigger

than the biggest global flat-pack stadium tours,” said Greenway. “We pretty much work on the show on a rolling 12-month programme these days and, like any live project, it’s wonderful to see the planning grow legs and become a living entity.” That living entity could be mistaken for a production monster, but Greenway and his teams have tried and tested methods of managing such a behemoth task. He explained: “The by-product of doing the biggest ‘this’ or a world record ‘that’ is that the resources that go in to it spiral too - from things like local crew all the way through to trucking. In our case, we stage all of our vehicles off site somewhere really close and they only get called in when we’re actually ready for them and have space on site to get them processed. There’s still only one gate in and one gate out of course, and a single road one-way system around all of our stages which just means we have to phase our load in and out more carefully.” 62

CREAMFIELDS

Creamfields is committed to giving its audience the best possible show experience. This year, that led to a significant increase in production collateral. As the EDM boom has continued apace - spreading out of the superclubs in the US to envelope Europe - the appetite for spectacular shows has shot up. Greenway revealed: “Over the last 3 or 4 years we’ve had a big upscale in the level of show that we’re producing. There are big expectations from this market and, indeed, the acts for us to put on huge shows, so every year I seem to end up with more kit. “We had 3 new concept venues this year and intricate production designs in all of them. That’s the main reason for the increase, plus a huge show for Eric Prydz in our Steelyard venue that led to the world’s biggest Kinesys rig and about 800sqm of screen and 1,000 lights, all in one venue. Stalwart Creamfields venues like Steelyard had some new

accompaniments for 2018. Generator stepped in to the shoes of the old Stage 3 – morphing from a 120m big top into a building made of containers for an industrial feel. “We purposely didn’t fly much in the roof here, instead focussing more on a screen-heavy eclectic stage end show - think grungy pop up rave with a ton of lasers,” said Greenway. The Warehouse, with its clean roof arch structure featuring big aluminium roof beams for a real presence, was another addition. Greenway explained: “Sam Campbell (Colour Sound Experiment) worked with us on a design, which was really lean but one of the most impactful onsite. That really played to the venue’s character, aided by the fact that the gable end was left off the roof and so the show literally spilled out the end.” SILO came from the organiser’s want for an intense club environment. Greenway said: “One of our smaller venues on site, it’s a bit roundhouse

CREAMFIELDS

meets mad max - 150 or so GLP JDC1’s programmed in line with a bunch of roof projection, lining an intimate circular structure. The added benefit of having a mezzanine allowed people to have another view on the room adding to the intentional claustrophobia!” Of course, delivering outstanding production across 11 venues is only possible with a reliable team of suppliers. “It’s beyond critical,” highlighted Greenway. “We introduced Capital Sound and Christie Lites this time. I’m a big fan of evolving and introducing new faces, but on a site like this we really do rely on familiarity. We also have a really tight team of personnel at Creamfields, extending beyond our core LarMac live team. “All of our account handlers, local crew bosses and stage management team are responsible for the successes of the show and we work with them in a very collaborative way to make sure their experience and opinions are harnessed. Like all of our shows, we want people to come to work feeling like they’re adding something to the party and there’s no better example

of that than here. It’s a tough show to work on and only with the support of our teams are we able to do it.” Acorn Event Structures has been supplying staging to Creamfields since 2015 and has been instrumental in engineering a number of new additions to the show’s production over the last 4 years. That included the 50m x 90m x 20m Steelyard structure in 2016 – at the same time significantly improving the weight loading compared to traditional festival tents. In 2017, Acorn developed the Arc Stage with an increased curve in the LED screen wings, plus development of the Warehouse. Always looking for fresh ideas and new ways in which to engulf the audience in the world-class production, Acorn designed and engineered new venues for Creamfields 2018 - the first was SILO with is cylindrical shape and 360° wall of LED screen, lights, lasers and sound that provided festival-goers with the ultimate immersive, underground experience. The second was Generator, with its shipping containers, scaffold infrastructure

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and industrial feel. Acorn also developed additional structures across the naturally, PRG is hugely proud to be a part of that story. We are looking site to facilitate the predominant use of LED screens ensuring continuity forward to pushing the boundaries even further next year.” throughout the event. Lighting for the other stages was supplied by Christie Lites (2 stages) PRG XL Video provided lighting, rigging and video services for this year’s and Colour Sound Experiment (2 stages). festival, delivering 30 trucks of equipment. That Colour Sound Experiment’s Managing Director included video for 9 stages, lighting for 3 stages Haydn Cruickshank said: “Creamfields is still the and rigging for 8 stages. The event tech specialist biggest rave in the UK and dance events are such a worked extensively with Greenway. big part of our heritage here at Colour Sound that Richard Gorrod, Head of Event Services at PRG, it’s something we are very proud to be involved project-managed the lighting, rigging, automation with. I can still remember the first one very clearly, and video elements within Steelyard, and worked it had a different ethos to everything else that was “Creamfields is still the with LarMac Live for 6 months to ensure that Eric going on at the time.” biggest rave in the UK and Prydz’s boundary-pushing set blew the audience Britannia Row Productions provided sound away. for The Arc, Horizon, and Steelyard, while Capital dance events are such a big Gorrod commented: “PRG worked on 10 stages Sound took care of Generator and the Warehouse. part of our heritage here at Creamfields, supplying rigging, lighting and Adlib Audio supplied the sound for 4 stages. TEC video equipment and services. The show’s just provided rigging, lighting and audio for the Vault at Colour Sound that it’s keep getting bigger and better each year and the and for Hospitality. something we are very proud BPM SFX’s lasers and special effects were active festival’s 21st outing certainly pushed the envelope. The sheer quantity of everything, from the amount across the site on all stages. The company also to be involved with.” of automation and the number of lighting fixtures, created bespoke packages for specific acts on each Colour Sound Experiment’s demonstrates Cream’s commitment to creating day. Managing Director, Adam Murray, explained: the best electronic dance music event for fans and “In terms of numbers, the amount of effects, lasers Haydn Cruickshank 66

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CREAMFIELDS

and pyrotechnics that were integrated - the design of the effects, amount the jigsaw pieces were assembling in our heads get communicated in such of integrated shows, artists and DJs provisioned over a 4-day period - it is a way that they can be actioned by others on site with minimal re-briefing. without doubt one of our biggest and best festival show provisions that we My team goes from 2 or 3 in the office for 11.5 months of the year and then do year on year. It is always a pleasure to work with Cream and LarMac, and spikes to almost 600 for the main build period and so having a way to deal we were honoured to be brought back on board as SFX Site supplier again with the pace of a show like this being built is a huge factor for us.” this year.” Looking ahead to 2019, he reveals: “All I know is that there’s a handful Reflecting on this year’s festival, Ian Greenway of big artist shows coming through and we will see says: “Every year it gets bigger. It’s amazing to be more changes to venues and house production setallowed to push boundaries and to work with a ups. Let’s see...” promoter and artists who actively encourage it! Photos: Anthony Mooney, Kris Humphreys, Charlie “Scale and pace are the 2 words that remain Raven, Anthony Black and Lorenzo P. Tonucci in the back of my mind. Scale purely because www.creamfields.com “Every year it gets bigger. It’s www.larmaclive.com the promoter is so passionate about giving the audience the time of their life and so our show has www.coloursound.com amazing to be allowed to to be truly world class which is a really nice problem www.capital-sound.co.uk push boundaries and to work www.christielites.com to have. Then pace. By that, I mean efficiency really. As with any production, particularly festivals, www.prg.com with a promoter and artists they’re conceived and planned by a very small team www.bpm-sfx.com who actively encourage it!” of people. www.acorn-events.com “A large part of my job is to then make sure that www.britanniarow.com Ian Greenway, LarMac Live. 68

BOOMTOWN FAIR

BOOMTOWN FAIR Video Illusions continued its partnership with Boomtown Fair, supplying full video production across the 4-day festival for the 5th year running.

Video Illusions recounts its production partnership with Boomtown Fair, supplying 120sqm back drop of ROE MC7 LED for the Gorilliaz and Die Antwood’s headliner shows. Dave Whiteoak, Video Illusions Managing Director picked up the story. “Boomtown has never been ‘just another client’,” state Whiteoak. “We’ve always felt part of the family and go above and beyond no matter what was thrown at us.” Providing full production coverage to the entire site from the downtown venues of Poco Loco, Vamos and China Town to District 5 and Mayfair; Video Illusions expanded its reach to take the lead on Lions Den; whereby Sector 6 sits, an enormous stage and performance area was introduced during the 2016 rendition of Boomtown Fair. “We were introduced to Lions Den in 2015 when we were offered to look after the whole video production for the stage. From LED IMAGs to video world camera package and HD PPU rack and camera operators and directors to main stage screen with 15 camera ops and directors. We let our PM Ollie Davies loose with the video production down here as he’s in his element and delivers year in year out,” Whiteoak explained. In 2018, as well as covering Sector 6, Video Illusions also supplied a 120sqm MC7 LED to the Main Stage Screen, 2 x 15sqm Vi-l6 IMAGsk 2 Sony HXC100 + hj40 lens, 3 x Sony EX3, 1 x Panasonic HD robo cam, 1 x HD polecam, 1 x Sony wireless fs7 on a terradek HD transmitter, full HD PPU system and 8 x Blackmagic Design Hyper Deck; including over 3km of signal cable. Behind the scenes, the Video Illusions contingent also ran production management for Shy Fx, this year’s main headliner on Lions Den; where the team supplied full SFX co2 and flames and visual artist.

Working alongside Stage and Technical Manager David Peverley and Stage Designer Simon Carrol, Whiteoak assured Video Illusions have grown a great working relationship and are ‘on the same wave length’. “To have IMAGs alongside waterfalls this year was unreal and supplying 4.5 tons of screen to fly within the the roof of the Lions Den was nothing but a walk in the park for Toby Shan at Acorn Event Structures. The brainchild of Dan Borg, Sector 6’s set design was crafted from several tonnes of reconditioned scrap metal and embodied a living, moving, breathing industrial sculpture. Towards the end of 2015, Video Illusions worked on the Sector 6 production plans with Lighting Designer Sam Tozer from Vision Factory. “We spent days and nights working out the best way to create the design, so each element of the structure was lit and could be seen in a different light from all angles - from the dance floor to the whole of temple valley,” Whiteoak recalled. Borg specified the dimensions and technical specifications of the LED panels and lighting fixtures, adjusting the Sector 6 design to fit. The whole entirety of Sector 6 was created around the Video Illusions VI-L6 LED panel. Video Illusions put together a 30-man strong team comprising lighting, LED and video technicians and riggers to deliver such a unique installation on a tight budget and timeframe. Production Manager Zoe Hodge was bought in during the 3rd year to tighten the threads and assist in the delivery of operations of Sector 6. Assisting in the entire Boomtown Fair operation was Visual Artist Natalie Smith, Video Illusions’ Oli Chilton, Blinkin Lab’s Tom Wall, CGI king’s Matt King, WattsTV’s Kev Watts and We are the Night’s Elation Hawes. “We’re looking forward to doing it all again same time next year!” exclaimed Whiteoak. www.boomtownfair.co.uk www.videoillusions.net 69

FESTIVAL No.6

FESTIVAL No.6 Decordia has worked with Festival No6 since the event’s second-ever rendition in 2013. Managing to avoid the same fate as the dreaded ‘second album syndrome’, the partnership has born an exciting and welcoming aesthetic. Decordia’s Cordelia Ashwell picked up the story. She told TPi: “I went to the event in its first year and completely fell in love with the show and Portmeirion.” “I had spent the summer looking at the totally intriguing website and wondering if this magical little village was real. I was totally blown away and desperate to be involved so asked meet the organisers and it developed from there,” she reminisced. What initially intrigued Decordia, as a décor company, was that the festival was offering a very unique experience for its customers. “The importance of attention to detail was clear from the start, the necessity to stay visually true to the Mediterranean style of Portmeirion and to dress the site to create little magical pockets of atmosphere that resonate our discoveries when exploring the village and woodland areas on the site visit,” explained Ashwell. Started back in 2013, the company focussed on making the site look really neat, staying true to the brand and have added to that each year to create some really iconic venues and spaces. “Luke Huxham, the Event Director, has incredible vision for the festival so it’s a collaboration where we bring his ideas to life,” continued Ashwell. “He creates a visual reference of how he wants every single area of the site to look, from structures down to meticulously-chosen styling and it’s our job to realise that, whilst being mindful of budget! We also take into account that the festival is in North Wales, on a hill, and in September, hence the climate can – and indeed has been, really challenging. Equally, we have experienced some amazing weather so we make sure we are prepared for every eventuality. Whatever the weather, we need to maintain the quality customer experience, for example replacing soft furnishings and table cloths each day to ensure the show looks good throughout the weekend.” The key factors with the festival, however, are the incredible unrivalled landscape in which it sits, the estuary, the mountains and Sir William Clough Ellis’ enchanting Portmeirion village. “Our task to echo this through

the décor and styling was our best yet in 2018,” concluded Ashwell. “Will miss it so much when it takes a break in 2019...” www.festivalnumber6.com www.decordiaevents.com

VIDEO AND EVENT PRODUCTION SERVICES “Their team are hardcore, knowledgeable and reliable, It’s great to work with a team we can trust 100% and a company that values pushing the boundaries of creative production as much as us!” Boomtown Fair “Top quality equipment joined by a service where nothing is too much trouble makes working with VI a seamless experience. They are my go to supplier.” Ramblin Man Fair

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DOWNLOAD PARIS

DOWNLOAD PARIS The French edition of Live Nation’s flagship rock and metal festival continues to thrive... with more than a little help from Stageco.

In its 3rd successful year, the French edition of the world-famous Download festival served as solid evidence that rock’n’roll is as alive and relevant as it was in 1980, when its direct predecessor – Monsters Of Rock – forced itself on the unsuspecting English market town of Castle Donington. Launched in 2003 to showcase the best in rock, metal and hardcore, Download expanded in 2016 with Live Nation’s introduction of Download Paris, and Stageco France – as the provider of all 5 stages – is honoured to have played a major role in the festival’s production since it began. In fact, as long as Igor Dawidowicz steers the ship as Production Manager, Stageco appears to have a job for life. He commented: “Involving Stageco was a very easy decision. Who else could do it? We know a lot of staging companies but I can’t imagine giving this responsibility to anyone but Stageco – they are the most professional and reliable provider, and their engineering processes are very rigorous. “When you hire Stageco, you feel safe and can trust that everything will happen precisely how you want it, and you leave them to the job so that you can worry about other aspects of the production. It’s safe to say that even if this festival had as many as 10 stages, I would want Stageco to build them all.” Previously hosted at the Hippodrome de Longchamp racecourse, the festival moved last year to a former French Air Force Base at Brétigny-surOrge, 17 miles south of the capital, where the 2018 line-up of more than 70 acts included such greats as Ozzy Osbourne, Marilyn Manson, Foo Fighters, Guns N’Roses, Ghost, Volbeat, Korn’s Jonathan Davis and The Offspring. The change of venue, Igor said, offered greater benefits for both the

audience and the production team. “Longchamp was a fine location but there were limitations with parking and camping, whereas this old airfield provides 3km of space and the trucks are able to park on concrete or tarmac, which makes a real difference.” THE PROCESS Led by Tom Bilsen, the Project Manager and also divisional director of Stageco France, the company’s work began at 6am on 7th June when the crew departed from the Tildonk head office in Belgium, arriving at the festival site 5 hours later to begin the 7-day load-in and build process, ensuring that everything was show-ready by the time doors opened at 1.30pm on Friday 15th June, the first of 4 action-packed days. The Stageco team also included R&D engineer Bart Dekelver and crew chief Bart Dewolf, who co-ordinated a crew of 10 supervisors and local assistance from 2 cranes with operators, 10 climbers, 6 scaffolding crew, 10 stage hands and 5 forklifts with 3 operators. “All of our crew are licensed to drive the forklifts ourselves,” said Bart. “Therefore, as we know exactly how to handle the equipment and don’t always have to explain to the local helpers, it helps to speed things up.” A total of 28 trucks carried Stageco’s equipment to the site and, in order to avoid jamming the backstage area, a sensible logistical plan of despatching vehicles in the correct order is crucial, stated Bart. “That’s one of Tom’s great skills. We get the gear sorted out according to immediate need. Sixteen trucks handle the main stage requirements and by the time everything is offloaded and assembled, we’re ready to advance the next series of trucks for another set of structures. In all of this, we cannot be too rigid with this approach – it helps to maintain flexibility because we might be quicker on one structure than we anticipated. “Compared to many other festival sites, this is reasonably level with 72

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minor differences of up to 50cm. This does affect the equipment and we obviously have to remain flexible in the way we build the structures, but an advance site visit will always ensure we are prepared.” MARGIN FOR CHANGE Working closely with Stageco were Festival Director Armel Campagna, Production Director Paul Engalenc, site co-ordinator Matt Cocuau and British Stage Manager Charlie Boxhall whose own team looks after all 5 stages – the Main Stage, Main Stage 2, Warbird Stage, Spitfire Stage and Firefly Stage. “I have dealt with all the technical advancing since the festival started in 2016 and, as such, I have a global overview of what’s coming on to the site,” explained Charlie, who also runs the stages at 2 other major Live Nation events in France that feature Stageco’s work: the Main Square festival and the recently-introduced Paris edition of Lollapalooza. “My dialogue with Stageco began back in December and we started to firm things up around February, always with an open mind and a margin for change, but once I’m on-site all of the major decisions are confirmed. “I arrived 4 days before the Friday kick-off to manage the final details, like camera platforms in the pit and opening up a new area of the stage underworld, which is a science all of its own! It also includes finessing the backstage ramps as soon as I knew more about what certain bands require. Are they coming in with soft-siders, semis or trailers on the back of a bus? The answers to those questions will have some impact on how Stageco’s crew deal with things. “A little reinforcing here and there will often happen. For example, Foo Fighters brought in a drum riser that weighed 4 tonnes but we were expecting it to weigh half that. It wasn’t a big deal but these things need swift attention.” Boxhall, a former Paris citizen for 12 years who has an 18-year-old son currently working on the festival, is a true veteran of the touring world. With credentials that date back to the mid-’70s when he was a member of ESP’s staff, Boxhall earned his road stripes with Graham Parker & The Rumour, ABBA and Bruce Springsteen, and first encountered Stageco whilst working

for Genesis production manager Morris Lyda on the band’s European leg of the Invisible Touch tour in 1987. “I could see just how innovative this company was and that spirit of constantly moving forward remains very strong,” he said. As luck would have it, Download Paris 2018 benefitted from hot and sunny weather, however, such fortune cannot be taken for granted and without careful attention a heavy downfall of rain can sometimes bring an outdoor event to a sudden close, as Igor pointed out. “If the weather is bad and your stage skins are not to tension, you risk not being able to keep all the electronics dry and that’s the kind of big issue that can stop a show. One of the many things I admire about Stageco is that their waterproofing techniques are second to none. It’s strange that some people often forget how crucial that is.” As well as all the FOH risers, delay towers, 21 ‘totem’ signage towers across the site and platforms for disabled visitors and video cameras, Stageco built the 6m x 6m support base for the festival’s inflatable 3-headed mascot, Dexter the Download Dog, and a huge antenna tower, and also created Bar Metal – a large, scaffold-based rest area at the edge of the camping site. Pictured opposite, bottom left, the bar area itself is 18.64m wide and 6.23 right, and also includes a Stageco-built DJ platform. Stageco worked alongside sound, lighting and video supplier Dushow, Mojo Barriers and generator provider The Power Shop. When the festival reached its 4th day, the closure of Main Stage 2 and the Spitfire Stage gave Stageco’s crew a head start on the load-out, allowing them to remove a FOH tower and a few minor structures ahead of 4 very full days of dismantling and re-loading the trucks. Reflecting on a busy week, Tom Bilsen commented: “I am so happy to work with this team and for this festival organisation. They get along so well and understand each other perfectly. We have 2 more projects to go this summer with the same combination and I’m proud to get this all going.” Photos: Mark Cunningham and Bart Dewolf www.downloadfestival.fr www.stageco.com 74

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SZIGET FESTIVAL

SZIGET FESTIVAL Such is Capital Sound’s long-term and consolidated contract with the mighty Sziget Festival organisation, that the rock solid production formula now ensures that the massive 7-day extravaganza on Hajógyári Island, north of Budapest, runs seamlessly.

With Martin Audio MLA again reinforcing sound on the main and second stages, and further Martin Audio PA on the Colosseum dance stage, the biggest news was that in its 26th year the event again broke attendance records, with an aggregated 565,000 estimated to have visited the picturesque location on the Danube, over the 7 days. A veritable line-up this year included Arctic Monkeys, Stormzy, Clean Bandit, Kendrick Lamar, Gorillaz, Lana Del Rey, Mumford & Sons, Dua Lipa — and many more. And with such an international line-up of A-listers, Capital Account Manager Paul Timmins said: “All the top acts bring experienced sound engineers who know they will be able to get the levels they are seeking — whether it be 96dB(A) or 106dB(A) — and it’s just not a subject that is spoken about anymore.” Drilling into the minutiae we see that a slightly wider stage this year called for 2 additional MLA Compact enclosures boosting the infill complement to 18 MLA Compact, and the newer Martin Audio SX218 subs replacing the older models on the delay towers. “We are geared up to respond to any changes, no matter how small,” added Timmins. “For us it is a 2-truck mission, reinforced by our partners, BG Event and Polish PA company Musnicki, who service it locally.” Thanks to its proximity, any late equipment requests or sudden changes to infrastructure can be accommodated expediently. In addition to supporting Capital Sound with MLA / MLX components, BG Event also provided Martin Audio PA for 2 further stages. It equipped the Europe stage with 12 pcs MLA and 12 W8LS subwoofers, with 4 XD12 for infill. On the stage they provided 10 LE2100 wedge monitors, plus a set of WS218X and LE1500 drum monitors. And for the Colosseum techno venue they provided 24 MLA Compact cabinets and 12 SX218 subwoofers, with Martin MLA Mini infill and Merlin processing. For DJ monitoring they supplied 4 powerful LE1500 and a pair of WS18X subs. To ensure top on-site service to production crews and visiting sound engineers, Capital deployed a crack team of Jonny Buck (Crew Chief), Marty Beath (Monitor Tech) and Toby Donovan (System Tech), with experienced MLA tech Marci Mezei (Audio Crew Chief) leading a 5-strong Hungarian

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team. Capital’s Robin Conway project managed, ensuring all the rider demands were met well in advance. Paul Timmins said the days were long because soundchecks started as early as 8.30am daily. “It gave all bands and engineers plenty of time on the system, and many who had worked MLA at the Festival previously were rubbing their hands in anticipation. “It’s what we want to see,” he said in summary. “All the tweaks have been done over the 13 years we have worked this site, so that it’s now a finely-tuned system.” Photo: © Rockstar Photographers www.szigetfestival.com www.capital-sound.co.uk www.martin-audio.com

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MADE IN AMERICA FESTIVAL

MADE IN AMERICA FESTIVAL Green Hippo Hippotizer dealers, 4Wall Entertainment, take stock of 14 new Hippotizer V4+ Media Servers, some of which marked their first outing at JAY-Z’s 2018 Made in America Festival.

With 10 locations across the US, 4Wall Entertainment have been providing creative solutions and rental gear for some of the most impressive shows and projects across the US. Becoming a dealer for the Green Hippo Hippotizer Media Server range in 2017, 4Wall’s sales and rental divisions have carried a large inventory of lighting and video equipment nationwide, and as dealers for the industry’s top manufacturers, 4Wall continues to provide affordable lighting and video options for countless venues and productions, backed by tremendous service and support. Supplying 6 of its new additions to the Labor Day weekend Made in America Festival, the event at the Benjamin Franklin Parkway attracted nearly 150,000 spectators to this annual celebration of music and culture, curated by JAY-Z, and designed by Patrick Dierson of The Activity. Headline acts included Kendrick Lamar, Nicki Minaj, Zedd and Diplo. The Hippotizer Boreal+ DP - capable of delivering up to 16 HD outputs - drove the Rocky and Liberty Stages (Rocky Server Programmer Jason

Livingston; Liberty Server Programmer Cory Froke), while the Hippotizer Karst+ DP - capable of 8 HD outputs – drove the Freedom stage (Server Programmer Chris Griffin). These 2 models are the most popular Media Server products for the rental and concert market due to their versatility. All 3 of these stages utilised Datapath’s FX4 to split up the 4K outputs from each server into the required number of HD sends to the LED processors for each stage. Rocky and Liberty stages also received IMAG feeds from the broadcast trailers, allowing effected IMAG to be displayed with minimal latency. The servers ran on the soon-to-be-released Hippotizer V4.4 software, allowing the programmers to utilise some of the newest features, including Crossfade-On-Layer, VideoMapper-On-Layer, and expanded support for Color Blocks, allowing the lighting console to generate imagery on the fly, without the need for pre-rendered media. Each stage had a unique layout of LED screens (ranging from 6-12 individual screens on each stage), and Hippotizer’s workflow allowed the programmers to quickly and easily adapt both stock content and artist-provided content in various formats and resolutions to fit the screen configuration for each stage. www.madeinamericafest.com www.4wall.com

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TOMORROWLAND

TOMORROWLAND The international music festival takes the new Atmosphere Stage to mind-blowing proportions with L-Acoustics L-ISA.

Tomorrowland, held over 2 scorching weekends this July in the Belgium town of Boom, is one of the world’s foremost music festivals. Its organisers, We Are One World, are always on the hunt for imaginative ways to unite hundreds of thousands of fans from around the globe at this unique event. This year, Tomorrowland revealed the brand-new Atmosphere Stage, a futuristic tent where L-ISA Immersive Hyperreal Sound delivered deeply vibrant beats as festival goers bathed in stunning visuals for a completely unprecedented musical experience. L-Acoustics has a rich history with Tomorrowland, and has collaborated with the festival alongside Noizboyz, designers of Tomorrowland audio systems, since 2011. This year was no different, with over 600 L-Acoustics cabinets supplied by Phlippo Productions deployed on 6 stages, including the massive 115m wide Story of Planaxis Main Stage, across the vast festival site. With the Atmosphere Stage, We Are One World set out to elevate the concert experience with a festival tent stage like no other. Recognising the impact of L-ISA in creating powerful shared connections between artists

and audiences, Tomorrowland worked with L-Acoustics and Noizboyz to make it a reality. “When discussions began about creating an L-ISA area at Tomorrowland,” said Noizboyz Pieter Doms. “We were instantly excited to explore this cutting-edge technology with them, to learn new techniques and new ways of experiencing music.” Described by EDM.com, as ‘breath-taking and perfectly made for Techno’, Atmosphere was housed in a huge, 32m high tent suspended from a gigantic, custom-built crane. With an all-star line-up including Adam Beyer, Eric Prydz, Sasha, Boris Brejcha, Sven Väth, Nina Kraviz and Richie Hawtin, a ceiling glittering with thousands of lights, a 2km long video net containing 120,000 LEDs stretched around its circumference, and a mammoth 20.1 L-ISA design, Tomorrowland was about to deliver a full-on, mind-blowing, 360-degree dance experience. To accommodate the production team’s wish for the LED wall to be the visual focal point of the Atmosphere Stage, the L-ISA configuration comprised 18 arrays of 4 Kara each, stacked on a truss above the screen and filling 270° degrees of a carefully configured circle. An additional flown system of 8 K1 per side, plus 24 KS28 subs completed the 360° panorama and provided the full on, low-end kick that is the hallmark of EDM. This highly flexible and modular configuration allowed for delivery of both conventional stereo and immersive content. The K1 system provided 80

TOMORROWLAND

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left/right delivery with L-ISA Immersive Hyperreal Sound adding extra detail, dynamics and effects to the mix. Multichannel content was specifically created for the L-ISA system by Jelle Neijs and Bart Revier of 3AM Media for Dutch company Q-Dance, who have hosted stages at Tomorrowland since 2005. “This content took full advantage of the L-ISA 20.1 surround system,” explained Sherif El Barbari, Director of L-ISA Labs. “Further effects were achieved in real time by Thomas van Hoepen from Noizboyz, using Q-LAB OSC capabilities to fire cues from the built-in L-ISA Snapshot engine for automated dynamic positioning and panning.” “We create a lot of custom music for festivals to expand the experience of the visitors,” said Revier. “We felt like kids in an undiscovered world with endless possibilities when we created the custom-made audio for L-ISA at Tomorrowland’s Atmosphere Stage. The collaboration with L-ISA takes the Tomorrowland experience a step further; together with L-Acoustics we discovered new ways to give the visitors a sound experience they’ve never heard before.” “L-ISA works incredibly well with the selection of music curated for The Atmosphere Stage and it was great to be able to play around with the technology during instrumental sections,” added Joost Machiels, Business Development Manager for Phlippo Productions. “At Phlippo, we are convinced that L-ISA gives added value and, as more specific content is prepared for it, it will continue to gain traction. I think there is a lot more to discover and that’s really exciting.” “The L-ISA system was a huge success,” Doms concluded. “The smiles on the faces of the festival’s organisers said everything. Mission accomplished!” www.tomorrowland.com www.l-acoustics.com www.noizboyz.com

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HARD SUMMER MUSIC FESTIVAL

HARD SUMMER MUSIC FESTIVAL HARD Summer Music Festival first premiered in 2007 and has rapidly gained nation-wide recognition within the American dance community for its upbeat music, charged atmosphere, and bigger than life performances.

Fans return to HARD Summer Music Festival in Southern California year after year for a full immersion into an atmosphere created by the fuse of electronic and hip-hop music. This 2-day event in August attracts approximately 80,000 music lovers each day and took place at the Auto Club Speedway approximately 50 miles from Los Angeles, California. This year, the HARD Summer Music Festival experienced a new and improved self with the support of America’s best-known electronic music event promoter, Insomniac. Founded in 1993, Insomniac is now the world’s largest dance music and experience company. From festivals in the depths of the forest to the world-renowned Electric Daisy Carnival, Insomniac creates beauty and inspiration in every element of its festivals. With the philosophies from Insomniac in place, improvements were made across the HARD Summer Music Festival, everything from logistical guidance to aesthetic upgrades. Such aesthetics included 3 massive Shade Structures made by Stretch Shapes out of Eugene, Oregon. Prior to the event, Insomniac reached out to Stretch Shapes as the leading innovator of stretch fabric products for event professionals. The idea was to create one shade structure that was colourful, allowed airflow, provided shade, and could be an artistic element of the festival. With an idea in mind, the team at Stretch Shapes worked some magic. From a simple idea, the Stretch Shapes team was able to create a variety of visual concepts for the Insomniac team to pick from. Upon the review, each concept was loved so much that all 3 Shade Structures were a must have for the festival.

As soon as Insomniac signed off on the designs, the Stretch Shapes team began working on all elements needed to make the 3 giant 100ft shade structures. Six different colours of IFR (inherently flame retardant) fabric was cut with a CNC machine using proprietary software. All 600 Flat Panel Sails within the structure were sewn in-house and Stretch Shapes’ world-class install crew was there for every step of installation and strike. The end result was 3 geometrically beautiful shade structures that helped set the tone of the festival yet provided the festival attendees a sanctuary away from the scorching UV rays. During the event, high temperatures hovered just below the 100°F mark, prompting everyone at the Speedway to slap on extra sunscreen or seek shelter from the powerful UV rays. All said and done, the real hero was the massive Shady Lane Shade Structures, which stretched almost the full length of the split between opposite ends of the venue. Not only did these giant shade structures provide shade, but they also had some serious misting action which provided a much-needed cool down on the walk between sets. At night the shade structures took on the role of crucial landmarks that allowed attendees to easily gain their bearings. Whether people gathered under the tents to meet with friends or were just passing through, people often found a show of its own as they watched the lights flash and pass through the cutouts of the tents in tangent with the music in the distance. At the end of the day, the 3 bemouth shade structures were a huge success. Posts featuring Stretch Shapes’ Shade Structures continue to flood social media weeks after the event and it’s easy to conclude these functional art structures were critical yet beautiful elements of the festival. www.hardsummer.com www.stretchshapes.net 82

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to reach 5,000nits of brightness whilst employing the latest black SMD technology to deliver ultra-high contrast ratios (8000:1). For the first time, rental stagers can benefit from a true high-resolution LED display solution for maximum rental revenues and the fastest ROI for both outdoor and indoor applications. Polaris also brings speed, ease of use, robustness and precision thanks to a number of mechanical advances including auto-lock, auto-eject and fast-switch curve locking systems. A unique Anti-Collision PCB technology makes Polaris the most robust rental series of the industry. Electronically, the Polaris series features advanced on-board components and heat dissipation technology to deliver high stability and powerful visual performance. The embedded technology within Polaris ensures that each panel emits 20% less heat and as a result, consumes 20% less power without compromising on brightness and colour uniformity. For the very first time, this allows rental companies to have a truly viable hybrid indoor and outdoor display solution that does not compromise on outdoor brightness or indoor contrast. Polaris’ high resolution outdoor LED capability unlocks the use of LED to a new world of end user applications, which in the past would not have been possible due to restrictions in screen resolution, pixel density, screen size, viewing distance, brightness and contrast levels of traditional LED displays. Rental companies can now benefit from a hybrid indoor and outdoor solution that is able to cope with high ambient light environments, enabling them to maximise ROI and deliver end users lower rental pricing by deploying their investment across all seasons, all weather conditions and all environments to optimise utilisation. www.absen-europe.com

ABSEN POLARIS Polaris is Absen’s new LED series, boasting a number of technological breakthroughs and industry firsts. This multi-award winning product series is packed with the latest innovations to push the boundaries in live event technology, and has already been adopted by some of the most prominent rental staging companies worldwide. Specifically developed to meet the demands of narrow pixel pitch (NPP) LED in live event rental applications, this new series boasts 10 models ranging from 1.5 to 6.9mm pixel pitch to fit all rental staging needs. The series is suitable for both indoor and outdoor use. The Polaris series is the perfect LED solution for production companies who are looking for a high performance, robust and reliable product for their rental staging needs. Absen encapsulated a number of technological breakthroughs, including and NanoShield and HBB (High Brightness Black) technology. NanoShield technology brings added durability thanks to the advanced composite materials protecting pixels from physical damage. It has been specifically developed to meet the growing demand for 1mm LED in live event rental applications. Stagers and customers alike benefit from ultra-narrow pixel LED in live events environments with ultra-high pixel density, high resolution screens that deliver higher image detail even from up close. Absen’s Polaris offers ultra-high brightness and contrast levels, while ultra-wide viewing angles, superior colour performance and optical seam blending provide the perfect visual display performance. Absen’s HBB technology allows the PL3.9 PRO and PL4.8 PRO models

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lightweight, easy-to-handle LED panel and a separate supporting frame. This allows for safe assembly of the electronic components as well as easy panel replacement, using the integrated ejection motor that can be assembled apart from electronic components. “ROE Visual is committed to providing the highest quality of innovative LED products to global production companies, broadcast networks and cross-platform exhibitors. Our ROEVisual Sapphire is a ground-breaking narrow pixel pitch LED screen for indoor use that enables vivid and razorsharp imaging in expanded configurations. We offer a highly customizable creative alternative to the traditional rectangle without the need for additional hardware,” said Tony Van Moorleghem, Product Marketing Director. “With the ROE Visual Sapphire, integrated push motors allow panels to eject safely and effortlessly, while the standard screen aspect ratio of 16:9 makes it quick and easy to set-up,” Van Moorleghem concluded. www.roevisual.com

ROE VISUAL SAPPHIRE This year, ROE Visual announced the launch of its ground-breaking high-resolution Sapphire LED display that makes rectangular-only configurations a relic of the past. The ROE Visual Sapphire offers both a laser-sharp 1.5mm pixel pitch LED panel, and a completely new approach to building and mounting large display LEDed screens. ROE Visual Sapphire has replaced the traditional row and column LED panel configuration with obvious vertical break lines with a new system – much akin to bricklaying – that allows for creative composition by use of intersecting frames and easy panel access. The ROE Visual Sapphire is a unique combination of a smaller,

LEYARD VVR SERIES The Leyard VVR Series is a family of indoor and outdoor LED video wall displays designed to meet the fast-paced needs of the rental and staging industry. Leyard VVR Series displays feature magnetically attachable cabinets for fast assembly and a quick lock system that tightens the video wall in seconds to support single-person installation and handling. Used to create stunning video walls for applications ranging from live events to signage and billboards, the displays can be tailored to even the most creative needs including hanging, floor-mounted and faceted video walls. The series also supports a large variety of user viewing needs. Indoor models are available in four models ranging from 2.5 to 5.9 millimeter pixel pitches. Outdoor models can be purchased in six models ranging from 2.9 to 10.4 millimeter pixel pitches. The Leyard VVR Series will begin shipping in the first quarter of 2019 through Leyard’s global resellers and distribution channels. www.leyard.com

CB 5 LED PANELS FOR ED SHEERAN DIVIDE TOUR SUPPLIED BY COLONEL TOM TOURING

The Carbon CB5 LED screens are just one example of the excellent products ROE Visual manufactures. With its cutting-edge technology and light weight design these panels create an unforgettable visual experience. ROE Visual LED panels are recognized as the industry standard; with a range of LED solutions you have the freedom to create great visuals. Share our passion. Visit us at the LDI show, booth 2763

ROE VISUAL EUROPE www.roevisual.com europe@roevisual.com

impression S350

SLEEK DESIGN WITH GREAT FEATURE SET 350 Watt white light LED engine Outstanding color rendering 4-way framing module, animation wheel CMY color mixing, CTC and color wheel 2 gobo wheels, 2-way frost

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impression FR1

ULTRA COMPACT WITH ENDLESS PAN 60W RGBW LED with homogeneous light image Fast movements with endless pan rotation Very fast 3.7 - 35 ° zoom Information according to the Ecodesign Directive (2009/125 / EC): GLP impression S350, EEC: D (Spektrum A++ o E), EEI: 0,93, Ec (in kwh/1.000h): 459; GLP impression FR1 EEC: E, EEI: 1,19, Ec: 68 kWh/1.000h

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ON THE ROAD

ON THE ROAD: CZECH REPUBLIC & SLOVAKIA TPi’s Ste Durham travelled to Eastern Europe for a whistle-stop tour of some of the region’s major live event technology manufacturers. From the Soviet invasion of Czechoslovakia in 1968 to the Velvet Revolution of 1989 and peaceful separation of the countries in 1993, the Czech Republic and Slovakia’s recent history continues permeate the fabric of 21st Century life in the region. As well as influencing the everyday, this tumultuous period has also helped shape the countries’ industrial production - fostering an ambitious brand of diligence in the Czech and Slovak workforce. This was evidenced just as strongly during our travels around Bohemia as it was when we headed to Moravia and down into Slovakia to meet the companies that produce some of our industry’s most recognised products.

We aimed to visit 5 companies across 2 countries in 4 days; with the distance between them happily providing the opportunity to experience a bit more of the local flavour than on your average trade show or fly-in gig. Rather than putting too much stock in the military precision of our audacious itinerary, it’s safe to say that we succeeded in our endeavour thanks to the hospitality (and generous chauffeuring services) of our industry friends in the region. A massive thank you to Milos, KV2 Audio, Robe, Kvant, and SRS Group for their involvement in this feature - we hope you enjoy the journey as much as we did.

MILOS www.milossystems.com No sooner had we landed in Prague from Manchester than we were in the car with Area Four Industries Communication Specialist, David Gore, on the way to our hotel in Roudnice nad Labem - a historic settlement perched on the left bank of the Elbe. The town also played host to our first official stop; trussing and structural solutions manufacturer, Milos. Brand Manager, Marek Zubor, gave us the grand tour before we sat down with Gore and Ales

Roucek, Area Four Industries Marketing Manager. Gore began: “All of the world’s biggest acts stop in Prague at the very least, as well as elsewhere in the region, and we have massive festivals here over the summer - it’s safe to say that the Czech Republic is covered by our trusses. You are starting to see more rental companies bypassing the middleman and coming straight to us for products, but that’s still quite a 92

TPi IN CZECH REPUBLIC & SLOVAKIA

Above: Milos Brand Manager, Marek Zubor, and David Gore, Area Four Industries Communication Specialist.

small area of business for us.” The majority of Milos’ energy is devoted to serving the wider industry, as well as committing to initiatives designed give it the edge over its competition at the top of the trussing food chain. Gore continued: “The top trussing companies aren’t boasting about the features each product has - it’s more about the value-added side of things. As well as being able to offer the highest quality and safety standards, we’re also able to provide the service and technical know-how that goes behind it. Thanks to our other Area Four Industries brands, we can learn about different markets and standards, and share information between the companies.” Roucek added: “Our secondary goal to educate the industry of course.

We hold different workshops for riggers and show them how our products work, how to work to the highest safety standards; ultimately increasing both their knowledge and safety within the industry.” The company’s busy warehouse is made up almost exclusively of highly trained Czech and Slovak workers, some of whom are at their particular stations because they are able to do their jobs faster than a machine could. “You can’t just pick someone off the street to do this work,” said Gore. “We see getting the best people and making sure they’re properly trained and certified as an investment. Regulations and norms are always changing so the welders have to keep up to ensure we’re providing the best possible product for our customers.”

LEDBAR PRO MULTIFUNCTIONAL LINEAR

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The CLF LEDbar PRO is a multifunctional linear LED batten. Because of the 24° beam angle it can be used as cyclorama as well as pixel controlled effect machine. 10 individually controllable high power RGBW LEDs deliver a rich color set and smooth HD dimming. Dynamic effects are easily configured by DMX, but the CLF LEDbar PRO is also Art-Net and sACN ready.

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TPi IN CZECH REPUBLIC & SLOVAKIA

KV2 AUDIO www.kv2audio.com Located in the southern Bohemian town of Milevsko was KV2 Audio - a sound specialist driven by the innovative technical skill of its founder, George Krampera Snr. The company’s impressive 120,000 sq ft facility somewhat belies its unassuming surroundings, and boasts one of the largest anechoic chambers in the world. Much like its compatriots from other corners of the industry, KV2 Audio has its eyes set firmly on the world stage, exporting more than 95% of its products around the globe. Furthermore, as it has little direct competition in the region, KV2 is still able to give attention to local market. Company CEO, George Krampera Jr, explained: “In terms of turnover we are growing 20% per year and this development leads also to the increase of rental companies with our gear around the country, as well as globally.” The company currently devotes most of its energy to developing an established international presence; compelled by the highest standards of manufacturing and business practice. This ambition was a recurring theme during our travels, and was succinctly captured by KV2’s founder and Chief Engineer, George Krampera Snr: “It’s important to remember that, prior to the Second World War,

Czechoslovakia was one of the most industrialised countries on earth. The subsequent invasions of the country bankrupted its economy, but today the country is again prospering thanks to the resilience and hard work of our people. I’m proud of our employees. They have a strong connection with what they do and a genuine interest in the company, with a desire to build equipment to the highest standard for end users around the world.” While this ethos seems indicative of the region’s character, it also stems from, and is maintained by, KV2’s founder, who concluded: “Since the beginning, my vision has remained unchanged. My lifetime hunt for the perfect sound is based on elimination of distortion and loss of information in the signal path, thus providing sound reproduction that has true dynamic range and representation of the source.“ “We are not a large, corporate company pumping out products at the lowest possible price point to maximise profitability. We are a small, hands-on manufacturer, focussed on quality and, most importantly, the sound of its products - something that many companies seem to regularly overlook in the race to develop the latest, so-called ‘advancement’ in technology.”

ROBE www.robe.cz

In the early morning light we ventured east by train, away from the familiar surrounds of Prague and into the rolling hills and dense forests of Moravia. The destination was Valašské Meziříčí (or Valmez); the bucolic home of world-renowned lighting manufacturer, Robe. We began the afternoon in civilised fashion, as Robe’s Global Marketing Manager, Pavel Němec, treated us to lunch at an unassuming hilltop restaurant at the mouth of one of the area’s thick forests. With the serious business taken care of, it was off to the company’s sprawling complex of buildings for a tour that included a look around the HQ of high-end architectural lighting manufacturer Anolis. This odyssey culminated with a brace of demonstrations; first from Anolis, and then from Robe - the latter of which was broken down further into subtle theatrical and eye-popping rock ‘n’ roll sections. Němec pulled up a stool at the Robe in-house bar, post-show, alongside Robe Area Sales Manager CZ & SK, Josef “JJ” Valchář Jr. to give TPi the sketch on this lighting superpower. JJ began: “The live production industry in Czech Republic and Slovakia is well developed and active across all sectors - concert touring, festivals, television, corporate events and brand activations - and Robe is now well positioned in both Czech Republic and Slovakia with several major rental companies investing in the brand, especially with the most recent products.” JJ explained this particular trend has stepped-up in the over the past 4 years, resulting in a proliferation of Robe products appearing on a range of

shows and events across the Czech Republic and Slovakia. “I know it’s a generalisation, but I think Czechs are naturally modest people... we don’t necessarily think of ourselves as ‘the best’ in an arrogant way, but we are constantly striving for excellence. If you look back through Czech history, you’ll find that it was a powerhouse of innovation during the Austro-Hungarian Empire.” In the last 2 years, specifically, native technical production companies such as SMART Production and ZL Production have invested and specified in Robe lighting products. Despite having a single distributor for the Czech Republic and Slovakia, JJ believes Robe lighting products are evoking large rental operations and changing perceptions across the globe. “T Servis in Prague previously stocked a competitor products and are now changing over to Robe. Rental Pro is also another company that has invested in Robe as recent as 2017.” Despite its Czech roots, Robe maintains a worldwide distribution network of 120 dealers and distributors, spanning 95 countries on every continent. JJ concluded: “The Czech economy is very buoyant right now, there’s nearly full employment and all the signs are that the immediate future will continue to be positive bright. Robe is expanding and developing all the time, we work very closely with our customers, distributors, partners, LDs and everyone involved, and as a result our brand is currently extremely strong.” 94

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There's only one company that's been manufacturing and delivering pyrotechnics, fog, haze, flames and special effects for the highest profile shows and events for more than four decades. A company whose name is synonymous with innovation, quality, reliability and a global service. There's only one company to turn to, whichever continent you find yourself on. There's only one Le Maitre.

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TPi IN CZECH REPUBLIC & SLOVAKIA

Above: Director at Kvant Lasers, Martin Pelikan.

KVANT www.kvantlasers.co.uk

From Valmez it was on to Brno, where we caught a cross-border train destined for the Slovak capital, Bratislava. Director at Kvant Lasers, Martin Pelikan, was on hand to give us a tour of the company’s premises around the city, after another leisurely lunch, of course. “We cover probably 90% of the large events in Czech Republic and Slovakia, either directly or through agencies,” Pelikan said. “When it comes to sales, these 2 countries don’t even yield 1% of our customers. There’s only a few clubs with our lasers - or lasers at all - so we focus on our 40 distributors around the world. The US is definitely our biggest market, then Germany, Japan, the UK, and Australia.” Although a large portion of the company is dedicated to manufacturing specialised products such as microscopes and lab equipment, we visited Kvant’s events division for an immersive laser demo and tour before we sat down with Pelikan. He explained: “We needed more space due to our increasing stock of LED screens and lasers, so we bought a warehouse unit on other side of town and moved sales and production there and the core company is still here. We are due to move there eventually but there are so many rules on floors, partitions, security and so on, when you manufacture Class 4 lasers. We need to make these changes before we can move, but EU regulations are the strictest in the world so that takes some time.”

Some years ago, the company’s Clubmax laser system became its best seller, prompting increased production and a fair few imitators. “We saw copies everywhere, mainly coming from China. We had an exact copy here in the office and I couldn’t tell from 2 metres,” he laughed. “This product sent us from 400 to 2,000 lasers, which is well over capacity in every direction, so the owner purchased another building just to produce them.” So with this success, what is Kvant’s ultimate goal? He took barely half a beat before giving his answer: “To be the biggest, that’s for sure. The way this happens might not be the most direct, but I think we will get there.” While this could sound like braggadocio from someone else’s mouth, Pelikan’s outspoken candour elsewhere in the conversation gave even more weight to his words. He added: “The people who work here are driven to keep standards high and improve what’s already been improved 10 times. We are still in the middle of redefining our departments and dealing with the growth of the company, but I think the reason Kvant works - and the way we survived all the German companies that entered the market years ago - is because of a certain level of chaos. It gives you flexibility, and if you are too rigid as a company you lose that. We do things our own way, and I think that is our greatest strength.” 96

TPi IN CZECH REPUBLIC & SLOVAKIA

Above: SRS Group, Robert Sloboda Senior and Junior.

SRS GROUP www.srs-group.com

Sales & Marketing for SRS Group, Robert Sloboda Jr, met us in the centre of Bratislava’s beautiful old town in order to tune us into the city’s wavelength before our meeting the following morning. After presenting us with an impressive spread at the company’s new facility, Sloboda Jr began: “The Slovak market for such a narrow segment as professional dimming and stage equipment is quite small. Because of that, our target customers are theatres and rental companies abroad. The quality of our products meets the requirements of even the most demanding clients.” The company has grown exponentially since the 1990s, when Sloboda Jr’s father was a touring lighting engineer with his own one-of-a-kind dimmer pack. He continued: “While he was touring people were so impressed with how cool his dimmer pack was that they encouraged him to make more and present it at Prolight+Sound. He did so and in the same year we got some important clients. Now we develop and manufacture dimmers, splitters, lighting consoles and DMX switch packs, as well as wired and wireless motor controllers and stage machinery.” These duties are split into 3 departments - SRS Lighting, SRS Power and SRS Rigging - all of which are now housed in the a new warehouse just outside of the capital. “It took us a year of us preparing the building into a state that fits our needs best. It was because our production uses sophisticated processes as well as our needs being demanding, but having a bigger place means we can have more employees and allocate more space for the people we

already have. Ultimately, this helps us to process more orders and increase speed.” Thanks to the high voltages used by the building’s former occupants, SRS walked into the ideal environment for its incredibly specialised manufacturing processes and machinery. “All of the equipment is hand-picked by my father, who stays up to date on the latest technology to make sure we are always manufacturing as efficiently as possible. For the power distros in particular, everything we make is custom so we need to have the right machines. We have our own metal work production here so we can still produce anything custom in 10 business days,” Sloboda Jr added. With this level of confidence in its own products, SRS has been able to set its sights high: “Our goal is to make a product that customer considers as the best, with the best features on the market,” he said. “It is difficult for company to do this, but we already have many happy clients and increasing product sales all over the world.” He continued: “Maybe it’s because Czechs and Slovaks come from small countries that they have big dreams. I think it’s important to move forward and look for products that fill up the gap, bringing ideas to people that they have not encountered before. My father Robert is a self-motivated person that is always passionate about the goals he sets. He always motivates us, his employees, to achieve every goal together. It’s great that after 26 years of company existence, he can still bring new fresh ideas to progress even further.” 98

Next Generation www.codaaudio.com

CODA Next Generation Advert - TOTAL v2.indd 1

05/07/2018 09:34

INTERVIEW

100

VECTORWORKS

Opposite: Vectorworks’ CEO Dr. Biplab Sarkar.

VECTORWORKS Earlier this year, Vectorworks’ CEO Dr. Biplab Sarkar allowed TPi a sneak-peek into the company’s new ‘creative toolbox’ and discussed how it will serve the ever-changing live events industry.

We have come a long way from the hand-drawn show designs of yesteryear. In recent times, designers, riggers and LDs alike have embraced a digitalised set up to bring the dreams of artists to life. There is a myriad of software options available to anyone who wishes to streamline the process of creating shows which are, in turn, safer and more cost-effective. One of the leading names within digital design software is Vectorworks. The company recently launched its latest update, Vectorworks 2019, that offers designers even more ways to speed up their workflows. Earlier this year, TPi sat down with CEO Dr. Biplab Sarkar, who demonstrated this new ‘creative toolbox’. In line with the company vision, Vectorworks sits comfortably in 3 independent markets: landscape, architecture and entertainment. In 32 operational years, Vectorworks has amassed over 650,000 global users, of which 110,000 are subscribers, who take advantage of the maintenance plan and free software updates. “Currently our biggest market is Japan, followed closely by the US, Germany and the UK,” stated Sarkar. “In fact, the UK has been one of our main focuses in recent months following the announcement of Vectorworks UK with offices in London and Newbury now open.” More recently in September of this year, Vectorworks announced the opening of its Canadian facility in Vancouver with plans to open a satellite office in Toronto in the near future. “The opening of a Vectorworks office in Canada will allow us to better serve our growing community of users in North America, offering improved resources and a direct connection with our product development team,” said Sarkar. Although the entertainment arm of Vectorworks only makes up 23% of its user base, Sarkar said this sector has seen some of the most significant growth in recent times. “Originally the only software Vectorworks had for the live events industry was software to lay out lighting plots - Spotlight. But with our development of 2 pieces of software, Braceworks and Vision, we now have competitive offerings for more of the market.” Used together, all 3 pieces of software give a production team the tools to take a stage design all the way from conception to rehearsal. While Spotlight takes care of the aesthetic, Braceworks can create all the rigging plots and give accurate calculations for weight loads, as well as highlight any potential issues, such as overloading. Meanwhile, Vision allows users to open designs from Spotlight to construct lighting cues. Then, with a USB, it’s possible to transfer designs to a lighting desk and be show-ready. “The overall goal is to have a complete design suite of products that offer a seamless workflow between each stage of the design process,” explained Sarkar, in summation. With the 3-stage workflow now in place, Sarkar and the rest of the Vectorworks team are keen to continually develop the capabilities of each faction. With much fanfare, the company announced the latest developments with Vectorworks 2019 last month. To kick things off,

designers can now work in 3D from the beginning of the process in Spotlight. Also, Vectorworks has partnered with MA Lighting and Robe lighting to bring a new open-standard format, General Device Type Format (GDTF), to the industry. Building on that momentum, Vectorworks has also introduced My Virtual Rig (MVR), an open-file-format container which packages the GDTF files for all of the lighting fixtures in a design, alongside a complete 3D model as well as data describing the positions and 3D elements. This allows users to easily conduct the revisualisation process within Vision and communicate directly from your Vectorworks design to your lighting console. The GDTF format is already supported by the MA Lighting grandMA3 console and will be supported by more than 20 of the largest lighting manufacturers in the near future. Braceworks has also seen some new developments. The suite of tools now gives users the ability to create and calculate bridles, insert the components to achieve the needed leg length and calculate reaction and deflection forces with the Braceworks engine. Vision had a facelift for the 2019 release with 7 times faster performance and better real-time rendering. The latest update even offers dongle-free licences, meaning users only need an internet-based protection licence to access Vision anytime. It’s an understatement to call this a huge advantage for those working on the road and showing clients designs and concepts. While Vectorworks’ CEO was enthusiastic about how these latest developments will create more effective workflows for designers, riggers and productions, Sarkar added another key advantages is the potential cost-saving opportunities for rental houses. “While creating the show, designers are able to produce a list of equipment requirements, including cable and truss needs, which can then be linked to warehouse stock lists.” As more warehouses now use RF ID and digital stocklists, Vectorworks is determined to communicate better and keep up with innovation. The future holds a simpler process of requesting equipment and faster methods of costing up a show. That’s not all for Vectorworks! According to Sarkar, the company is always keeping an eye on development within the industry, particularly VR capabilities. “The idea is that designers can show the client the project in 3D,” he let on, confirming Vectorworks will continue to push protocols of art net “so our software is the most up to date with all the lasts fixtures on the market.” For those interested in learning more about the company’s offerings, the 4th Vectorworks Design Summit will again be taking place, this year between 4 and 6 November at the Sheraton Grand at Wild Horse Pass in Phoenix, Arizona. The conference includes industry sessions, tech support, networking events, inspiring keynotes and hands-on training. TPi www.vectorworks.net 101

JORDAN POTTS This month, we check-in with one of Truckingby Brian Yeardley’s youngest employees who has become an integral cog within the company’s touring machine. “Just like many who work in live events, I first discovered my passion for this world back in school,” recounted Jordan Potts, Truckingby Brian Yeardley’s Live Events Coordinator. While attending high school, the young Potts threw himself into the theatrical department but soon discovered a love for backstage life. It was while deciding his next move, he attended a talk from Backstage Academy and after sparking his interest, signed himself onto the Live Events course. “When I first started at Backstage Academy I’ll admit I had no knowledge of the industry,” confessed Potts. “But I was keen to use my time at Backstage to decide what path I wanted to take.” Throughout his 3-year tenure, Potts and his classmates worked through modules in sound, lighting and video - along with topics such as event management and health and safety. Despite developing an interest in all factions of the industry, Potts still hadn’t found the direction that he wanted to pursue. “The only thing I knew for certain was I wanted to be in the industry,” explained Potts, remaining the frustration of deciding what path to take. However, after enrolling on a module curated by guest lecturer Sarah Hopper from Truckingby, Backstage Academy soon set the student on the right path. “Along with Sarah’s module, my whole third year at Backstage really cemented my interested in the logistic side of touring,” said Potts. “Although I had done a lot of local crew work and plenty of friends who were already touring, I realised I was after more of an office-based job.” Following a few stints of part time work with the company, Potts was brought on as a full-time employee of Truckingby in 2016. Fast-forward 2 years, Potts has moved through the ranks of the company from Live Events Logistic Assistant to his current position. Alongside Glenn Savage, he handles all the touring clients, with a rapidly growing list of production managers who he looks after. “Since I started, the touring side of the business has quadrupled in size!” enthused Potts. “Everyday we are working on something new which comes with its unique challenges to overcome. Take the last few weeks as an example; in the space of 7 days we went from moving equipment for the Ryder Cup to transporting Ariana Grande’s wardrobe around London.” TPi questioned Potts on the trials and tribulations over the last 2 years. “Touring logistics is certainly a different beast to regular transport - it’s 24 hour a day, 7 days a week! It’s a job that you have to be able to answer a call any time of day or night. At the end of the day, our clients are likely to be loading out between 11pm and 3am. They need the reassurance there will be someone at the other end of phone to answer any queries.” Potts attributed his time at Backstage Academy and his local crewing experience as giving him the skills and knowledge to prepare him for the demands at Truckingby. “Having worked on several shows has definitely been a huge benefit to help visualise problems and issues. For instance the whole process of loading out a tour is not as simple as putting pallets onto a truck. You have to always factor the demands of the tour in your logistics plan. I think also puts the production manager’s minds at ease having someone who understands the demands of touring and sympathetic to the lifestyle.” Having already built up a substantial knowledge, Potts asserted that he is still keen to become more of an expert in his field. “I have people call up asking questions such as ‘how long does it take to get from point X to Y’. I’ve certainly picked up a lot but I’m keen to keep learning to provide the best services to each of our customers. For instance, without question one of the hardest parts of the job is calculating driver’s hours and legal limits. Doing all those calculations is always a challenge but it also one of the reasons I find the job so satisfying.” It’s clear that Potts has really found his calling, but does he ever get the itch to head out on the road himself? “Short answer no,” he laughed. “Any time we have clients in Leeds of Sheffield we always get out to see them and check in which give me a taste of the road and occasionally I head up some projects that need some on site logistics management. But I think I really carved a niche at Truckingby Brian Yeardley – I love being the guy on the other end of the phone ensuring the tour gets to the next venue.” TPi www.productionfutures.co.uk www.brianyeardley.com/truckingby

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2018 LINE UP

7 November, Production Park, Wakefield

MAIN STAGES

ARENA ADJ ADLIB AED AVOLITES BACKSTAGE ACADEMY BEAT THE STREET BRIT SCHOOL CHAMSYS CHAUVET PROFESSIONAL CONFETTI CREATIVE TECHNOLOGY DB PIXELHOUSE DIGICO DISGUISE ETC GREEN HIPPO HAWTHORN HIGH END SYSTEMS IMPACT PRODUCTION SERVICES ISCE JUST LITE LIPA LOADCELL RENTAL NEG EARTH LIGHTS PEARCE HIRE PHILIPS VARI*LITE PRODUCTION PARK ROSE BRUFORD COLLEGE SENNHEISER THE ROYAL CENTRAL SCHOOL OF SPEECH AND DRAMA TAIT TPI MAGAZINE TRUCKINGBY BRIAN YEARDLEY UNIVERSITY OF SOUTH WALES UNIVERSITY OF DERBY

BACKSTAGE INTERFACIO WORKSHOP ROCKPOOL TOUR CATERING BEAT THE STREET PRODUCTION PARK TOUR TRAINING SESSIONS GIVEAWAYS

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GEAR HEADS

RIEDEL 1200 SERIES SMARTPANEL

During this year’s NAB show, Riedel was proud to announce its latest 1200 Series SmartPanel. Featuring multiple full-colour multi-touch displays, 32 innovative hybrid-lever keys, the ability to leverage apps for multi-functionality, this new panel is poised to allow users to work the way they always have while opening up entirely new possibilities. TPi spoke to Riedel’s Marco Muckenhaupt about the company’s latest offering to the market…

What were the initial design goals for the 1200 Series SmartPanel? The 1200 series SmartPanel was designed to solve 3 issues. First was to create a Riedel intercom interface that satisfied users who were used to a lever key operation of an intercom system, while simulations innovating what a lever is. Second was to make users understand what is currently happening on the panel much easier. Finally we wanted to create an evolutionary stage in our SmartPanel product family, which provided more hardware based potentials for future apps such as NFC, Bluetooth, touch screens an stereo speakers. How does the latest system fit into the range of Riedel products? The 1200 Series SmartPanel is the latest addition to the Riedel SmartPanel family and sits alongside its smaller brother, the 2300 Series SmartPanel, which brings smart features to an push button-based intercom panel. Together with the 1000 series and 1100 series panel families, customers may select from a variety of intercom panels suited to different applications. For example, if you prefer the ergonomics of a big push key with an integrated sunlight-readable OLED display, the 1100 series would be your ideal choice. However, is you’re used to the workflow of levering down for talking and levering up for listening, you will love the hybrid lever key of the 1200 series SmartPanel. What feature do you believe will benefit the live touring industry? There are a bunch of features that will bring significant value for live touring. The first is Logical Groups which enables users to assign custom colours for either key labels or LED rings. It’s a great way to show importance in certain keys at a quick glance. The inclusion of stereo speakers is also great in any situation where stereo material is used. The panel’s rich connection options - fibre or copper, AES3 or AES67 - means it will fit well with any touring specification. Not forgetting the robust 104

RIEDEL 1200 SERIES SMART PANEL

input from touring engineers regarding what they would like to see in your next product line? We ran innumerable focus group studies on everything ranging from lever key ergonomics to contextual menu timeouts. We also ran many usability studies with prototypes of the product in order to ensure that operators in many different production industries, including touring, were able to give their input.

hardware, ideal for long tours. At the time of the launch, Johan Wadsten, User Interface and User Experience Product Manager, commented: “As systems become more complex we need to provide simpler interfaces.” Could you talk throughout the characteristics of the 1200 that adhere to that goal. Just like any other communication device, professional communications are becoming more capable, especially thanks to the migration to IP. For an intercom panel, this means that we must not simply add buttons for any new functionality. Instead we’ve chosen to make them accessible at the users fingertips. On the 1200 series SmartPanel, for example, the hybrid lever is a unique Riedel design which allows users to talk and listen/mute a port as well as adjust the volume all with the same key. Users may call up secondary functions such as beep, monitor or copy reply via simple touch gestures. The info display allows users to stay fully operational at any time by moving functionalities not needed for daily use, such as settings, into a dedicated screen. Finally, as well, the actual signalling on the panel is instantly understandable by use of commonly known icons, un-equalled levels of labelling and a high resolution display.

Has the system already been used on any shows? What has the feedback been from those that have used it? Since its premiere at NAB, we have worked with numerous clients and partners to refine the feature set and software. They had the unique chance to be a part of the process of creating the smartest SmartPanel yet. At Riedel, we are fortunate that all of our products receive heavy live testing in the field, as they are immediately put into use by our Rental division. Where are we likely to come across the system over the next few months? The new panels are in production and we are working hard to meet the initial demand. Be sure to see the new RSP-1232HL in the most demanding broadcast and live production environments soon! TPi www.riedel.net

During the development of the 1200 SmartPanel, did you recieve any

105

PSA: THE BIGGER PICTURE

SAFETY MATTERS TO U2… AND YOU, TOO U2 have been at the cutting edge of live production technology for decades, consistently leading the field with ubiquitous current technology easily traced back to their constant presence at the cutting edge....

Historically, the PSA column has examined the theory, regulation and enforcement of safety. However, this month, we’re lucky enough to get a view from the practical end. During interviews with the U2 touring team, Mark Cunningham probed the safety issues. Naturally, we were all too happy to hand over this month’s excerpt to the musings of those that enable the safe adoption of the biggest and best in show design. Of course, the thrills are not without their spills... Based in Bristol, The Event Safety Shop (TESS) has developed a solid

relationship with Jake Berry and U2 over many tours, and it’s one that both parties take very seriously. “Health and safety regulations are rampant in Europe, and the paperwork involved in putting on a show is frightening,” said Berry in Paris during the European leg of the 2018 eXPERIENCE + iNNOCENCE tour, “so you need someone you can trust to dedicate themselves to such a time-consuming responsibility. “If you have all the correct paperwork, it’s not a problem. It’s when you aren’t armed with the right paperwork that you can find yourself tied up in 106

PSA: THE BIGGER PICTURE

Jake Berry; Tim Roberts

knots. You can’t expect to turn up like we used to in the ’80s and expect to do a gig – it’s just not going to happen. To our credit, we work with an A-team of vendors who really know their stuff and having [TESS co-founder] Tim Roberts on our side means we have every corner covered. Experience breeds confidence.” Tim Roberts cites PRG’s GroundControl remote followspot system as one of the most important steps forward in event safety. He commented: “This development has factored out

“The thing is, you can only take common sense so far and most accidents don’t happen out of neglect or because someone wasn’t wearing a harness or a hi-viz vest.” Rocko Reedy

a huge amount of what was potentially high risk work at height by local crew, truck drivers with a dual role, or others, who would otherwise climb up a tower or rise on a 250kg motor to sit in a spot chair for an entire show. If there was a fire alarm or some other incident connected with the venue, they would have to be brought down and it’s another aspect to think about. It’s a wonderful illustration of how technology can actually design out risks in the workplace.” Despite integrating in every possible safety measure, an artist may still find a way to fall off the

Technical design from concept to reality www.wonder.co.uk

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PSA: THE BIGGER PICTURE

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stage, as The Edge did on the opening night of the 2015 tour in Vancouver, followed by Bono’s similar calamity this May in Chicago, viewed by Berry from the sidelines. “Bono was walking backwards and I had a strange feeling that he wasn’t going to stop,” Berry recalled. “Sure enough, he forgot to turn and fell off the catwalk steps, landing flat on his back. Fair play to him – he kept hold of the mic like a true pro and picked up the song right on cue. You’re immediately concerned about their welfare but it’s moments like that when you’re thinking, ‘Oh fuck, we’re going home!’” Likewise, crew are not immune from gravity, as Stage Manager Rocko Reedy discovered earlier this year. “My job is to look at the stage and ask myself what could go wrong here. Sometimes I’ll spot a potential safety problem, such as when I didn’t like the way a 150lb aluminium dance floor ramp was positioned between a stair and a riser. I decided to make a modification and in doing so I tripped and fell. I was off the tour for three months getting a new titanium hip. “The thing is, you can only take common sense so far and most accidents don’t happen out of neglect or because someone wasn’t wearing a harness or a hi-viz vest.” As show designs become increasingly sophisticated, we are seeing more examples of potential risk, notably with the deployment of stage automation effects where the technology itself is the gag. Roberts’ job is to 108

promote awareness: “Our presence on this tour demonstrates that health and safety is not an impediment to creativity and that there are enormous benefits to be had by doing things the correct way,” he said. “We are seeing more and more artists rising up through a stage or being hoisted into the air. There is certainly a lot of automation designed into this U2 show but it’s more of an enabling force than a gratuitous statement. “U2 approach the use of potentially hazardous technologies with due caution but I see other organisations who maybe aren’t so aware as people like Jake of the catastrophic possibilities that could be incurred by, for example, sending an artist up in a scissor lift. That simply would not be allowed in general industry. We all love to see show designers break new ground but not at the cost of a crew member losing an arm or being squashed under a hydraulic ram or worse. The quickest way to blow a budget is by mincing people. “On the positive side we have design elements that minimise risk while new stage technologies may be importing risk into areas where we’ve not previously had it, and we need to focus more on how we can protect people who work in concealed and dangerous areas that, in an unguarded moment, could turn into the equivalent of an industrial guillotine.” TPi www.psa.org.uk

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ADJ Group have appointed MI veteran, Raul Resendiz, as Product Specialist for ADJ Lighting. Resendiz will work directly with company staff, dealers and end users with ADJ’s growing line of technical products in ADJ Products, American Audio and Accu-Cable. ADJ USA’s National Sales Manager, Alfred Gonzales is pleased to have Resendiz join the ADJ family: “I’m excited to have the caliber of talent that Raul brings with his 2 decades of technical experience. He will be a huge addition to our team as he educates lighting users about ADJ’s growing range of products; specifically with our expansion in the categories of video walls, moving heads and stage lighting.” Audio-visual solutions provider Audiologic, has recruited highly experienced AV professional, David Thomson, to the role of Business Manager with specific responsibility for Scotland.

Thomas brings with him more than 30 years of professional audio and AV experience and has been responsible for the design of hundreds of systems across Scotland, the wider UK and The Middle East. Andy Lewis, Sales and Marketing Director welcomed Thomson: “It’s good to have David on board in Scotland. He’s an experienced AV expert with a proven track record in sales and a detailed understanding of the market. During his career, he has forged many important long-term relationships within the industry and I’m sure that working alongside Simon Jones, he will make a valuable contribution to developing Audiologic’s business north of the border.” System Engineer, George Puttock, has joined CODA Audio as Product Manager for Software Support and Training. Having spent 10 years working as a systems engineer, Puttock

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Previous page: Product Specialist for ADJ Lighting, Raul Resendiz; David Thomson, Audiologic’s Business Manager for Scotland; Bary AS, Ayrton’s exclusive distributor for Norway; George Puttock, CODA Audio’s Product Manager for Software Support and Training. Below: DAS Audio’s Western Territory Sales Manager, Chris Gonzalez; Meyer Sound’s Auditory Reasercher, Swapan Gandhi; United Brands, KLANG:technologies’ exclusive German Distributor; Meyer Sound’s Daivd Leuschner and Roland Morcom.

is familiar with the use of all nearly all major high-end professional loudspeaker systems on the market and brings with him a comprehensive understanding of audio applications, forged in the heat of countless tours. Puttock reflected on his new role: “I’ve spent at least half of my professional life on the road using CODA Audio systems. In the last few years, I’ve spent the vast majority of my time on the road, so that gives some idea of just how many hours and days I’ve spent designing, measuring, rigging, listening to and thinking about what I consider to be the best audio systems in the world. When you’re that close to something, you take account of the minutiae of everything - you’re constantly appraising and looking for even greater advantage. I’ve obviously used CODA systems in a whole variety of applications and that led to a conversation with the company based around that ‘real world’ experience and how it could impact on CODA’s future development. That conversation helped define my new role and I couldn’t be happier.” Ayrton welcomed the addition of Bary AS as its new, exclusive distributor for Norway. Bary AS is one of Norway’s largest suppliers of technical solutions and equipment for concerts, festivals, events and other productions with many years of experience and expertise, and a loyal customer base that places great trust in the company’s judgement. “Bary is made up of passionate professionals whose ambition for excellence appear in their every undertaking,” said Ayrton international Sales Manager, Jerad Garza. “We embrace their values and love their energy, which make Bary and Ayrton a great fit. We’re excited to have Bary AS join the Ayrton family.” DAS Audio announces the appointment of Chris Gonzalez to the position of Western Territory Sales Manager. In his new company role, Gonzalez will be responsible for all DAS Audio sales throughout the western territory, including but not limited to independent dealers, integrators, and consultants. This position also involves the gathering of competitive data as well as generating comparative analysis on the company’s existing and new products in relation to offerings of competing firms. Regarding his new role with DAS Audio, Gonzalez offered the following thoughts: “I am very pleased to be assuming this new responsibility with DAS. I’ve been fortunate to have gained considerable in-the-field

experience in a variety of audio-related positions and I believe that the knowledge gleaned from my prior positions will serve me well in my new capacity with DAS. The company has a solid reputation in professional audio and I look forward to helping the company elevate its presence even further.” KLANG:technologies, the German-based manufacturer of immersive 3D in-ear mixing technologies,has appointed United Brands of Düsseldorf, as its exclusive distributor to the German market. United Brands is a highly respected event technology supplier and distributor, responsible for the exclusive distribution of many high quality marques such as DiGiCo and Adamson Systems Engineering in Germany. Phil Kamp, Head of Sales at KLANG:technologies is in no doubt that the arrangement is a great fit for both parties: “As we continue to grow our network, it’s important to us that our partners share our genuine passion for delivering quality products supported by excellent service. The United Brands team ticks every box for KLANG. They have a thorough understanding of the German pro-audio market-place and enjoy a strong network of partners and clients. “Their technical expertise is of the highest order and this, coupled with a total commitment to customer support, has made them immensely successful. I have worked side by side with members of the UB team on several tours and seminars, as well as in business and we’ve developed a deep respect and trust that will have a hugely positive impact on our cooperation.” In response to increased global demand and expanding research activities at its Berkeley, California headquarters, Meyer Sound has added 3 new hires and announced a key promotion. Roland Morcom has been named Sales Manager, United Kingdom, David Leuschner has been appointed Sales Manager, Southeastern United States and Swapan Gandhi has joined Meyer Sound’s R&D team as an Auditory Researcher in Berkeley, California. While Rick Coleman has been promoted to Sales Director, Southeastern United States. In his new supervisory role, Coleman will direct and coordinate the activities of Leuschner in their combined territory. “At Meyer Sound we are extremely gratified that we have been able to attract such a high level of new talent, as exemplified by recent hiring of 112

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Above: eps’ US Managing Director Lee Bauman; Thomas Valter, RTW’s Director of Product Management; TSL’s Rigging Project Manager, Ali Morris.

Roland Morcom, David Leuschner and Swapan Gandhi,” said Executive Vice President Helen Meyer. “John and I are also appreciative of the steadfast loyalty and dedication of Rick Coleman, who has been a valued member of the Meyer Sound family for more than 2 decades.” RCF Group, with headquarters in Reggio Emilia and Bologna and subsidiaries in USA and Europe, operates under the companies RCF and AEB Industriale (dB Technologies) has added EAW company to its growing portfolio in a bid to become an international leader in designing, producing and selling products and systems for professional audio and public address installations. Arturo Vicari, CEO of RCF Group stated: “Since their early days, the 2 companies have been very close with RCF supplying professional drivers to EAW. Both brands successfully expanded around the world and their histories were often linked. Finally, we can look at a bright future together. “Even though EAW will remain a totally independent company, being part of our group will provide EAW with the necessary investments and focus for a fast and solid growth. We are very proud to have EAW with us.” Lighting Designer and creative technology expert Marty Postma is coming off the road and joining Robe North America’s sales force as regional sales manager for the Northeast Postma has over 20 years experience on the front-line of concert touring and live events, working as a lighting designer, director, programmer, operator, and technician. Bob Schacherl, CEO of Robe North America commented: “I’m delighted with Marty Postma’s decision to join the Robe North America sales team. With his prestigious design career, he brings a wealth of lighting experience, product knowledge and contacts throughout the North American market. “Historically, the Northeast territory has consistently been one of the top performing in the US and I’m confident that Marty will be embraced by customers and have an immediate positive impact on Robe’s sales.” Shure Incorporated has promoted four key sales executives; Peter James has been named Vice President of Global Sales, Pro Audio, Abby Kaplan has been named Vice President of Global Sales, Retail, José Rivas has been named Vice President of Global Sales, Emerging Markets and Jim Schanz has been named Vice President of Global Sales, Integrated Systems. “I want to express my congratulations to Peter, Abby, José, and Jim on these well-deserved promotions,” said Mark Humrichouser, Shure’s Vice

President of Global Sales. “Their combined sales expertise and accomplishments have been instrumental in Shure’s success in growing our global business. We are fortunate to have these impressive leaders on the Shure Sales team.” Lighting and rigging specialist TSL Lighting ushered in the appointment of respected head rigger Ali Morris to the team as Rigging Project Manager. Morris brings a wealth of rigging experience to TSL, having worked in the live events industry since the mid ‘90s. His work has encompassed many disciplines, from theatre, television and rock & roll to festivals, sports, corporate and political events, both in the UK and abroad. TSL’s Managing Director Sam Tamplin, said: “Ali is a fantastic rigger and all round great guy. He already shares a close working relationship with so many of our project management team and works on many of our projects in a freelance role. Welcoming him onto the team on a more formal basis is a no-brainer. We’re really looking forward to working more closely with him in the future”. RTW, vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, disclosed the appointment of Thomas Valter as the company’s new Director of Product Management and Marketing. Valter has more than 20 years of experience in the audio industry. “We are very excited to have Thomas join the RTW family,” said Andreas Tweitmann, CEO, RTW. “Thomas’ commitment to business expansion and outstanding product development experience are perfect for this role. We know that he will be a valuable member of our team and will greatly add to our strengths.” Now leading the team at eps america as Managing Director is Lee Bauman, an executive with extensive experience in the event and infrastructure sectors. “Lee Bauman has proven successful in developing and expanding business models with a focus on rentals,” said Okan Tombulca, Managing Director and founder of the eps group. “We got to know him as a charismatic, sales-oriented executive, and as an ambitious networker who will open up new business contacts for us and focus on the operative implementation of our goals”. TPi www.tpimagazine.com/category/industry-jobs/ 114

Protec European Events WINS AV Production, Staging & Rental Company of the Year

Protec European Events win ‘AV Production, Staging & Rental Company of the year’ at the AV Awards 2018

Protec’s reputation for our client centred and comprehensive approach to delivering memorable and innovative events has earned our team the AV award for ‘Company of The Year’ in our field. With a large, state-of-the-art inventory, and access to the Protec Group’s vast global resources and skillset, Protec European Events is well placed to take any event to the next level. Our exciting new robotic technology and our recent investments in both staff and equipment, gives our clients even more reason to look to Protec for cutting edge technical solutions for a truly engaging, memorable event that stands out from the crowd. AUDIO � VIDEO � LIGHTING � RIGGING � AUTOMATION & SFX � BACKLINE � DESIGN � scenic & staging � digital media CONFERENCING solutions � venue SERVICES � advanced technology � INSTALLATIONS � EXHIBITION SUPPORT UK:+44 (0) 845 900 0606 � UAE:+971 (0) 4 880 0092 � KSA:+966 (0) 50 096 3701

eventrental@productiontec.com � productiontec.com

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TPi PRODUCTION GUIDE

THE PRODUCTION GUIDE The ultimate support act

The new Gerriets LED Supertitle System

INTERNATIONAL AWARD-WINNING LASER & SFX SPECIALISTS

Production Support • Stage Design Rigging Manpower UK +44 1322 293 135 USA +1 214 2700665 AUSTRALIA +61 403 703 731 SPAIN +34 938 000291 info@er-productions.com

For more information call

on +44 (0)1253 894688 or email karen@knightrigging.co.uk knightrigging.co.uk

Gerriets Great Britain Ltd. 18 Verney Rd, London SE16 3DH UK

+44 20 7639 7704 +44 20 7732 5760 info@gerriets.co.uk www.gerriets.co.uk

www.er-productions.com

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Power for Events, Festivals & Broadcast Sync & Twinset Units Full Site Power Design & Implementation Nationwide Service

Contact our specialist team today! E: info@travel4tours.com

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T: +44 (0) 1904 777 217 (UK) F: +44 (0) 1904 777 172

01565 654 004 01758 713 100

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W: www.travel4tours.com

CELEBRATING 15 YEARS

Total Production Solutions WORKING TO POWER PERFECT EVENTS GENERATOR HIRE CABLE & DISTRIBUTION

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01565 652202 rental@vme-uk.com www.vme-uk.com

www.tourtravel.co.uk T: +44 (0) 20 7434 7408

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TPi PRODUCTION GUIDE

Equipment we offer: • Cable Ramp - Rental & Sales • ADA Disabled Wheelchair Cable Ramps - Rental • Event Power Distribution - Rental • Cable - Rental • Powerlock Cable Systems - Rental • Lighting & Adaptors - Rental

Tel: 0845 606 6049 Email: hire@tempower.co.uk www.tempower.co.uk

To advertise here enquiries should be made to Lauren Dyson & Lyndsey Hopwood Lauren Dyson - Tel: +44 (0) 161 476 9119 Email: l.dyson@mondiale.co.uk Lyndsey Hopwood - Tel: +44 (0)161 476 8360 Email: l.hopwood@mondiale.co.uk OCTOBER 2018 ADVERTISERS

CPL 63

LDI 111

Robe 39

disguise 105

Le Maitre

Robert Juliat

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Look Solutions

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Shure

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MA Lighting

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Digital Projection

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110 28,29, 45 6

7 57

IFC

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Video Illusions

Guardian Barrier Services

TiMax 59

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Philips Vari-Lite

Wonder Works

Chauvet Professional

JBL Professional

IBC

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CLF Lighting

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113

Pro Tapes and Specialities

CODA Audio

L-Acoustics 3

Prolyte Group

Colour Sound Experiment

LarMac Live

Protec 115

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BACK CHAT

ROLY OLIVER Sales Manager Entertainment (Tour and Performing Arts) EMEA, Harman

How did you initially get into entertainment technology? By actually using it. The tour industry was evolving around me as I progressed through my career, and I had to evolve with it.

What has been your biggest career lesson to date? Be nice to people. I would like to believe I got this far from being a great sound engineer, but in actual fact it is because I have got on with people.

What does your new position at Harman entail? I am business development for entertainment across the whole region, from Reykjavik to Cape Town and Lisbon to Istanbul. This is mostly focussed on spreading the word about the new JBL VTX A12, but also involves making sure there is a good awareness of all Harman products and the very exciting direction the company as a whole is moving in the Pro world. It involves a lot of travel and talking about sound, both of which I am fortunately very good at.

You must have seen thousands of events by now... What moment has stuck with you? The emotional exhaustion of the build up to Foo Fighters at Wembley Stadium in the round on the system that I had designed, that culminated with Dave Grohl and Taylor Hawkins playing Led Zeppelin songs with Jimmy Page and John Paul Jones. The look on their faces (and mine) was priceless. Followed by the biggest singalong of The Best of You with rain pouring down and a very emotional Dave Grohl singing his heart out. Tell us about your background; did you take the educational route or come up via the apprenticeship method? I came indirectly through the educational route. I went to study Manufacturing Engineering at Trent Poly in Nottingham. I wanted to meet people so joined the tech committee and started to work on gigs, the first being Erasure. I got more involved and learnt sound as I went. There are some great Alumni from that era that are now at the top level in this industry. I ended up parting ways with my degree course after two years (from working on too many gigs) and was left with only one option, and that was to make a living out of being a sound engineer.

You’ve worked for various companies in various roles over the years… touring vendors, service providers and manufacturers. What do you predict for concert touring audio trends in the near future? There are a lot of pressures on touring now to deliver the money that was previously earned from the record industry and yet still provide top quality entertainment. To achieve this the artists need the best total package, that delivers the very best audio at the right price with the right package and weight to fit in trucks, shipping containers and venues and is available globally. Fortunately we have that in the JBL VTX A12 and A8. 118

WE LISTENED, NOW IT’S YOUR TURN Compatible Rigging System with all VTX-A Series Products New JBL Transducers for Best Sound Quality and Output Multiple Horizontal Coverage Options (90°|110°|120°) Best-in-Class Rigging System for Fast and Safe Deployment Compact, Truck-Friendly Dimensions Full-Range of Innovative Accessories Complete Solution Including Software and Amplification Small-Format Application Subwoofer Improved Linearity and Wider Dynamic Range Full Series Compatible Rigging (8” and 12” arrays) Reduced System Amplifier Requirements

Learn more now at JBLpro.com. Contact us: European.Marketing@harman.com

A12

A12W

B18

NEW

VL10 BeamWash creates the new dynamics

The VL10 BeamWash packs class-leading power, dynamics and personality into a compact, fast-moving body. Producing 28,000 lumens it’s brighter, lighter and more versatile than any comparable fixture. The new VL*FX animation wheel system creates dynamic new projected and mid-air effects. An internal frost softens effects, and a heavy frost creates strong, even washes.

Book a VL10 BeamWash demonstration at entertainment.europe@philips.com

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TPi October 2018 - #230

Articles inside

Dublin Up for the Pope

Back Chat: Roly Oliver

Festival Focus 2018

Knight of Illumination 2018

PSA

Interview: Vectorworks

Production Futures: Jordan Potts

Gear Heads: Riedel

Justin Timberlake: Man of the Woods

On the Road

U2: eXPERIENCE + iNNOCENCE

Avolites Map Complex Stage Design at elrow Town

Market Focus

Industry Appointments

2B Heard Hosts Astro Spatial Audio Demo Days

Resistance at Privilege, Ibiza