TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • OCTOBER 2019 • ISSUE 242
KHALID
WE HAD IT ALL BUT WE LOST AND THAT’S OUR FAULT …
From SoundCloud superstar to sold out arenas
I
ARIANA GRANDE • STAR LIVE TALK #SAMSUNGKX • SKUNK ANANSIE • AYRTON OPEN DAY MARKET FOCUS: CREW COMMS • IN THE FIELD: CHAUVET PROFESSIONAL ÉPIX STRIP • PSA
OCTOBER 2019 #242
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EDITOR’S LETTER
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BGV D8 D8Plus BGV C1 Touring season has begun… As much fun as Team TPi had on the numerous festival sites throughout 2019, it’s great to be heading back inside for touring season. While writing this, I’m en route to see the god of shock rock himself, Alice Cooper, while Jacob sets his sights on Two Door Cinema Club’s latest outing – but all that will have to wait till our November issue. Meanwhile, in this October edition, Jacob travelled to London to catch new kid on the R&B block, Khalid, for his first ever UK arena performance. With an impressive show design from Silent House’s Baz Halpin, the singer’s first O2 Arena, London outing definitely lived up to the hype surrounding this 21-yearold. Elsewhere in the issue, we give the final word to some of the manufacturers and rental houses, seeing out the last of this year’s summer festivals. We also have an outline of some of the latest products released at this year’s PLASA London. Talking of PLASA, both me and PSA’s Andy Lenthall would like to thank the numerous people who donated to our charity bike ride, where we cycled from Manchester to London. As has become the tradition in September, several cycling enthusiasts took to the road, all in the name of Stagehand and Backup – two charities that do an awful lot of good for the live touring industry, giving a helping hand to those who have fallen on hard times. Finally, to those reading this as a hard copy, I would like to make a special mention to the packaging we have been sending TPi in for the past two months. In collaboration with Spatial Global, we are now wrapping all our magazines in a unique compostable film. Completely plasticizer free and derived from potato starch, we recommend that the wrap is put into a home compost or general food waste bin. Every little helps! Till next time Stew Hume Editor EDITOR Stew Hume Tel: +44 (0)161 476 8385 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk
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COVER Khalid by Joe Okpako
Issue 242 - October 2019 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 Media Limited under licence. ISSN 1461-3786 Copyright © 2019 Mondiale Media Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Media Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Media Limited United Kingdom. The 2019 US annual subscription price is 117USD. Airfreight and mailing in the USA by Agent named Air Business, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Total Production International, Air Business Ltd, C/O WorldNet Shipping USA Inc., 155-11 146th Avenue, Jamaica, New York, NY11434. Subscription records are maintained at Mondiale Media Ltd. Waterloo Place, Watson Square, Stockport, SK1 3AZ, UK.
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ITINERARY
EVENT FOCUS 08
Ariana Grande disguise powers on-stage visuals for the American pop star.
12 #SamsungKX Star Live helps create the world’s first three-tier vertical stage gig.
08
14 ChamSys Over 150 lighting professionals descend on the company’s new UK Head Office. 18
Ayrton Open Day Stew travels to Paris to get the latest from the lighting specialist.
PRODUCTION PROFILE
12
24
Khalid: Free Spirit World Tour The American singer-songwriter performs two sold-out shows at the O2.
34
Skunk Anansie The four-piece sets out on a European tour marking a quarter of a century.
SpectraColor Flag System
CMY+RGB+CTO +
+
FESTIVAL FOCUS 44
The latest news from the festival season.
MARKET FOCUS 68
TPi looks at the latest innovations in the world of crew communications.
INTERVIEW 78
24
Bob O’Brien jumps from Production Manager to SOS Entertainment Logistics.
IN THE FIELD 82
Jacob Collier’s LD, Luke Edwards, talks CHAUVET ÉPIX Strip IP fixtures.
GEAR HEADS 86
Allen & Heath’s Andy Bell and Nic Beretta discuss the brand new Avantis.
90
DPA Microphones’ René Moerchs details the capabilities of the 6000 Series.
>45.000
Lumens
FUTURE INSIGHTS
34
92
A look through some of the releases from PLASA London 2019.
PRODUCTION FUTURES 98
Nominations for the Breakthrough Talent Awards are now open for business.
ENDLESS ROTATION
4-Blade Full Blackout Framing Module
PSA: THE BIGGER PICTURE 100 Music Support launches festival Safe Hubs.
INDUSTRY APPOINTMENTS 102 The latest movers and shakers.
82
BACK CHAT 106 PROLIGHTS’ Managing Director, Francesco Sorabella, takes the hot seat.
ELATION PROFESSIONAL EUROPE www.elationlighting.eu info@elationlighting.eu +31 45 546 85 66
EVENT FOCUS
ARIANA GRANDE: SWEETENER WORLD TOUR Innovative on-stage visuals for the American singer-songwriter’s world tour are provided by disguise.
Comprising 102 dates around Europe and North America, Ariana Grande’s Sweetener World Tour is well and truly underway, with the final show set for December 2019 in California. Throughout the tour, disguise 4x4pro media servers and an OmniCal projector-calibration engine have played a key role in facilitating the ethereal, galaxy-themed visuals on stage. “The tour was designed to highlight the range and femininity of Ariana and create an ever-transforming space for her to perform her latest albums and give the audience an immersive experience to dive into as they witness Ariana’s journey through her music,” commented Loren Barton, Media Department Director for Lumentech. Barton has overseen the projection and media departments in support of many recent projects by Production and Lighting Designer LeRoy
Bennett. Possible Productions produced the motion graphics for the show, which sees the stage brought to life with visuals of space during the song NASA – the visuals then turn the stage into a planet, a moon and a galaxy. After consulting with Grande, Michael Figge and his team at Possible Productions created a stage theme for each song that reinforced the choreography and lighting. “The set is made up of three main features,” Barton began. “An inflatable curved cyc wall with a protruding hemisphere in the centre, a horseshoe-shaped wraparound runway, and a descending sphere that inflates fully when deployed. “Unlike most pop tours, the decision was made early on to use projection as a light and scenic source for the show and have the lighting accent the music, key the dancers, as well as sculpt and feature Ariana with 08
ARIANA GRANDE
followspots, balanced to much lower levels than traditional followspots,” he continued. “Another key decision was to project onto the stage floor so, no matter what seat you have in the arena, the visuals and imagery of the show reach you and contribute to your experience of the production. The whole set is a canvas.” Barton noted that the set design was adapted several times to meet the needs of the production before it was finalised. “The usual challenges of balancing the spatial needs of scenic, audio, lighting and projection took some reconfiguring on-site once we had all of the pieces in the room together,” he said. “Projectors and trusses needed to be moved as the final positions were chosen for the set.” According to Barton, the biggest challenge was “getting all 30 of the scenic projectors rigged, cabled, focused and calibrated on the three different scenic elements within a standard one-day load-in timeframe”. He commented: “The tight rehearsal time meant we only had the entire set in one place for about a week. A great deal of research and development to manage the warping and calibration had yet to be completed. As a precaution, we had the inflatable vendor sew in a grid of small markers just below the surface of the objects to be used in our calibrations.” Once it was apparent that a large part of the scenic design revolved around projecting on 3D inflatable objects, OmniCal cropped up in conversations, making this the first concert tour that it had been used on this scale. disguise 4x4pro media servers along with OmniCal were chosen as the best solution for the show’s complex scenic design. “Given the short time we had to come up with a tourable calibration plan for these complex scenic objects, disguise’s new OmniCal solution was the best way for us to move forward,” Barton stated. “The entire team is used to the disguise workflow, and we felt confident that we could deliver a repeatable, reliable and robust system that would allow the show to travel around the world.” Delving deeper into the details of the job, Barton explained: “Our project required two eight-camera machine vision systems working together to calibrate our three surfaces. They were connected to the same
10G network being fed into the disguise machines for processing. This relied on a significant network backbone high above the arena and the ability to focus cameras accurately without being able to reach them.” Barton’s first order of business was “to devise an OmniCal plan for our curved hemisphere wall object”. He furthered: “For the entire show, this wall provides the backdrop and sets the tone for each song, so it was our most crucial surface. The sphere was hit with an array of six projectors to give us all the angles we needed to cover the nooks and crannies of this irregular object. “The next scenic system we worked on was the sprawling horseshoe stage deck that wrapped around the VIP pit and back to the main stage. This object had some relief but was primarily a flat, custom decking system provided by TAIT. We did several tests with cameras in various positions and elevations, testing different calibration settings and adding and removing cameras to our calibration plan,” Barton explained. “We opted to utilise the natural seams between the decks and project the decking CAD plan back onto the decks to use as a line-up template, and we eventually decided to go with QuickCal for this surface,” he noted. “This worked very well and, once our team was comfortable, calibration went pretty quickly.” The 9m-diameter inflatable sphere was the last of the scenic elements to arrive at the rehearsal venue and by far the most complex object for projection. “We hadn’t really ironed out exactly how the sphere was going to play in the show or how far down it could or would descend over the VIP pit,” said Barton. “Once these decisions were made, there were some projection adjustments needed to enable us to recreate the same look reliably from venue to venue. The biggest challenge was calibrating the 12 projectors that hit this object in the 90 minutes or so we had to complete this task each day.” Barton continued: “After several tests with QuickCal resulted in longerthan-planned alignment times, the decision was made to attempt an OmniCal capture of the sphere. We manually refocused our calibration 09
ARIANA GRANDE
cameras and started our capture. After a couple of tries – and some helpful projects we do, SockPuppet ACN control was utilised for controlling the software and network tweaks – a 3D capture of the sphere materialised media on this project,” he pointed out. “This allowed for the lighting within the visualiser. console to operate the show from city to city and cut down on FOH space “The first time we played content on the and extra equipment. It helped synchronise the calibrated sphere, it was around 4am and it made effects and streamlined our programming time.” the hair on the back of my neck stand on end. We Barton was also keen to pay tribute to the knew we had our solution – it was fortuitous timing people working on the tour. “We were incredibly as we loaded out of rehearsals later that day.” lucky to have leadership and insights from two With the tour up and running, Loren and his of the top disguise engineers, Ben Keightley and “For the entire show, this team still had more work to cut OmniCal calibration Zak Haywood, as we embarked on this journey,” wall provides the backdrop time to a manageable level each day. he enthused. “Together we could not have pulled “One of the largest discoveries we made this off without the dedicated support of disguise and sets the tone for each after analysing the data with the touring disguise developers and engineers. We all learned a great song, so it was our most technician, JM Shulman, and the development deal on this project about what it takes to prove a team, was that the air handlers in each arena were new product and bring it to market, doing the final crucial surface. The sphere causing just enough movement in the rigging to stages of testing in a live environment. I’m proud of was hit with an array of six cause our cameras and set pieces to not hang what we accomplished together.” perfectly still,” he revealed. “This was causing He added: “This tour has many ‘never befores’ projectors to give us all the erratic results and compromising the quality of that push the envelope significantly for the industry angles we needed to cover our calibrations. By turning off all air-handling and for disguise.” equipment each day before calibrations, we were TPi the nooks and crannies of able to get far more repeatable results.” Photos: Kevin Mazur this irregular object.” The disguise 4x4pro systems were also key to www.arianagrande.com media control for the show. “As with most disguise www.disguise.one Loren Barton, Lumentech 10
EVENT FOCUS
#SAMSUNGKX
#SAMSUNGKX Star Live partners Iris Worldwide to create the world’s first three-tier vertical stage gig. Having collaborated on a number of innovative projects, Star Live and Iris Worldwide joined forces to deliver the world’s first three-tier vertical stage gig for the launch of Samsung’s flagship store at Coal Drops Yard, Kings Cross. The stage needed to be of a portrait orientation with 9:16 ratio and multiple levels with access to each. It also needed to be capable of housing a huge number of LEDs to create the back of the stage screen effect as well as rigging, cabling and lighting for this orientation of stage – and, of course, health and safety precautions were vital, too. The stage was to be centred at the kissing point of the rooves at Coal Drops Yard and built from three modified 20ft containers with a polyester powder-coated rolled steel fascia to mimic the curved edges of a smartphone. Access to each level was via hatches through the floor, with additional safety features to ensure they could be danced on when closed, and nonslip ladders between each level. Careful consideration was given to the positioning of all cabling and lighting positions, so the final visuals weren’t affected; and to keep the performers safe, a PVC-coated steel rope was fitted across the front of each stage level, again to minimise interference with the overall effect. Star Live also provided the engineered substructure to ensure stability onsite, and the 10ft tech cabin that was designed to sit behind the vertical stage housed all the lighting and screen tech without detracting from the overall effect. All of this was tested and built at Star Live’s base in Bedford
prior to the event; multiple surveys and onsite recces were undertaken to ascertain access and site limitations, as access and build times were limited to a one-and-a-half-hour window, to ensure a seamless and timely install. Henry Scotland, Creative Director at Iris, commented: “We wanted to launch Samsung KX with an outdoor show in line with our commitment to innovation in culture. The 9:16 format will be a gift for a fan’s Snap and Insta stories and should stimulate some debate around live music staging conventions for a Gen Z audience.” All the attention to detail and planning was rewarded with a seamless project delivery and the event was a huge success. David Walley of Star Live commented: “We were delighted to be part of the amazing Samsung KX launch at Coal Drops Yard. Seeing the teams pull together for a true ‘brand experience’ and Star Live deliver such an innovative product made me very proud. Star Live as a brand may only be a few weeks old, but the heritage and experience that enables us to partner on projects like this is 40 years in the making. The project showcased the Star Live’s capabilities as a go-to partner for experiential activations. Walley concluded: “The project was executed superbly, and all parties involved are extremely happy with the outcomes. Plus it was a great opportunity for our team to work together under the new brand and enjoy the event itself - we couldn’t be happier.” TPi Photo: Andrew Whitton www.stargrouplive.com
13
EVENT FOCUS
CHAMSYS GRAND OPENING
CHAMSYS UK HEAD OFFICE GRAND OPENING Over 150 lighting professionals from throughout Europe descend on Southampton to celebrate the opening of ChamSys new UK Head Office.
Good times were mixed with valuable insights at the Grand Opening of the ChamSys UK Head Office on 2 September, as more than 150 lighting programmers and designers from throughout Europe helped the company inaugurate its new office, training facility, and product development centre. As well as mingling while enjoying food, drink and entertainment, visitors participated in informative classes, think tanks, and training sessions focused on the new MagicQ and QuickQ software from ChamSys. Adding a light-hearted touch of drama to proceedings was a short skit presented by company team members on the history of ChamSys. The piece recounted how company cofounder Chris Kennedy developed his first console at the age of 10. Telling the story of a young man with big dreams, the skit showed how Kennedy achieved something beyond even his wildest imagination years later when an award-winning ChamSys console was used by Art & Yes to control a record-breaking 64,000 parameters over 186 universes directly
without processing nodes. Also staring in the drama was the MagicQ MQ500 Stadium Console, which was featured in live demonstrations that highlighted its wide range of impressive features, including Focus Hold and Focus Line. Following his performance, Kennedy treated guests to a preview of the new MagicQ MQ70 – an extremely compact and aerodynamic console with big-time scalability. Animated light shows controlled by the MagicQ MQ500 followed this introduction. At the conclusion of the evening, Kennedy invited guests to return to the new ChamSys facility, reminding them that it would be holding multiple training sessions every month. Based on the enthusiastic response to the innovations on display at the grand opening, it’s safe to assume that they will be taking him up on this offer. TPi Photos: ChamSys & TPi www.chamsyslighting.com
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EVENT FOCUS
AYRTON OPEN DAY Prior to the official launch of two new fixtures at PLASA London, Ayrton invites members of the press to take a look around its Paris base, guided by CEO, Christopher Ferrante. TPi reports…
It’s been more than two years since news came through of Ayrton’s acquisition by Chinese Lighting manufacturer, Golden Sea. Since then, the company has seen some large developments in both its product line and European staff base. With fixtures such as the Khamsin-S making appearances on a selection of tour riders including Hugh Jackman, Take That and Shawn Mendes, it’s an exciting time for the lighting company. Greeting TPi and other members of the press at Ayrton’s French base, just South of Paris, was CEO Christopher Agius Ferrante, who discussed what lay in store for the company. “Following Golden Sea’s acquisition back in January 2017, several strategic decisions were made,” began Ferrante, standing outside the Ayrton facility, which opened officially in March last year. “One of these key decisions was that the company should remain in Paris. This facility is only down the road from our original office.” This bigger space – which includes a lobby, more office space, a warehouse, meeting rooms and a permanent 220 sq m showroom – was specified to make way for the investment in a new staff base. The company has grown from six in-house employees to
23 employees in two-and-a-half years. “Our vision was clear,” stated the CEO. “Retain the original team, drive new investments, move into a new building, add team members, drive a shift in product focus, all while never losing sight of Ayrton’s DNA – the incredible innovation and attention to detail driven by our founder and CTO, Yvan Peard.” Ferrante spoke candidly about Ayrton’s past that had its own place in the market. “Historically, Ayrton produced products that were incredibly niche, specialist and ahead of their time,” he began. “They were very cool and found themselves on some of the largest shows in the world, but due to their nature, they had shorter lifecycles than Ayrton may have liked. “Since 2017 we have shifted our focus to more ‘bread and butter’ products. This brings its own challenges such as competition, but it’s also a much larger market for us to work in. “We also have an incredibly clear roadmap, called Multi 21. It outlines our development cycle up until the end of 2021, ensuring clarity among our partners and is backed by a clear strategy where we will not replace any of our existing product in the roadmap. In a world where product comes and 18
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goes, almost without thought, we are keen to ensure our partners get the best utilisation and ROI on their investments with us.” And this move to a bigger market has clearly been a good one – the CEO stated proudly that Ayrton doubled its business last year and that 2019 is seeing similarly aggressive levels of growth. Walking around the various sectors of the building, from the warehouse, repairs department to the office space upstairs, Ferrante described the framework of the company. “What’s important to remember is that this base is not for manufacturing – it’s distribution,” he began. “Even though we develop new products from here, we do not build any of the fixtures.” In fact, since the acquisition, the CEO explained that 75% of the Ayrton stock is shipped directly from China, cutting out the need for products to be sent to France and then on to another destination. “The quality control taking place in China is incredibly advanced, allowing us to drive efficiencies we would otherwise miss. We carry a selection of stock for certain European clients who would rather not deal with international shipping but, on the whole, most of it is sent out from China.” What became clear was that the Paris base was very much a site for research and development, along with all the customer-facing elements of the operation. “As part of our programme of continuous improvement, we will be installing, in February 2020, a new automated system to store, manage and pick spare parts,” Ferrante explained. “In the past year, the company has also increased the service department from two to five staff, with the aims of expanding its service centre and providing training, sales support and its overall ability to support its global network of clients.” Moving on, the CEO spoke of some of the latest innovations that have happened at the company, with the release of fixtures including the Ghibli, Khamsin-S and Bora-S. “The process for each new fixture begins here in France, where Yvan and his team develop the concepts surrounding a product,” he explained. “We then leverage the incredible team of discipline specialists at Golden Sea, optical engineers, a thermal engineers, mechanical engineers, software developers and industrial design engineers to bring the product to life. Once created, we then receive a number of prototypes, which we
give the green light to or work on with the engineering office to improve the product. We also conduct our own long-term quality control alongside the tests that take place at the factory.” According to the CEO, one of the main driving forces behind the latest line of fixtures have been three elements: smaller, lighter and brighter. “Or, in a nutshell, efficiency!” he stated, turning the group’s attention to the inner workings of the Khamsin-S. “To see the innovation that is taking place, you really need to look inside the fixtures. For example, one of the ways we were able to keep the weight and size of the Khamsin down was thanks to the innovative cooling system, (half the size of Ghibli’s even though the fixture is delivering almost twice as much output), which is used for cooling both the LED engine and the LED drivers.” Concluding the tour, we visited the company’s demo room to see some products that, in a few days, were to be showcased at PLASA London – namely the Perseo and Huracán-X. Perseo is Ayrton’s first multi-function, compact, powerful, IP65-rated fixture developed for intensive outdoor use. With features such as 100% framing shutters, the Perseo produces 27,000lm from its 500W LED source with a fully weatherproof housing, with a new water-resistant menu navigation system. The Huracán-X profile light was also on display. This particular fixture has been created to deliver exceptional light output along with a formidable new graphical tool possessing a wealth of features and an entirely new complex colour mixing system. But it was its new advanced colour mixing system (patent pending), which Ferrante was keen to outline to the group. With a CMY, CTO, CTP, CTB subtractive system, LDs are given complete control over the colour palette. With the demo concluded, the day’s event concluded with a rooftop drinks reception in the centre of Paris attended by Ayrton’s global distribution network. With its wide-ranging product range now on offer, and with an extensive distribution network, Ayrton seems set to continue its notable growth and continue to be featured on more touring riders. TPi Photos: Ayrton www.ayrton.eu 20
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PRODUCTION PROFILE
KHALID: FREE SPIRIT WORLD TOUR From SoundCloud obscurity to headlining two sold-out shows at the O2 Arena, London, Khalid has come a long way in three years. TPi’s Jacob Waite chats to the crew keeping pace with the millennial crooner…
KHALID
Khalid first stormed into the charts with his debut studio album, American Teen, in March 2017. Since then, the El Paso singer-songwriter has earned several top-10 hits, a top-10 charting EP and five GRAMMY nominations – a path which has led him to his latest number-one album and fourth headlining tour, Free Spirit. In line with his astronomic rise to superstardom, the 21-year-old embarked on his first arena tour, featuring two back-to-back sold-out shows in London, with the likes of Ed Sheeran and AJ Tracey as special guests. Ahead of the show’s first night, TPi sat down with the lightning rod of the touring camp, FOH Engineer and Production Manager, CJ Blair. “I’ve been with Khalid since the beginning,” he recounted, having originally been hired as a sound engineer, before making the seismic step to a role that satisfies “both parts” of his brain. “It allows me to be creative and organised enough to make sure the technical and logistical aspects of the tour are to the highest possible standard.” To this end, Blair brought in Production Assistant, Tricia Engelbert and Production Coordinator, Brishon Neu as his production “lifelines” during the day-to-day. Neu commented: “The job we do and lifestyle we have is difficult, but being surrounded by people I believe in empowering and supporting every day is a really incredible thing to be a part of. I have a love and deep appreciation for both the experience of being out here, and the people I get to call colleagues and family.” Also guaranteeing high standards were maintained were Blair’s suppliers of choice: Clair Global, Screenworks NEP, Solotech, All Access Staging, Christie Lites, Control Freak Systems, No. 3 Catering, Fly By Nite and Beat The Street.
AUDIO At FOH, Blair mixed on an Avid S6L 32D. “It sounds excellent and, having mastered the workflow, it’s one of the best-sounding digital mixing boards out there,” he commented. The board featured snapshots timecoded to “piggyback” off the visuals. “Some rooms react differently,” Blair said of his set-up. To deal with this, he stuck on one snapshot and rode the whole show out like that. “If you’re doing a good job, there’s no time to think – you just roll with the punches and go with whatever is working.” Bringing the studio to the live environment, Blair brought all of his personally owned outboard gear on tour. “I’m using a Rupert Neve Designs Master Buss Processor, an EL7X Fatso – which I run the guitar through – a pair of Empirical Labs EL8 Distressors and a Rupert Neve 545 Primary Source Enhancer.” Waves API 2500 Compressor Plugins also made up the audio rider. Blair specified a Clair Global PA system, which comprised Clair Cohesion CO-12s, CO-10s, CO-8s, and CP-218s, amplified by Clair PM2 Subwoofer Power Modules and Lab.gruppen-loaded StakRaks. “It’s a loud and proud show,” he said. “I’d describe it as a pop show mixed like a hip-hop show – impactful and hard hitting.” As Blair explained, room and weight restrictions in some of the smaller European venues meant that, on occasion, the PA had to be downscaled. “Depending on the room, we’ll lose the rear hang or put them on the ground,” he revealed. Clearly impressed by the young performer, Blair described how the setlist evolved over the course of the tour. “Khalid adds and shuffles his 26
KHALID
Production Manager and FOH Engineer, CJ Blair; Lighting Director and Programmer, Jonathan Camarillo; Monitor Engineer, Landon Storey; Monitor Technician, Scott Burton.
setlist around daily, which keeps everyone on their toes. He does a lot of meet ’n’ greets where fans request songs for him to play. He’s added around eight songs so far – he just loves performing,” he explained. “He and the band are so good they can do it on the fly without rehearsal.” Clair Global Systems Engineer and Audio Crew Chief, Matt Van Hook manned FOH so, when Blair stepped from behind the curtain, everything, in his words, was “good to go”. Touring veteran Van Hook first met Blair during a tour at the start of the year. “In this business, one of my favourite things is the people because, as they say, ‘birds of a feather flock together’,” Van Hook opened. “We could all have normal nine-to-five jobs, but everybody – from the stagehands to the caterers – chose this path.” Van Hook 3D CAD drew the room each day to determine the amount and locale of the hung sound system before building and tech’ing FOH. As soon as the system came online, he aimed and focussed it, which involved some “handy laser work” to steer the sound for even audience coverage. He then time-aligned the PA system with Smaart and tuned it to “overcome any acoustical problems” in the room and add things that CJ “likes in his mix”. Also struck by Khalid’s unique vocal range, Van Hook remarked at how pleased he was with the sound they achieved. “His vocal is by far the most critical input we have,” the Systems Engineer said. “CJ has done an incredible job; everybody who comes to the show – from industry professionals to other engineers – is struck by how fantastic it sounds.” Having been out with the Clair Global system for most of the year, the crew was running on US power with transformers. “When we’ve wrapped
up in Europe, we’ll retire the gear, ship it to Audio Rent in Switzerland and pick it up from the spot in Australia,” Van Hook noted. “Thankfully, Clair has a worldwide footprint so we can pick up pieces of kit across the globe.” MONITORS Monitor Engineer, Landon Storey started working with Khalid when he was 19 and hadn’t really been taught the intricacies of on-stage audio. “It was a completely blank slate,” he reflected on Khalid’s rapid growth in popularity. “He’s such a natural performer that he caught on very quickly.” Khalid and his band utilised 1964 in-ears throughout the tour. “They feed off each other and every night is different, so he wants to hear the intricacies of his mix,” Storey commented. Storey brought in a Shure PSM 1000 IEM monitoring system and SB900 battery packs to tackle RF. “It has cleaned up most of my environments,” he said of the system. “It’s something I didn’t really know about a few years ago,” he admitted, but having experimented with it on this tour, he would “never go back to anything else”. He added: “It can make all the difference. The available bandwidth has been particularly lifesaving.” For control, Storey mixed on a DiGiCo SD5, utilising eight faders for the dynamic range of the drums, electronic triggers, tracks and keys. “I’m doing things a little bit differently this year, taking the musicians’ principle instruments on the auxiliary send and bussing the other things.” As the musicians didn’t require granular control of the channels, Storey presented a good clean mix with additional reverb. “I compress the dynamic range and make it fit in a pocket, which makes it sound better for 28
KHALID
Projectionist and Camera Operator, Mark Adams; Stage Manager, James Gould
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G-7 BeaSt Have you seen this Unique new IP rated LED Beam fixture? them as musicians without the mix fluctuating as much,” he commented, adding that he allowed their primary instruments to be the focal point. Storey explained that the DiGiCo SD5’s ability to take snapshots when it came to cutting or adding specific songs was absolutely essential. “Having a console big enough to buss all that and make it happen is awesome,” he added. A delicate placement of crowd mics was constructed in order to avoid picking up the “washiness” of screams from the crowd. “Going from a high-energy full band to a pop song with the chaos of people in an arena is quite a challenge. Even though he’s a dynamic singer, there’s so much room sound. It’s funny – the more stripped-down the show, the more intricacies are required.” Hardwired mics came in the shape of Shure Beta 91As, Beta 52As, 57s, 58s, KSM137s, Beta 98AMPs and KSM32s, as well as Beyerdynamic TG D57cs, DPA d:facto Linears and Sennheiser MKH 416s. Shure Axient AD2s, SM58 capsules and DPA d:facto II capsules performed wireless mic duties. Shure Axient, AXT920, AXT902, AXT600, and Yamaha HS7 Studio Monitors made up the monitor equipment. “When you deliver a gig at this level, there are only a few companies you can seek to provide the support and gear necessary,” Storey said. “Clair Global is a worldwide service and if you have a problem, they’re on hand to solve it.” COMMS Joining Storey was Monitor Technician, Scott Burton. A “utility guy” who helped fly the PA, tech monitor world and oversee comms. “This show is fairly dependant on comms, so they required a singular person,” he said. A monitor engineer by trade, the LA native oversaw Clear-Com FreeSpeak wireless and HelixNet hardline units – a workflow he dubbed, “nothing like routing a console”. 29
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KHALID
Lead LED Tech and Video Crew Chief, Michael Roberts; disguise Technician, Troy Giddens.
He pointed out: “The reason we use the HelixNet is because it’s a stable system. I programme it in the States so it’s a plug-and-play system. The belt packs retain their own role; I tell it what it needs to do and thankfully it does it every time.” He continued: “Having the ability to pick up a radio to communicate is integral, and helpful when it comes to arranging logistics.”
problem solving”. He commented: “There was no seating behind, so projection was positioned on the floor and shot across.” Adams added that while projection mapping is “already huge” in the live events sector, the practice is becoming easily accessible and simpler to run. A pair of MA Lighting grandMA2s at FOH, and one backstage, allowed Lighting Director and Programmer, Jonathan Camarillo to control video VISUALS and lighting. “A lot of the songs are heavily timecoded, while others are “This is my first world tour with Khalid, and I’ve enjoyed every minute,” manually operated in line with the ever-changing setlist,” he revealed. commenced Lead LED Technician and Video Crew Chief, Michael Roberts, The band also have a tendency to change their arrangements and get who was the only in-house Screenworks NEP staff in a team of seven. “We creative on-stage. “Sometimes timecode can put you in a box, so I like to like to keep a nice nucleus by creating a team that has worked together have the freedom to adjust the timecode accordingly from night to night.” before – this way everybody knows their role and gels seamlessly.” The LD praised Silent House Productions, calling the design team Screenworks NEP supplied a vast array of ROE Visual CB5 5mm LED “the most efficient” he has ever worked with when it came to formulating screens for the upstage wall, ceiling and IMAGs. Show Rig built custom aesthetics of the show. “It looks exactly how they sketched it,” he said, LED touring frames to support the video ceiling. Screenworks NEP also offering further praise to lighting vendor, Solotech: “The crew know how to tear a light apart and fix it,” he said. “They’re totally equipped to handle worked closely with Solotech to devise mounting brackets for the upstage wall lighting fixtures. “We work well together to create a cohesive visual a show of this scale.” A total of 75 Solaris Flare Q+LRs were rigged above stage and in five unit,” Roberts commented. rows of truss left and right, all 1ft from the video content. The fixtures Video Director, Tyler Chappel conducted the show via a Ross Video illuminated throughout the set to continue the movement of video via U-Vision switcher. Roberts said: “He tries to keep his shots very consistent, Control Freak Systems three disguise gx 2s. studying the show each night, before devising a Technician Troy Giddens was tasked with plan of attack for the next show.” monitoring, installing and setting up the media The camera package comprised Sony HD server system. “We have two 4K outputs and a cameras, specifically two long-lens 70x and two handful of HD-SDI feeds for monitoring, projection wide-angle pit cameras, along with a pair of robo and the IMAGs,” he said. “Everything camera wise cameras to capture the drummer and guitarist. goes through these servers. Everything is treated “It has a fantastic range, which means we can with a Notch block made by the creative team.” diversify the shots and the audience aren’t stuck The workhorse fixtures of the rig, 80 Robe with one performer,” Roberts noted. BMFL Washbeams were rigged above stage, in five Four Barco HDF30K projectors – two at FOH rows of truss left and right, and three per side as and two on stage – cross shot, another pair of the ground package. “They look brilliant, move HDF20K Barco projectors were positioned upstage very quickly and are accurate,” said Camarillo. for the IMAGs. “I love the size of their lens for beams, and the Tasked with “shooting photons out of little textures – they’re a multifunctional light.” nuclear power plants” was Projectionist and A further 75 Ayrton Magic Blade R9s also Camera Operator, Mark Adams. “It’s a really cool created looks that totally altered the dynamic use of mixed media, combining the LED with the of the lighting rig. “The transition from fixture to 3D holographic-style curtain, which adds a lot of “It is a really cool use of fixture is so slick and flows with the design.” depth,” he enthused. “I like anything that uses mixed media, combining A total of 45 Solaris Flare RGBWs, 10 GLP traditional forms of technology with more modern impression X4 Bar 20s, four GLP impression X4 or innovative mediums. Here, we are blending the LED with the 3D Bars and two GLP impression X4 Bar 10s made those conventions completely.” holographic-style curtain, up the lighting package. The crew had to prepare for where weight “All the lights serve their purpose and the restrictions prevented the video ceiling from being which adds a lot of depth.” programming is staggered, coming towards a hung, modifying the show design according to Mark Adams, beautiful crescendo at the end of the show,” the building. Adam’s pinpointed Copenhagen as Camarillo explained. Four house followspots a particular challenge that required “constant Camera Operator & Projectionist 30
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KHALID
Rigger, Marcus Guzman, Rigger/Carp, Nick Sabosky and Head Rigger, Chris ‘Sabo’ Sabosky.
ensured Khalid was lit on stage throughout. “I’ve watched him transition from not liking spotlights to evolving and adapting his stage presence.” However, the arrangement of lights was no walk in the park. “We’ve had challenges with rigging because it’s a very specific design and the trusses need to be arrayed in a certain way when factoring in the different sized venues in Europe,” Camarillo commented. “I have a cue stack with more than 300 focusses and the location of the trusses play an integral part in how the show is programmed.” Overall, the LDs favourite moment was when the string curtain made an appearance. “It’s such a necessary palette cleanser for the show. Towards the end of that scene, we pull the lighting off Khalid and particles swell over the stage to make it look endless,” he concluded. “I truly believe this is the best show in the world.”
points, the staging team worked to assemble the show up as quickly as possible, with safety as the priority. It is here where density presented challenges. “We’re dialled into a certain area and everything is packed in,” Sabo said. “Our weights are spread evenly at around 100 motors every day.” Christie Lites supplied Show Distribution hoists, steel, motors and cabling. Audio had 47 motors with three hangs of delta plates per side on each of the hangs allowing the team to steer the sound with finesse and a cable grid. “Video and lighting have around the same amount, give or take 30 each, spread evenly among the departments,” Sabo explained. Marcus Guzman, Sabo’s brother, Nick Sabosky, and Stage Carp, George Stipanovich, joined Sabo in the staging crew. “It’s a very young camp, but everybody gets the job done with no fuss,” Sabo said of his team. LOGISTICS The newest member of the touring team was James Gould. A seasoned veteran of the circuit, having worked with the likes of Sam Smith, Sigur Rós and Justin Bieber, he was drafted in for the European legs of the tour onwards. “The difficulty with moving into a pre-existing tour is that you’re taking over someone else’s designs, ideas, and expertise,” he said, when asked about his main challenges on the tour. Also offering his expertise with power, Gould detailed the art of “trying to get most of the gear in” without compromising the show design or impeding the quality of the show. “The fact we don’t have loading docks in the UK means we’re constantly tweaking to streamline the load in and out.” While No. 3 Catering was tasked with feeding the troops. Fly By Nite and Beat the Street transported the kit and crew. Gould’s ‘go-to’ trucking
RIGGING Having never toured in Europe before, Head Rigger, Chris ‘Sabo’ Sabosky outlined the varying scale of spaces on the continent and alternative rigging legislation, describing them as “a learning curve”. He commented: “It’s a totally different beast here, and I respect it.” In North America, the team toured arenas with a 360° show, while in Europe, some of the venues featured “cut off backs”. Starting at 7am, the team chalked up, and had the motors hung by 10am. It was also Sabo’s job to figure out how to get the trims and weight in the buildings. “Towards the end of this tour, the full design won’t fit, but we have formulated ideas to ensure that, although the show is smaller and more intimate, it is still reflective of the design.” With approximately 100 motor 32
KHALID
The No. 3 Catering crew.
company, Fly By Nite supplied 12 trucks. “I also live close to their HQ, so I often chat to the drivers,” he said. “Their facilities and rehearsal studio is fantastic – they’ve never let me down!” FREE SPIRIT On site at the O2 Arena, London, Blair’s evaluation of the touring team as a “very tight knit group” rang true. Inspiring a generation of gig goers, Khalid has grown from a teenager to a poetic and romancing 21st-Century crooner, whose tracks are confessional and vulnerable, yet youthful in spirit. Live, Khalid’s demeanour is playful and energetic – a reflection of his upbeat vocal delivery. Despite the supreme level of touring personnel involved, the artist remains grounded and exposed throughout the mammoth 30-song setlist. Blair summed up: “He’s a young man who loves singing songs and dancing on stage.” TPi Photos: Joe Okpako www.khalidofficial.com www.silent-house.com www.clairglobal.com www.screenworksnep.com www.solotech.com www.allaccessinc.com www.christielites.com www.controlfreak.tv www.flybynite.co.uk www.numberthreecatering.com www.beatthestreet.net
PROUD TO SUPPORT KHALID www.numberthreecatering.com 33
PRODUCTION PROFILE
SKUNK ANANSIE
It’s been a quarter of a century since Skunk Anansie entered the public consciousness. Now off the back of a brand new live album to mark the band’s 25th anniversary, the outspoken four-piece sets out on an extensive European tour. TPi’s Stew Hume catches the touring crew before their Bristol show to get the latest…
When Skunk Anansie burst onto London’s rock scene, the band was very much labelled as an alternative palate cleanser to the ubiquitous Britpop that ruled the UK zeitgeist at the time. Despite taking a lengthy hiatus in the early 2000s, they have managed to, in their own words, “swerve the nostalgia circuit”, releasing three brand new albums since getting back together in 2008. As well as putting out new material, Skunk has also kept pace with the explosive live shows the band is famous for, and as TPi stood at FOH with the singer mere metres away having crowd-surfed the length of the room, it became clear why the band’s fans have stuck with them for the past 25 years. Earlier that day, we caught up with the crew who were on the road with the high-energy four-piece. Starting the conversation was Patchwork’s Managing Director, Steve White. For this latest run, the company provided an audio touring package not to mention overseeing tour management and production responsibilities. The company also subcontracted Colour Sound Experiment, MM Band Services and Fly By Nite to aid the touring effort.
For example, we work with The Amazons, who started with our IEM Peli Case that they could throw in the back of a splitter or take on a plane. Now we are out with them with a DiGiCo SD12 and a Shure Axient system. It’s all about being able to grow.” White commented that it had been a nice change of pace to work with an artist that had so much experience with live touring. “We got put forward for this tour by their accountant, who we’ve also worked with in the past – not your traditional way of being recommended for a job,” he chuckled. “We’ve worked with them for around 18 months now, although this has been our first full tour with them. It’s been great in many respects as the band and some of the core crew have been together for a long time – they know the job inside out and they know what to expect.” Part of Patchwork’s USP is that it is not simply an audio supplier but a more complete production outfit, encompassing contracting, budgeting, show design and full tour and production requirements. FOH To lead the audio-charge, Patchwork brought in FOH Engineer, Ben Hammond and Monitor Engineer, Cliff Brothers, both of whom were newcomers to the Skunk Anansie crew. Starting from his end was Hammond, who had been recommended for the tour by FOH Engineer legend, Jon Burton. “One of the main things that the band were looking for from a FOH Engineer was someone who could deliver a mix with a
TOUR ORIGINS “This tour was a change of pace for us,” began White, talking through the company’s current roster of acts – many of whom the Patchwork team has been working with since their first tour. “Scalability is really important to us,” he explained. “We’ll pick up artists that often grow and develop quickly. 35
SKUNK ANANSIE
dominant bottom end,” began Hammond. “They got in touch with Burton due to his long experience with The Prodigy. However, he was unable to make it due to other touring commitments, so he put me forward as an alternative – it was a very kind recommendation.” Hammond explained how the band’s love for low-end translated into the live environment. “One of the main things you need to know about these guys is that they are very knowledgeable when it comes to audio,” he said. “They all produce other artists and spend a lot of time in the studio. They know what they are looking for and can communicate it effectively. But they also appreciate the ‘artistry’ of FOH and are willing to spend the time to work together on the mix.” Hammond also chuckled at how his FOH set-up was slightly different from what the band had been used to. “I think they were more used to seeing an analogue desk out front, so when I rocked up with my little digital desk and limited outboard gear, it was certainly a change. But it’s been a wonderful collaboration getting to where we are now.” Hammond used an Allen & Heath dLive to orchestrate the band’s sound. Also in his package were two Lake Processing LM 44s handling the system out, along with the Engineer’s “secret weapon” – a Cranesong HEDD192 Quantum. “To put it simply, the Cranesong acts as a harmonic enhancer, which audibly fills the gaps in the mix,” he stated. “The result is that you get a huge amount of perceived volume increase without increasing the dB. This has been practically helpful with the lowend of my mix. As we are using a lot on in-house systems there is a risk I
could lose some transient power with the low end, but with the Cranesong I’m able to get much more power out of the system.” MONITORS Discussing the band’s on-stage sound was Cliff Brothers. Another newcomer to the touring party, Brothers gave his impressions of the past month of touring. “I do a bit of everything, from tour managing to FOH work; I don’t tend to do monitors for a tour of this size – but I have to say, I’m really enjoying the experience.” Controlling the band’s stage sound, Brothers opted for a DiGiCo SD12. “Patchwork owns several of these, making it the natural choice for this project,” he explained. “The real benefit I’ve found mixing monitors on them comes down to its output routing – especially the ease at which you can change to spare IEM packs. Its two screens also mean I can monitor inputs and outputs continuously.” The band opted for a package that incorporated both IEMs and onstage speakers. All the band members were on Shure PSM 1000s apart from drummer, Mark Richardson, who was on a hardwired system with a whole range of Ultimate Ear moulds being used. “We had two-and-a half weeks of rehearsals and we really dialled in each of the band members’ mixes,” stated Brothers. The band did its first stint of rehearsals at John Henry’s, followed by a time at Millennium Studios. “Each of the band has years of experience in the studio and they are all audio experts in their own right,” commented Brothers. “We 36
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SKUNK ANANSIE
spent a great deal of time EQing to match the sound they wanted to hear. not quite as shiny as they used to be, but they still work. In many ways they Sometimes this involved playing tracks they all knew well and producing an are as much a part of the stage shows as their vintage guitar cabinets.” He EQ curve they were happy with.” continued to explain for the band it was all about “consistency” on stage. Along with the IEMs, there was plenty of “That goes for everything, from on-stage sound to on-stage sound with side fills and an impressive the Marley floor they lay down each day.” rear sub set-up behind the kit – not forgetting the Continuing the theme of consistency, stage-filling wall of speakers making up the band’s Hammond spoke of the microphone package sizeable backline set-up. deployed on the tour. “Right now, we have [lead Talking through stage set-up was Audio Tech singer] Skin on a Shure SM58 with a Beta 58 grill,” Arthur Mazzer. “There is certainly a lot more going he explained. “Skin is used to performing with on than in your standard academy band of this a microphone with the flat head and, for us, her size – we are carrying a small arena level of gear,” comfort was always of the utmost importance. he commented, while standing next to the stage If she’s comfortable, she’s going to give the best looking up at the array of boxes laid across the performance.” The engineer explained how it stage. “The one thing about this tour is that the took a while to get the right formula: “The SM58 backline doesn’t change, no matter where they are has been able to calm down the mix a bit, which “There is certainly a lot playing – especially the guitar set-up.” works better on her voice.” For wireless, the crew Even though all the musicians were on IEMs, rolled out an Axient system, which was used by the more going on than in your the crew was still keen to ensure the band got band’s keyboard player. standard academy band of the live feel. This was created first of all by two Continuing on the topic of mics, Hammond L-Acoustics KS28s along with a drum thumper. drew TPi’s attention to the drum set-up, which this size – we are carrying Flanking the band on stage were a selection of was covered by an array of models from Audio a small arena level of gear.” d&b audiotechnik C7s, which the band has used Technica. “As the new guy, I didn’t want to come since “day dot”. Mazzer commented: “They are in and change a lot but, after a chat with Mark the Arthur Mazzer, Audio Tech 38
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SKUNK ANANSIE
FOH Engineer, Ben Hammond, Audio Tech, Arthur Mazzer and Monitor Engineer, Cliff Brothers; Lighting Designer, Dan Williams; Patchwork Managing Director, Steve White.
drummer, we decided to go for an Audio Technica option. I find their mics are super honest and don’t produce that heavy scoop that other brands often can.” LIGHTING Once again at the helm of the band’s visual shows was Dan Williams. Having been brought on board in 2014, Williams has overseen a selection of campaigns and built a good rapport with the band. “Last cycle, we were experimenting with some more modern looks utilising a selection of video elements,” reminisced Williams. “On this tour celebrating the 25th anniversary, the band wanted to go for more of an old-school vibe.” In the build-up to the show, Williams explored a selection of reference photos and worked with Skin, who wanted to incorporate some of her famed costumes for the tour. “Some of her outfits are incredibly iconic,” stated Williams, looking down at his tour laminate that was adorned with an image of the frontwoman in her famed feather ensemble. “Some of these outfits look so good in silhouette, so I was conscious to capture that in the design,” commented the LD. “Not only that, some of them
have foil elements, which reflect light really well and I was keen to utilise this.” Despite more of an old-school vision for the design, Williams asserted that the band was keen to keep the look for this latest outing very much in line with what you might expect in 2019. “Our rear wall is probably the best example of this,” he stated, explaining his use of a selection of Portman P1s for a modern par can feel. “They are a striking visual element and they look fantastic both live and in photos. I’ve used the P3s with The Vaccines and really enjoyed them. They are really robust, which is a blessing when “As the new guy, I didn’t want taking them onto the road. They are great at focusing your attention on the stage.” to come in and change a lot The LD explained that one of his missions was but, after a chat with Mark the to limit the amount of front light used during the show, opting for more side lights. His fixtures of drummer, we decided to go choice were Robe Spiiders in collaboration with for an Audio Technica option. Claypaky Stormy Strobes, for big blocks of colour. “I’ve also got some Robe Robin 300s that I’ve used I find their mics are super for certain up lighting positions. I’ve also got a honest and don’t produce that few Claypaky Stormys under the ego risers that heavy scoop that other brands produce some great effects,” he revealed. “The band are really good at interacting with often can.” the lighting fixtures, ducking their heads in and out of the beam to produce cool shadow effects.” The Ben Hammond, FOH Engineer 40
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19.12.2017 12:31:31
SKUNK ANANSIE
final element of Williams’ rig was six Robe MegaPointes to produce some Wembley earlier this year, but this is the first official tour I’ve had the chance beam effects. “I’ve also used some of the Robe CycFX on the floor to light up to take it out,” commented the LD. the wall of backline equipment,” he commented. “It’s been interesting to see some of the new design elements, although “It’s such a feature of the stage, it’s been nice to emphasise the backline one or two are sure to become clearer when the new accompanying from the lighting design. We have some moments software comes out. I’ve really liked it on this during either a bass or guitar solo where I really run – I’ve found the extra windows on the layout highlight the cabinets.” A neat touch for the guitar incredibly useful.” For data transfer, Colour Sound aficionados in the audience. provided Williams with a Luminex package, which Patchworks relationship with Colour Sound he dubbed, “rock solid”. is almost a decade strong, so since the project With the Bristol contingent of the Skunk had used them for two years prior it made things Anansie fan club satisfied with an electrifying set, very smooth. Brought on two years ago, Williams the band set sail to continue juggling the final and the company have built up a good working festival dates of the season along with a selection relationship with the Skunk Anansie project. “As of other UK dates. a supplier, they really could not be more helpful,” If the band’s Bristol performance is anything to Williams enthused. “They do whatever I need, and go by, Skunk Anansie’s loyal contingent can expect the kit is always in fantastic condition.” a joyful celebration of the band’s 25 years old back Along with equipment, Colour Sound catalogue – complete with more than a few stage “The band are really good at Experiment also drafted in Simon Robertson. dives courtesy of the formidable frontwoman. “I’ve worked with him before on a few projects TPi interacting with the lighting and I requested him specifically as I knew the Photos: www.indiafleming.com fixtures, ducking their heads scope we were trying to achieve and knew he www.skunkanansie.com would be up to the challenge.” www.patchworklondon.co.uk in and out of the beam to At the front end of the lighting rig, Williams www.coloursound.com produce cool shadow effects.” www.flybynite.co.uk utilised one of Colour Sound’s latest MA Lighting grandMA3s. “I got to use it during a one-off show at www.mmbandservices.co.uk Dan Williams, Lighting Designer 42
FESTIVAL FOCUS
TOMORROWLAND Stageco sets the stage for the festival’s 15th anniversary.
Honoured to be a part of the colossal production for the past eight years in a row, Stageco has delivered Tomorrowland’s sprawling main stage, as well as up to three other extravagantly designed stage constructions and several more site structures of varying sizes. For its 15th anniversary, Tomorrowland returned to The Book of Wisdom as its main stage theme, resurrecting a winning formula from seven years ago. Taking place as usual over the two consecutive weekends of 19 to 21 and 26 to 28 July, the 2019 edition also saw the return of The Chainsmokers, Armin van Buuren and David Guetta, as 400,000 people from more than 200 countries descended on the Belgian town of Boom for the party of a lifetime. This year’s project began when We Are One World, the organising body behind Tomorrowland and the the recently introduced Tomorrowland Winter, confirmed an agreement for Stageco to build the impressive main stage and two other featured stages – the Lotus stage, previously known as Organ of Harmony, and the steel grid structures in the 32m-high Atmosphere tent. In addition, Stageco erected a number of scaffolding structures across the site, including a variety of dance decks, front of house and VIP platforms, valley towers and scaffold stairs. In January, the first meetings were held with Tomorrowland’s head of production, Jurgen Nuytemans and his technical colleagues Bart Denies and Patrick Bellens. The event team’s vision for the design concept was explained and detailed renderings of the Book of Wisdom: The Return
theme were presented to a focus group. “It was clear that the biggest challenge was the inclusion of three automated LED ‘books’ with motion control engineered by Frontline Rigging,” said Stageco’s Project Manager Roel Voeten. “The central book weighed 11 tonnes and the two either side were nine tonnes each. “Our draftsman Manolis Kassanis, who works on Tomorrowland every year, took care of all the drawings and designed the custom parts and associated elements, and Gert Hulsmans and Jelte Smets, our R&D engineers, looked after all the structural calculations.” In the middle of June, no fewer than 60 trucks of equipment were loaded and dispatched to the Boom site. Responsible for 40 crew, three stages and the many other structures, crew chief David Van Assche worked three full weeks to complete the construction. In the meantime, Antonio Duarte Da Cruz and his team spent three days on the building of a threetower roof for the Lotus stage. “We’re very proud of everyone’s efforts,” commented Roel Voeten. “In fact, I’m delighted to report that working with our client, We Are One World, has been a constant for us during 2019. In between designing and drafting this year, we also travelled together to the French Alps where, in the snow and February’s freezing conditions, we built the main stage of Tomorrowland’s first winter edition. “We look forward to more exciting times when Tomorrowland Winter 2020 takes place next March in Alpe d’Huez.” TPi Photo: Tomorrowland www.tomorrowland.com www.stageco.com 44
BARCELONA BEACH FESTIVAL
BARCELONA BEACH FESTIVAL Christie Spyder and Terra process over 25 million pixels at one of Europe’s biggest electronic music festivals.
The Christie Spyder X80 multiscreen windowing processor in combination with Christie Terra SDVoE technology brought the gigantic 50m by 9m LED screen at Barcelona Beach Festival 2019 (BBF) to life. Stonevent provided the screen for the festival and MappScreen, specialists in audiovisual services for events, managed the content. The mega-screen was an array of LED screens with differing pixel pitches divided around the stage in distinct setups. Each screen had support and flying systems that fit with the festival’s overall design. Over 25 million pixels were powered through three 4K main outputs and another three 4K backup outputs. “We have been working on this festival alongside Stonevent for years,” said Xavier Cruz Rubio, CEO, MappScreen. “We do all the calculations and pixel mapping for the event’s mega-screen, as well as managing content.” For this year’s festival, MappScreen used Christie equipment for the first time, with the performing VJs connected to the Spyder X80, sending a 4K signal by both HDMI and DisplayPort. The Spyder managed the VJ’s signals, scaling the 4K to three 4K outputs and relaying the signal to the screen’s six NovaStar processors. “Thanks to the Spyder’s number of 4K inputs, we were able to easily connect all the artists with a specific cable for each one,” Cruz Rubio commented. “That way we avoided having to share inputs and cables between the different artists or having to hot-swap live.” The MappScreen CEO was delighted with the performance of the Christie Spyder X80: “As always, it worked to perfection, proving that it is more than capable of powering such high resolutions on giant screens.” MappScreen used the Christie Terra AV-over-IP solution to extend audio, video, as well as embedded time code, (thanks to the built-in
synchronisation and metadata support) using fibre cable between FOH and the VJ’s desk on stage. “We are more than happy with Terra,” Cruz Rubio said. “If Terra didn’t exist, we would have had to use conventional fibre transmitters and receivers, with an equal amount of RJ45 cable to extend the VJs time code.” The MappScreen team thanked Stonevent for placing its trust in them and to its AV supplier Charmex for its on-going support. TPi Photo: Christie Digital www.bcnbeachfestival.com www.christiedigital.com
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45
KENDAL CALLING
KENDAL CALLING Jackinabox powers through the British outdoor elements with style.
Jackinabox has been Kendal Calling’s go-to video team for 13 years now, delivering big screen coverage and live streaming with its bespoke production systems. Built around an Atem 1 M/E production studio 4K switcher and a Raspberry Pi, the live mix was switched via a custom-built touchscreen app. “You simply tap a camera to cut to it,” explained Director at Jackinabox, John Surdevan. “You can either hot switch by touching any input and causing it to cut to that feed immediately or press once to cue a preview and then press inside the program box to initiate the cut. It’s such an intuitive way of working and feels almost like orchestral conducting – I couldn’t go back to traditional buttons now.” The Raspberry Pi configures both Atems. It keys the interface (GUI) coming out of the Raspberry Pi with buttons over the top of the multiview. The Pi then detects touch zones on the screen and bounces the message down to the 4K Atem to make the cut, along with lots of other standard functions like transitions. Surdevan added: “The Pi is handling the data request and syncing what’s happening on the Atem. It gets the video picture by connecting to one of our ingest system’s feeds – kind of marrying it all together.” Surdevan’s team also provided direct ISO feeds to touring artists who came to the festival with their own effects video team. “For example, Nile Rodgers & CHIC have been on tour with some of their own cameras and effects, along with cues we had to work with. As Transition Video is supplying the screens at KC and also happens to supply on the CHIC tour, they were fairly easy to integrate with each other.” He continued: “Video has become increasingly important, especially amongst the big pop/mainstream bands and artists who have a certain creative look they wish to maintain; it’s not just a simple IMAG anymore.” At the main stage, the Jackinabox team relied on nine cameras. “To reach the required number of cameras, we had to sacrifice channel cameras with owner-operator cameras, but we managed to match them pretty well,” Surdevan said. Inside the sound tent, at FOH, was a Sony FS7
paired with a B4 adaptor and a Canon HJ40. “Which was able to get even tighter due to the centre crop on the FS7,” commented Surdevan. “Also at FOH, we had a Sony PMW-500 with a J33, not quite as tight but better for bringing some wider movements in and out of the stage.” Inside the tent at FOH was an Ursa Mini Pro G2, as a locked off shot. In the centre of the pit, the team had a tracking dolly rail system with another PMW-500, this time paired with a Cannon HJ14 that, according to John, “gave a really nice wide shot”. A Sony PMW-200 was positioned stage right for profile closeups, and the sixth camera was a small PXW X70 rigged on a Polecam jib for floating crane shots. “This one produces a nice 4K picture, has SDI out, and is light enough to work well on the polecam,” said Surdevan. “We have a separate LANC controller to zoom, paired with the polecam’s own hothead. With very little space in the pit for a lengthy jimmy jib, the polecam was the perfect alternative for Kendal.” The last few cameras were DJI Pocket Osmos for drums closeups, with a homebrew PTZ and SDI out, and a handheld Sony PMW-320 on stage with a Hollyland wireless transmitter. “All recordings were done via our own ingest systems,” Surdevan explained. The systems also allow the user to edit with a timeline that automatically generates a multicam clip, correctly in sync, which then expands every five seconds. “This means someone can be doing a post edit whilst the performance is still being recorded,” added Surdevan. “We have a special 10-gigabit network which means our editors can work at speeds of one gigabyte a second – that’s insanely fast and makes it possible to play all 15 feeds at the same time, at full res. Editing seconds behind real time is incredible!” This year’s festival had a dinosaur theme, with a Jurassic Park-style entrance and a host of inflatable tyrannosaurus rexs bobbing up and down throughout the crowds. “I don’t know what was worse,” laughed Surdevan. “The torrential rain or all those dinosaurs getting in the way of our FOH shots!” TPi Photos: Blackmagic Design www.kendalcalling.co.uk www.blackmagicdesign.com 46
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SZIGET FESTIVAL
SZIGET FESTIVAL Upgraded inventory leads to smoothest-running festival yet.
Capital Sound hauled Martin Audio’s MLA loudspeaker array family across Europe in a two-truck arrangement, with assistance from Hungarian MLA partner, BG Event. The latter, in turn, provided its own Martin Audio inventory for two EDM dance stages. Both partners were equal to the demands of this stellar event, which last year alone saw an aggregated 565,000 visitors to the picturesque location on the Danube. “This year, we made changes to the field delays on the main stage and upgraded the subs to MLX,” stated Capital Account Manager Robin Conway. “We had 48 MLX on the front end in three 16 cardioid stacks with a further four by three high cardioid stacks in the field, making 60 MLX in total.” This was the result of a request by long-serving Hungarian audio crew chief and system designer, Marci Mezei. This led Capital Sound’s Paul Timmins – another omnipresent figure at Sziget – to remark: “The event gets bigger every year, which is why the PA
spec has grown. We are consistently asked to upgrade it.” With a stellar line-up including Foo Fighters, Ed Sheeran, Post Malone, Twenty One Pilots, The 1975, Martin Garrix, The National, Catfish and the Bottlemen and Years & Years, Timmins was able to report a near-universal thumbs-up to MLA from the visiting sound engineers. “MLA continues to improve with age,” he began. “Engineers were finishing their set and commenting that the PA appeared to sound better every time they played through it.” Conway believes the reason for this is “because of the firmware and systematic DISPLAY software upgrades”. In terms of PA, the main hangs consisted of 17 MLAs and an MLD downfill each side, with side hangs of 14 MLAs and an MLD downfill pointing out on each flank. The 48 MLX subs were spaced evenly in 16 three-high stacks, while Capital turned to the smaller MLA Compact for front fills, deploying 18 elements (six single enclosures placed on top of the subs, and two three-high stacks between the main and side PA on each side). Two four-element MLA Compacts were positioned behind the mix tower on either side as a shadow delay, while the four field delay positions (stage left and right) variously comprised six MLAs, nine MLAs, nine MLAs and eight 48
SZIGET FESTIVAL
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g k 0 0 10 MLAs – all supported by an MLD Downfill box and the three-high MLX cardioid stack. Much of the credit for the smooth running of the event went to Marci Mezei who, in addition to being sound system designer, was the main link with production director, Dániel Benis. Capital was well represented with the experienced Monitor Tech, Marty Beath and System Tech/FOH Tech, Toby Donovan. Jason Baird provided further tech support for the main stage, and BG Event’s Gabor Bacskay-Mazsi was also part of the main stage tech crew, working closely Mezei. BG Event provided Martin Audio solutions for the Bacardí Party Arena and Samsung Colosseum stages. For the Bacardí Arena BG provided 10 W8L Longbows as main PA on each side, with additional W8LCs and W8LMs as outfills and delays further down the tent. Subs comprised 30 WS218Xs. BG’s Chief Technical Engineer Viktor Meszaros reported the difficulty of working in a circus big top where it was necessary to create acceptable sound coverage while excluding the bars in the centre of the arena. “Also, there was a sound limitation of 98dB as the festival takes place in the middle of the city, and since this tent runs until 5am every day, it was important that we did not disturb the neighbours,” added BG’s Balázs Szentiványi. At the Samsung Colosseum, shaped like the ancient Colosseum in Rome, BG fielded six MLA Compacts and four MLA Minis (infills) each side (with further MLA Compact as delays). The DJ monitors consisted of a pair of the mighty XE500s driven by Martin Audio’s powerful iK42 amps, and subs comprised six WS218s and four W8LSs. Szentiványi explained that the technicians’ skill in programming the optimisations in DISPLAY allowed them to avoid sound leakage at the rear of the open-air Colosseum. “The difficulty was that while this was in-the-round, the PA was set up as an L-R system,” he said. “Subs were set behind the canopy cover that formed part of the design to help deaden them. The almost entirely techno presentation is a very sub-heavy genre, and we had to strike a balance between what the audience and festival organisers expected.” Overall the BG Event PA deployment proved just as successful as Capital Sound’s. Summing up the success of the event, Timmins declared: “In the 14-15 years that I have been coming out here, this was the smoothest it’s ever been. Having a local MLA partner really works well. “Sziget is always demanding, and it’s particularly tough with the heat, but we experienced zero equipment issues. For a week like this, to be able to say there were no technical issues to report is unbelievable.” TPi Photos: Rockstar Photographers www.szigetfestival.com www.martin-audio.com
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TANZINSEL OPEN AIR
TANZINSEL OPEN AIR Futurelight and Eurolite light up the Waldbüttelbrunn festival.
Featuring the likes of Deborah De Luca, Fritz Kalkbrenner, Moonbootica and Oliver Koletzki, the Tanzinsel Open Air attracted more than 10,000 visitors to Gemünden am Main in Lower Franconia. Responsible for the lighting design of the stage were Brian Krahmer and Simon Hanke, who have already made a name for themselves for their creative designs under the name LED Light Boys. The lighting technicians used equipment from Eurolite and Futurelight for the 12-hour outdoor event. After dark, the illuminated stage created an impressive atmosphere with a view of the river Main and the Scherenburg. Among others, 10 Futurelight DMB-160s, nine DMH-200 moving heads and 10 Color Mega Waves were used, as well as four Eurolite Multiflood SMD Strobes, 15 Super Strobe ABLs, three NSF-350 fog machines and two THA-250 theatre spotlights. “We deliberately positioned the 15 ABL strobes next to each other at a width of 9m behind the DJ and behind the VIP crowd
so that you have an ultra-wide Blinder/Strobo fixture,” said Hanke. “We placed the DMB-160 moving heads both below the ABL strobes and in front of the basses to shoot with sharp beams directly from bottom to top.” This created fascinating beam effects – especially after nightfall. When designing the lighting for the stage, the two LDs also attached importance to supporting the acoustic experience of the audience. “Three NSF-350 LED fog machines with ultra-fast dissolving fluid were also placed on the basses in front of the DJ desk and had a great fake CO2 effect with the LED ring around the nozzle even during the day. We’re not fans of CO2, because the drop is often ‘ruined’ acoustically.” Another highlight of the stage design was a lighting installation designed by the LED Light Boys. It consists of 185m pixel strings from Eurolite plus control units and power supplies. To control the LED installation, the boys used the powerful Madrix software. TPi Photo: Steinigke Showtechnic www.tanzinsel.de www.steinigke.de 50
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PEAK TO SKY
PEAK TO SKY FESTIVAL Jereco Studios designs and supplies a robust lighting rig for rock royalty.
With a line-up including Mike McCready (Pearl Jam), Duff McKagan (Guns N Roses), Taylor Hawkins (Foo Fighters), and Josh Klinghoffer and Chad Smith (Red Hot Chili Peppers), Frank Douglas of Jereco Studios knew that he “had to put together a package befitting of some of the biggest names in rock ’n’ roll”, for the inagural Peak To Sky Festival in Montana, USA. Douglas, who served as lighting designer, programmer and lighting op with lighting design and programming assistance by Lauren Plant, said a wide, symmetrical combination of spots, hybrids, washes and effect fixtures were chosen to populate a Stageline SL320 mobile stage provided by Rocky Mountain Rigging. The downstage electric housed all Elation IP65 fixtures – featuring eight Proteus Hybrids, eight Proteus Rayzor 760s and two DTW Blinder 700IPs – with the midstage holding LED moving head effect lights. The upstage electric held eight Elation Rayzor 760s, while the upstage deck housed LED moving head effects as well as 12 Elation SixPar300s, two DTW Blinder 700IPs, and a pair of ADJ Mega Flash strobes. The IP65 rating of the Proteus Hybrids and Rayzors, along with the DTW Blinders, were key to their downstage placement and role in the rig. “The new Proteus Rayzor 760s have excellent output and zoom to 77° for total coverage at any distance, making them an ideal wash fixture in their standard mode,” said Douglas. “I normally like to put spots/hybrids on my upstage electric and deck, but the Proteus Hybrids have proven to be a versatile go-anywhere beast. In beam mode they cut through the sky, giving it that big rock show feel, yet they also thrive in spot mode, and at that distance from the cyc were used for crisp gobo projection and animation.” The LD said the upstage Rayzor
760s were a perfect choice for mirroring the large LED moving head effect lights. “I ran the upstage Rayzors in pixel mode, which were plotted in 2D to control each cell. This made for more pleasing dimmer and colour effects, as well as pixel mapping alongside the LED effect lights in their extended mode.” The potential for rough weather dictated that the Proteus Hybrids worked from the downstage truss, and despite wind and rain throughout the weekend, the fixtures came thorugh “completely unscathed”. Douglas described one of his favourite looks using the the Rayzor 760s: “I was definitely looking forward to utilising the infinite pan and tilt of the Rayzor 760s,” he commented. “My favourite look using that was to write an effect using the infinite tilt and fanning out the offset and rate to achieve a spider-esque look of continually cascading light beams. I was able to incorporate the new SparkLEDs just by selecting a bunch of my favourite looks from their built-in macros, then manipulating their rate with a fader. It was nice to know I could still get excellent utility from the SparkLEDs even without needing to run them in the full extended 80-channel mode.” Rounding out the rig were Elation Lighting SIXPAR 300s, which provided upwash onto a cyc, while another pair of DTW Blinders were positioned directly behind Chad Smith and Taylor Hawkins’ drum risers to create a silhouette when blacking out the rest of the rig. “Elation has been at the forefront of developing LED and weatherproof fixtures, which are the future of entertainment lighting. We’re sticklers for efficiency and robustness, so choosing Elation was a no-brainer.” The Jereco crew comprised Owner, Jeremiah Slovarp, Technical Director/FOH Engineer, Stephan Gueguen, Monitor Engineer, Matt Grayson, StageLine Tech, Garrett Stephens, and “the most integral piece to our lighting world, our L2, Lauren Plant”. TPi Photo: Kene Sperry www.peaktoskyfestival www.elationlighting.com 52
CAMPER CALLING
CAMPER CALLING CPL returns as video supplier for the festival’s main Lakeside stage.
Organisers Jazz Events upped the ante for this year’s Camper Calling, investing in more production to ensure that loyal fans of this fun-filled, family-friendly event enjoyed a diversity of entertainment to the full. CPL has been involved since the first festival in 2016, and this time added LED IMAG side screens to the package for the first time. The line-up included Skunk Anansie, The Fratellis, Ash, The Feeling, Craig Charles, Sleeper, Tony Christie, Artful Dodger and many more. The stage – one of Star Live’s mobile structures – was bigger this year, around 15m wide, and the two IMAG screens were rigged either side, each measuring 6m wide by 3.6m high and made up from CPL’s ROE Visual CB5 LED product in Air Frames. Onstage more ROE Visual CB5 was set up as a 2.4m-wide by 4.8m-deep centre screen flanked by four different length columns – two per side – with drops of 4.2m and 3.6m. The interesting and gently asymmetric look was designed by CPL’s Events Director, Lee Gruszeckyj. The purpose of the design was to break up the stage and to ensure that all the acts could benefit from having video even when playing in the daylight. All the screens
were processed by Brompton Tessera SX40s – main and hot backup – for full redundancy. Meanwhile, a disguise 4x4 media server was supplied to feed the onstage screen elements, and CPL produced and composited all the content. Also feeding into the Barco E2 system used for screen management were four cameras: two Sony HXC-100s, one with a Canon CJ12 lens was stationed in the pit for close-ups, and the other was located back at the FOH position, fitted with an HJ40 lens for overall shots and some zoom-ins. Two of CPL’s Agile remote cameras were positioned onstage – one fixed on the stage left structural leg truss, and the other on a movable stand. This often sat behind the drum kit to capture a reverse shot of the crowd from stage, but this was variable depending on the act and their backline setup of choice. “We all really enjoyed being back for another year,” stated Gruszeckyj. “There is a fantastic atmosphere, and it’s great to work with a client committed to investing in and delivering proper production values and a great guest experience.” TPi Photos: Charlie O’Beirne @Lukonic www.campercalling.com www.cpl.tech
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TRNSMT FESTIVAL
TRNSMT FESTIVAL Adlib supplies a full technical production package to the popular Scottish festival.
Adlib enjoyed another bumper, busy and successful summer festival and event season, from which recent highlights have included supplying full technical production – lighting, audio, video and rigging – for the third hugely popular TRNSMT Festival, staged by DF Concerts over three days at Glasgow Green, Scotland. It was the first time that Adlib had supplied all four primary technical disciplines – including a production rigger – having been the lighting and audio contractor since the festival started in 2017. The three-day event – headlined on the Friday, Saturday and Sunday by Stormzy, Catfish and the Bottlemen and George Ezra respectively – was serviced from the company’s Glasgow office and project managed by Chris Neary, assisted by Graham Cochrane and Craig Hamilton. “It made sense for everyone to have one locally based technical solutions provider this year, which ensured the whole process ran smoothly and efficiently.” The stage was a Serious Stages 25m Space Roof, and below this, Production Rigger Jimmy Johnson – who has also been involved with the event since the start – flew a series of trusses. The ‘house’ lighting rig was
flown on four straight trusses and two side trusses. This setup emanated from their knowledge and experiences of the previous two events and was designed by the Adlib team to work for all the major acts. Neary worked closely with Lighting Crew Chief, Jon Barlow. The overhead and side trusses were populated with more than 90 moving lights, including Martin by Harman Viper Profiles, Claypaky Mythos hybrids and MAC Quantum Washes, 30 of each. The two headlining bands each night brought their own floor set-ups which, as well as those mentioned above, were Gerry Cinnamon, Bastille and Lewis Capaldi. As Cinnamon and Capaldi are existing Adlib clients, they provided their specials for LDs Pete Hutchison and Gary Wilson. The house lighting console was a MA Lighting grandMA3, plus a hot backup, and a WYSIWYG suite was provided at FOH, so visiting LDs could tweak their shows as necessary and maximise any additional time. The upstage ‘house’ LED screen was a 15m by 8m wall of Adlib’s new ROE Visual V8 LED product, which was utilised by the final acts of the day, as dusk fell into darkness. George Ezra’s production was a festival version of his distinctive touring set with windows built upstage of the house LED screen for the Sunday night slot. In the changeover, Adlib flew in and de-rigged the screen in just 18 minutes, re-revealing Ezra’s full set. A move that was “pretty impressive 54
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TRNSMT FESTIVAL
even by our exacting standards,” exclaimed Neary, clearly proud of the achievement and combination of good organisation and engineering. The side screens were two portrait-oriented 6m by 8m surfaces constructed from Unilumin 5.9mm – another Adlib stock LED product. A full 4K camera package included three Sony HDC4300 broadcast cameras, which were positioned at FOH, in the pit and handheld onstage, with Adlib also supplying dedicated operators. These were supplied with one of Adlib’s custom PPUs, which included a Panasonic AV-HS410 switcher. The TRNSMT video elements were coordinated by crew chief Rob Bickerstaff. A media server was supplied for the playback of ad stings, sponsor messages, public announcements and safety messages. Visiting artists with video content all brought in their own media servers and hooked into the Adlib system. The festival system was made up of L-Acoustics K1s and K2s, hung in a variety of configurations. The rig comprised left and right main hangs plus side hangs either side of the IMAG screens, utilising a total of 24 K1s and 24 K2s. The subs were L-Acoustics KS28s – 36 in total, all ground stacked in columns in front of the stage. Twenty-two boxes of KARA were used for infills, outfills and lip fills. Four delay hangs were built either side of, and
parallel with, FOH on two towers 20m apart, and these utilised a total of 28 K2 elements. The ‘house’ consoles were DiGiCo SD12s for FOH and monitors – with five supplied in total including a spare system. Most of the bands brought in some sort of audio package of varying sizes and complexities, all of which were accommodated with minimum fuss, and for those utilising the house monitor system, 12 Adlib MP5 wedges were available. Adlib’s Audio Crew Chief, Aaron Greig, worked alongside eight audio techs and engineers spread between the stage and FOH, and they made up part of the 24-strong crew covering lighting, video, audio and rigging. “Being the third year, we knew what to expect, which made things a lot easier and enabled us to refine some elements,” he stated. “Having a fully Adlib technical team also had many advantages, and everything worked out well including the weather,” he concluded. “We enjoyed the teamwork and camaraderie with the visiting crews and we’ve received some excellent feedback.” TPi Photos: Steve Sroka www.trnsmtfest.com www.adlib.co.uk
PYROTEK FESTIVAL HIGHLIGHTS The SFX and pyrotechnical specialist reflects on a memorable festival season.
Pyrotek Special Effects provided looks for Shinedown at Rocklahoma, Slayer at several of Europe’s metal festivals, and The Killers as the band headlined the Main Stage at Glastonbury. Memorial Day weekend saw the company head to the festival grounds of Rocklahoma in Pryor, Oklahoma. Supporting Shinedown, the company provided a full tour load of pyrotechnics, lasers and flames. Pyrotek’s Kinetic Wave 2.0 systems, an arsenal of La Maitre Quad Pro Salamanders, high-powered audience scanning lasers and a flurry of varying mine and comet looks (including large scale pyrotechnics) combined for an exhilarating ride through the band’s biggest hits.
The company also worked with Slayer as the band played at the likes of Hellfest, Download and Graspop during 2019 festival season. Notorious for their unparalleled intensity, the band commissioned Pyrotek to provide its own propane-powered Dragon Head and Dragon Tail units, alongside Le Maitre Salamanders and Xplo flame units. The band also had two separate effects rigs prepared for the European festival runs to abide by fire regulations in several countries. The Killers also benefitted from Pyrotek’s large-scale pyrotechnics for their headline slot at Glastonbury Festival. With over 150 different comets in varying colours, a mystifying waterfall of sparks and a staggering 45kg of confetti in hot pink and the colours of the Union Jack, the effects were nothing short of stunning. TPi Photos: Pyrotek www.pyrotekfx.com 56
LOLLAPALOOZA BERLIN
LOLLAPALOOZA BERLIN Colour Sound Experiment provides lighting, LED screens and sub-rigging for the Perry’s Stage.
It was the second year for the festival at the Olympiapark site in Berlin, and once again the Perry’s Stage was inside the Stadium, where a fantastic line-up was headlined by Underworld on Saturday and Martin Garrix on Sunday, and also featured the likes of Don Diablo and Scooter. Crew Chief Ricardo Lorenzini and Dave Ross led the Colour Sound Experiment crew, who sub hung three LX trusses from the roof and four vertical tower trusses per side in the mid-stage area. Another lighting truss was rigged either side above the IMAG video screens, and the rest of the fixtures were positioned on the deck along the front of the stage lip and in the stage wings. The upstage video screen measured 17m by 9m, made up from Colour Sound’s Unilumin ROE Visual CB5 screen supported by the two portraitformat side screens, each 7m by 5m, built from BT7 LED screen. Nearly 250 moving lights graced the ‘house’ rig – comprising Robe MegaPointes, Pointes and Spiiders, together with ProLights Diamond7 LED washes and 69 IP-rated AquaBeams. Robe Pointes and MegaPointes were dotted over all the trussing, with some on the floor front and back, selected as powerful workhorse fixtures due to their wealth of features, extremely quick movement, ease of programming and reliability. The AquaBeams were positioned in an arc behind the stage – from the seating stand area to the front, level with the side wings – with more on the wings as well as some strobes. The AquaBeams also combined well with the Robes to provide a barrage of contrasting and slightly different textured shafts of light that shot all the way to the back of the massive audience area. There were also 94 Molefay blinder units dotted around the trusses and the stage – a mix of 2-lites and 4-lites – along with 52 GLP JDC1 LED strobes. To ensure the atmospherics kept pumping, 26 smoke and haze machines were deployed on and around the stage. Dave Ross operated for any artists who didn’t have their own LD and the house console was one of Colour Sound’s MA Lighting grandMA3s with an MA2 as backup and a ChamSys MagicQ MQ500, which was used for Underworld’s headline show. A Resolume media server system and a five-
channel Panasonic remote camera package / PPU was integral to the video set up. This was looked after by Ed Blackwell, who cut the camera mix. Joining Lorenzini and Ross on the lighting crew were Geno Welburn, Cian Leow, Maria Richardson, Gergely Lokos and Alex Bratza, who worked alongside Janos Fodor and Ed Blackwell, who tech’d the LED and video. Underworld’s specials involved another 52 moving lights – more Diamond7 LED washes, Claypaky Sharpies for beams, Chauvet Rogue R2 washes, 14 active Sunstrips and 10 strobes. The kit for Martin Garrix’s ANIMA show, meanwhile, included 110 Robe Spikies and four SuperSpikies. TPi Photo: Philipp Gladsome www.lollapaloozade.com www.coloursound.comg
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UNTOLD FESTIVAL
UNTOLD FESTIVAL CLF fixtures light up one of Europe’s most visually impressive festivals.
Untold Festival has swiftly become one of the most beloved and acclaimed festivals worldwide, winning the award for Best Major Festival at the European Festival Awards, from its first edition. Now in its fifth year, attracts a global audience with its leading artists and exceptional visual production. Almost all stages for the fesitval were packed with CLF fixtures. Lighting Director André Beekmans from The Art Of Light was responsible for designing the mainstage, while Chris Das from Four Aces took care of production management and design of the secondary stages. The main goal was to make the light design even better than in previous years. To that end, 14 trusses with CLF Ares and Orion fixtures were added to the arena setup. “We used the Ares to create a massive audience wash, which worked really well for the livestream and pictures,” said Beekmans. “We used the Orions as effect lighting and, due to the double spot/beam functionalities, it was the perfect fixture to create spherical momentums that hyped up the crowd.” The stage had to be suitable for touring artists
with their own floor kits. The house rig made sure the whole stage was covered with a combination of spots, washes and beams. The wings of the stage were filled with scenery. CLF Yara fixtures took care of the small details, while CLF Ares fixtures functioned as main scenery wash. Das commented: “The Ares surprises me every time, in terms of their output and intense colours. The flexible diffusor kits make it very easy to find the right balance. “Because of the heavy-duty housing, excellent colours and high output, we decided to purchase Ares, Yara and LEDbar PRO fixtures,” said Das. As effect lighting for the complete mainstage, CLF Aorun beams were used. “The Aoruns were really helpful to extend the stage visually into the arena,” said Beekmans. “We are familiar with the usage and possibilities of the CLF fixtures and we use them on many other shows, including Amsterdam Music Festival. These fixtures were also very much appreciated by visting LDs,” he concluded. TPi Photo: Alive Coverage www.untold.com www.clf-lighting.com
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CLFLIGHTING 59
BACK TO THE 80S & 90S
BACK TO THE 80S & 90S Light Design delivers impressive production for the UK’s largest retro music festival.
Returning for its fourth year working on Back to the 80s & 90s, Light Design brought back the team from last year’s show, with James Dean heading up video and SFX production duties and Nick Humphrey as Lighting Designer and Show Operator. As well as upping the production values, this year’s festival also stepped it up a gear with a line-up comprising Tony Hadley, B*witched, S Club Party, D:ream, Nik Kershaw, Jive Bunny, East 17, Vengaboys, Heather Small, DJ Sammy, Sash, Alice DJ, General Levi, and Ratpack. The main stage lighting and video design consisted of a stage full of industry-standard fixtures and control equipment. The video element of the show centred around a 5.8m by 3.45m main backscreen using Light Design’s 6mm High Resolution Black Faced LED screen panels. Video control and processing consisted of two Green Hippo Amba Plus V4 Media Servers, Novastar MCTRL660 processing with Barco ImagePro-II scalers to facilitate all the necessary in and outputs required for the show. Humphrey rendered all the pre-vis designs and plans in Wysiwyg R42 Perform, to ensure all the show-critical elements worked in the company’s in-house Milos MR2K 12m by 10m Stage system, which was spec’d complete with PA wings, cow sheds and large off-stage technical areas for all the demanding stage changeovers required. The Main lighting rig comprised
16 Robe LED Wash 1200s, 12 Robe Pointes, 10 Martin by Harman MH3 Beams, six Robe LED Wash 600s, 16 Colorband Pix IPs, six 8way Thomas Stage Blinders, 12 Procan 2 way Stage Blinders, six Claypaky Stormy CCs, a pair of Look Solution Unique Hazers Mk2, two Jem ZR45 smoke machines, and eight Spectra LED Par Cans, all of which were hung from 16 Doughty large H Frames. Control and power consisted of an Avolites Arena as the main stage desk, all powered by a SES 72way distro with CHAUVET Professional and Proplex data distribution and LSC dimming. While special effects comprised a floor package of two Force FX Confetti blaster XLs, four Le Maitre Salamanders, four Le Maitre twin pods firing silver jets and theatrical flashes with four Magic FX CO2 jets, hung inverted from the stage roof and a pair of Magic FX Stadium Shots, which fired a combination of streamers and Vengaboys banknotes into the crowd. Light Design team, along with its client, James Dean Events, was delighted with the end result. Dean said: “I’ve used Terry and the Light Design guys for the past eight years; their creative designs and excellent delivery put them ahead of all others in the industry. We listen to our fans and they tell us year on year how much they love the production. Terry’s help and guidance has been invaluable to our company – especially in the early years – and it’s for those reasons we keep going back to Light Design.” TPi Photo: Ash Youd www.lightdesignltd.co.uk 60
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HIDE & SEEK FESTIVAL
HIDE & SEEK FESTIVAL Funktion-One sounds all four stages of the festival, including the latest outing for Vero VX.
Funktion-One systems sounded all four stages at Hide & Seek festival, which was organised by Manchester’s You&Me. The sound crew, which was headed up by Audioserv directors, husband and wife team Pete Rollinson and Marianne Springham, featured eight members for build days, scaling to four tech crew for event day. Funktion-One’s Tony and Ann Andrews were also onsite for build-up, taking a particular interest in the deployment of Vero VX. Vero VX’s deployment on the Contour Stage comprised left and right stacks of four VX90s, along with four F124 24in bass enclosures. Power was supplied by Funktion-One D-Series amps, and a Midas Venice 320 was used at FOH. Rollinson commented: “To have the new Vero VX showcased at Hide & Seek was brilliant. It was absolutely outstanding. In sound checks, we had issues with high frequencies bouncing off the trees at the back of the field. By making a couple of minimal adjustments to the vertical array angle, with its accurate coverage pattern, the issue totally disappeared, leaving even coverage across the audience areas. “We have been running the F124 subs this season and they just keep on giving. Immense low end and fast tight bass that you wouldn’t expect from such a huge driver. Just four subs for an area that could hold at least 2,000 people is incredible.” Tony Andrews added: “We’ve had Vero VX on
a number of festivals and shows over the summer, so we’re discovering exactly what it is capable of. One of the most surprising things is how effective it is with only four cabinets per side. We’ve been doing up to 5,000 people with that setup, with power coming from only two amps. Stretch Disco Tent was home to four Resolution 5Ts and four F221s and a Yamaha LS9 console, while the Dome Tent system had four Resolution 4Es and four F121s. Ten Trees Stage featured four Evo 7Ts with four F124s but lost its desk due to the torrential weather conditions – the engineer had to make all control adjustments from the main system processor (XTA X04). All three systems were powered by MC2 E Series amps. Rollinson said: “The Evo 7 tops do exactly what they are given and because of the area where we used them, their dispersion pattern meant that the crowd was covered, with absolutely no spill from them to other areas.” DJ kit included an Allen & Heath Xone:92 mixer on each stage, with an E&S DJR400, Play Differently Model One, and Rane MP 2016 with XP2016 also on hand to meet specific tech rider requirements. Springham concluded: “Most of our touring systems are Funktion-One. We completely believe in this brand and they have been really supportive of our company over the years. Next year, we’ll have Vero VX in our hire stock. We know this is amazing for live bands and can’t wait to do some live festival shows with it.” TPi Photos: Funktion-One www.hideandseekfestival.co.uk www.funktion-one.com 62
F1_VEROVX_TPI_MAY_2019.pdf
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BACK TO THE & 90S READING AND80S LEEDS
READING AND LEEDS Creative Technology celebrates its 25th year with the two famed festivals
This year, Festival Republic transformed the Main Stage IMAG screens at Reading and Leeds Festival, almost doubling them in size from 145 sq m to 270 sq m. Each of the huge screens, which were made up of InfiLED 5.9, measured a monstrous 22.5m by 12m, all provided by Creative Technology. A custom double curve at each end allowed the screens to be wrapped around the festival goalpost support structures, opening the stage area and giving the crowd some impressive close-up shots of the artists. CT also supplied Barco E2 switchers and 4K signal transfer to deliver video relay to the IMAGs (each of which were larger than 4K) with the additional provision of four cameras at Leeds, feeding images for the video relay to the IMAGs, all using Brompton processing. “As soon as conversations about the Main Stage LED started, I knew we had an exciting challenge ahead,” commented Dominic Hill, Project Manager at Creative Technology looking after Leeds Festival. “As with any large event, it didn’t happen without the odd hurdle along the way, but the entire on-site crew was attentive and hard working – they all deserve a huge pat on the back.” The impressive upstage screen measured 16.8m by 9.6m and was made up of ROE Visual CB5. The large screen was rebuilt and repurposed into different configurations each night by a full overnight LED crew. To add an extra dimension to the Main Stage and provide an unrestricted view for the
large crowds that gathered there, a FOH Screen measuring 12.5m by 7m was supplied, curving around the structure beautifully. In addition to the Main Stage LED and switching, CT supplied seven screens, which were built in the Radio 1 area. Creative Technology Project Manager, Jim Liddiard, looking after Reading Festival, commented: “Reading and Leeds 2019 undoubtedly offered an engineering challenge. We worked closely with UK Rigging to deliver the supersized IMAGs on the Main Stage and the result was incredible. None of this would have been possible without the crew, who were second to none.” On top of the LED element, CT Audio supplied sound to the BBC Radio 1 Dance Stage and The Pit / The Lock Up Stage. Avid Profile FOH desks were supplied to both stages, with the Dance Stage running a d&b V-series L & R system with V and J-INFRA subs, and out-fills were d&b Y-series, all running on D80 Amplifiers. The Pit / The Lock Up Stage was running a smaller d&b Y-series system, with B2-SUBs. At the monitors end of the multicore CT supplied Yamaha PM5D-RH and run d&b M4 stage monitors with side fills comprising d&b J-SUBs with V7P tops for the Dance Stage and d&b B4-SUBs with V7P tops for The Pit / The Lock Up Stage, all running on D80 amplifiers. TPi Photo: Creative Technology www.readingfestival.com www.leedsfestival.com www.ct-group.com 64
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ISLE OF WIGHT FESTIVAL / LET IT ROLL
ISLE OF WIGHT FESTIVAL Quantum Special Effects supports Biffy Clyro’s headline act at this year’s Isle of Wight Festival. With Biffy Clyro pulling from their extensive back catalogue, Quantum Special Effects provided four of its exclusive FL Spitfire flames delivering 100ft flames, four Spitfires (50ft flames) and 16 G Flames on stage. Complementing the flames, Quantum also used confetti and streamers, with a close-proximity pyrotechnic finale fired from behind the stage. “In total, Quantum has been working with the band for the past 10 years,” commented Shaun Barnett, Director of Quantum. “The effects and cues were a mixture of existing and new ones. We work closely with Lighting Designer, Richard Larkum, to add the right effect for each musical cue as Biffy’s shows are ever evolving.” Collectively, Quantum had six techs on site to install and operate the SFX safely. “Our exclusive 100ft-high FL Spitfire flames are very quick and easy to install, use and refill if required,” Shaun Barnett recalled. “With the large quantity of SFX on stage, behind the stage and in the pit, we needed six techs to ensure safety – our spotters did some mileage that night.” Barnett was happy to report that the weather throughout the weekend was kind for the FL Flames and pyrotechnic finale. “It was a busy festival for SFX. We worked closely with other SFX companies, sharing scissor lifts and planning loading times so we didn’t interfere with each other,” he commented. “Biffy’s production was as smooth as ever. We knew what we had to do before we got on site, and we all gelled together to make the show a success.” For control, the Quantum team utilised its Galaxis wireless firing system. The company currently has more than 150 10-way receivers in its hire arsenal. It enabled the company to control confetti blowers, stadium shots, Spitfires, FL Spitfires, G Flames, stage pyro and the close-proximity
pyrotechnic finale. “We have a PFC link to enable two control desks to run simultaneously, so should one go down, the other will continue to run the show,” he added. “Using the hazard zone feature allows SFX not being fired in a cue to be isolated, therefore eliminating the risk of firing the wrong effect at the wrong time.” Barnett concluded: “We’d like to thank Biffy Clyro and all our other clients for their continued business as we gear up for a busy autumn.” TPi Photo: @antoniatomlinson www.isleofwightfestival.com www.q-sfx.com
LET IT ROLL Kvant Lasers supplies the world’s largest drum ’n’ bass festival. Each year the event’s production spends a big part of resources on the main stage, and this time it was no different. Kvant Show Production supplied six Spectrum 20 full-colour laser display systems for the atmospheric effect and two LD 30 Spectrum units for the laser mapping of the main stage. The laser show sequence for the grand opening was prepared beforehand and synced to a DJ track. The laser mapping content was programmed on-site, with the aerial effects being adjusted for the best looks during rehearsals. The whole laser display was operated from an MA Lighting grandMA2 lighting desk, and while the opening sequence ran automatically from the timeline, the rest of the performance was done in live mode. With regards to laser safety, Kvant masked the outputs of all eight systems with four-way masking plates, restricting their projection zones securely to avoid any unwanted scanning of the audience. Not only that, but all the lasers were run via the emergency stop distribution hub with a single E-stop button. Due to distance between the projector locations and the laser operator position, the laser control signal was distributed via fibre-optic cables. The control signal back-up with directional wireless antennas was set up just in
case of unexpected turbulence. All of Kvant’s systems were also fitted with rain covers to protect them from very likely summer thunderstorms. TPi Photo: Kvant Lasers www.letitroll.eu www.kvantlasers.co.uk 66
MARKET FOCUS
CREW COMMS An overview of some of the leading manufacturers and rental houses working within the crew comms market.
ICOM Icomâ&#x20AC;&#x2122;s LTE radio system combines the best of cellular and two-way radio technology, providing high-quality, full duplex communications over pre-established cellular networks so users get licence-free business communication wherever they are in the UK. The system does not require its own repeater or IP network, thus keeping costs low and flexibility high. Ideal for event companies that move from site to site continuously and donâ&#x20AC;&#x2122;t spend enough time in one place in order to need to invest in infrastructure. LTE is for people and companies who need radio communications, regardless of where they are. The Icom LTE radio system operates over a private closed network using a high level of encryption on a cloud server, allowing private data and communications to be kept secure. The system uses the IP501H handset, which is designed to be used in commercial environments where users need to talk to one or more parties straight away. There is no need to dial a number, as the user pushes to talk directly to the other person or people in the group. The handset is designed to withstand rough environments and meets tough IP67 waterproofing and dust-resistant standards. The IP501H provides other features, like Emergency button, Man Down and Lone Worker function. These features are ideal for work environments where employees are working independently and need to be in contact constantly by voice or in case of emergency. With the audio quality and excellent noise-cancelling features on the Icom IP501H handset, audio can be heard in even the harshest of environments. www.icomuk.co.uk 68
CREW COMMS
SmartBoom technology, which allows the adjustable microphone boom to act as an on/off switch for quick muting. CrewCom helps easily manage single-stage communications as well as multi-stage events that require roaming capabilities to many additional areas. CrewCom’s unique conferencing system allows parties to speak to who they need to, when they need to, with remarkably effective RF coverage. CrewCom combines the intercom flexibility of a matrix with the simplicity of a party-line system in a wireless package, all without the cost or limitations of either system. CrewCom not only meets the demanding needs of professional live and theatre productions, but can also be used for school and local theatre communication needs. CrewCom reduces the need for user training by offering the easiest system setup along with the most user-friendly radio pack on the market. The ease of reconfiguration for new shows is an additional benefit to deploying CrewCom. The powerful, yet simple-to-use system also features superior voice quality and the industry’s smallest, fully featured professional radio packs. CrewCom is ideal for overcoming communication challenges such as tough production environments, inconsistent coverage, and total user limits that many experience with traditional wireless intercom systems. www.plianttechnologies.com
PLIANT TECHNOLOGIES Pliant Technologies’ CrewCom sets a new standard for wireless intercoms, as its innovative approach to professional wireless intercoms is designed to handle almost any application, from simple out-of-the-box solutions to large-scale designs for live sound, broadcast and industrial environments. With CrewCom, production crews of all sizes now have communication solutions that can connect to more people in more places than ever before. Based on a decentralised network architecture, CrewCom provides more flexibility and resources where needed, without the limitations found in other systems. The system’s advanced features offer the industry’s highest user counts, unparalleled range, and unprecedented scalability. Coupled with CrewCom, Pliant’s SmartBoom series of headsets feature exceptional audio quality, advanced features and design enhancements including the proven
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more spectrally efficient than the current FM (frequency modulation) technology on the market. This proprietary approach to AM makes the transmitter’s occupied bandwidth – a critical figure in wireless frequency coordination – more predictable. As a result, the UV-1G offers RF channels possessing an occupied bandwidth of a mere 20kHz with the audio characteristics one would expect from a traditional FM system. Base linking affords matrix-like functionality, offering up to 20 wired intercom channels and 40 talk paths at the push of a button. Since its introduction in 2014, the UV-1G has been used on every large live event in the USA including Super Bowls, NBA All Star Games and music award shows. The European market is ready for a wireless communications system that will resolve the problems of frequency congestion, setting up multiple antenna nodes and operating in DECT band. Radio Active Design is excited to present the UV-1G and all of the production benefits it offers to the European community. www.radioactiverf.com
RADIO ACTIVE DESIGN Radio Active Design’s UV-1G wireless intercom is an analog system that operates primarily in the VHF realm, leaving valuable UHF spectrum open for other wireless systems. The six-channel unit operates in licenced bands and can be coordinated with other users, making it far more reliable than the DECT band equipment in the market. Setup is quick and intuitive, allowing one person to set up a pair of antennas for a limitless number of beltpacks quickly. The hardware interface and software app are simple to use, making it extremely easy to change parameters of the pack, including radio frequencies, assignments and audio routing. The UV-1G features proprietary Enhanced Narrow Band technology, a unique amplitude modulation (AM) scheme that is 10 times
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as well as the cutting-edge Riedel Bolero wireless system all have a role to play in creating a complete communications ecosystem – even the humble Motorola two-way radio gets in on the act. Team Audio’s number one goal is to simplify the communication experience. There’s no need to juggle two-way radio earpieces and show comms headsets anymore – all the channels are within easy reach on an intercom panel. This has proved incredibly popular with immersive theatre productions where show comms and audience management are key to the whole experience. A single cue can be given to stewards and production staff with one key on the panel. With its various client cards, the flexibility of the artist system combined with the various programming options (including director software) makes for a unique integrated approach to show and event comms. The Bolero Wireless system has taken this approach to the next level, enabling Team Audio to deliver the same integrated experience to mobile users. With key event radio channels and show production comms on a single belt pack, one set of noise-cancelling cans facilitates clear and precise mission-critical communications, whatever the event. www.teamaudio.net
TEAM AUDIO Formed in 2012 by audio engineers Alison Dale and Mark Isbister, Team Audio has established itself as a key player in the hire of bespoke event communication solutions. Working with a diverse range of clients across all sectors of the broadcast and live events markets, Team Audio has deployed communication systems on many different events, from major sports events such as European Rugby Cup Finals, to tours with Shawn Mendes and The Spice Girls and large events such as BBC Proms in the Park and Glastonbury Pyramid Stage. Every event Team Audio looks after has a different set of requirements and the company stocks a diverse range of equipment, which enables it to tailor its systems to best serve each particular production. Basic two-wire systems from Clear-Com and RTS, Green-Go IP-based intercom, fibre networks, VoIP phones, Riedel digital matrixes and panels 74
CREW COMMS
At IBC2019 in Amsterdam, Riedel Communications previewed two new apps for its 1200-Series SmartPanels. The Control Panel App enables industry partners to utilise the SmartPanel as a user interface for control, monitoring and automation solutions, while the Audio Monitoring App lets users monitor up to 16 ST 2110-30 (AES67) channels simultaneously. With the Control Panel App, third-party control, monitoring and automation systems can now leverage the power of the RSP1232HL’s highly intuitive user interface. Users can trigger actions in third-party systems and get visual feedback on configuration status and changes via the SmartPanel’s screens and LEDs. For this initiative, Riedel has teamed up with several industry control and automation vendors, including Atos, Axon, Broadcast Solutions, Lawo, Skyline and Pebble Beach Systems. “The app offers several advantages to a proprietary control solution. Most importantly, its NMOS underpinnings allow a third-party system to discover all of the panel’s control elements automatically and assign any desired functionality,” said Marco Muckenhaupt, Senior Product Manager, Riedel Communications. “We are thrilled to have the support of some of the
RIEDEL key vendors in the industry and it’s great to see manufacturers working hand in hand to deliver real benefits to users across platforms.” Leveraging the dual-ported stereo speakers on the 1200-Series panels, the Audio Monitoring App allows users to monitor audio easily, for confidence and quality, while performing typical intercom workflows simultaneously via the Intercom App. Users can select up to 16 mono AES67 channels in parallel from a total of 128 channels and organise them swiftly within the app‘s intuitive browser-based configuration tool. “Many conversations have shown us how challenging it can be to integrate intercom, control and audio monitoring at the same positions in narrow-space environments,” commented Muckenhaupt. “With our SmartPanel concept, we allow customers to react to those needs quickly and flexibly – all with the same hardware.” www.riedel.net
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CREW COMMS
CLEAR-COM With its roots in live performance and centuries of combined real-world experience among its staff, Clear-Com knows and understands the challenges of live performances. Be it in theatres, performance centres, stadiums, festivals or awards ceremonies, Clear-Com’s solutions ensure the dependable and coordinated communications that are a critical success factor for any production. Clear-Com intercom systems have graced the stages of thousands of performance venues and music tours around the world. The HelixNet Digital Partyline system is highly scalable and offers exceptional audio performance over IP, plus greater user control and more I/O ports via the LQ Series IP interfaces. The award-winning FreeSpeak II digital wireless system has, time and again, proven itself to event production teams around the world with its reliable RF connection, 2.4GHz and 1.9GHz frequency options and overall superior performance, making it the de facto standard for live production communication; and the recent addition of the ground-breaking FreeSpeak Edge to the family adds even more advanced capabilities, harnessing the power and scalability of the 5GHz band and AES67 connectivity. The Agent-IC mobile app opens things up even further for productions split across wide areas; Agent-IC effectively turns iOS and Android mobile devices into control panels, connecting securely across multiple IP networks over 3G, 4G and Wi-Fi. Thanks to Clear-Com’s global presence
and its ability to support systems worldwide, the likes of multi-awardwinning musical phenomenon Hamilton is able to rely on an end-to-end Clear-Com IP-based intercom system for all of its permanent global theatre installations and touring productions, while Ed Sheeran’s mammoth ÷ (Divide) 2018 global tour was supported throughout by a Clear-Com digital wireless intercom solution. Clear-Com delivers a host of product lines that interconnect to provide an effective and trusted communications infrastructure. www.clearcom.com
it became apparent there was an opportunity to expand our activities on a global scale. “Having visited Brit Row’s parent company, Clair Global, at its Pennsylvania HQ, the magnitude of their operation made joining this pioneering group of audio specialists a simple decision. Surfhire now has the resources to be able to service clients in most territories, with local support and expertise. As growing demand for complex comms packages reaches all manner of events, this is a comforting thought.” www.surfhire.net
SURFHIRE Led by Simon Hodge, Surfhire provides technicians and customised, mission-critical comms equipment and extensive networking systems for a growing number of artists, such as Robbie Williams, Kasabian, Drake and Take That, as well as televised events, including the UK Athletics. The company recently provided a comprehensive comms package for Hugh Jackman’s The Man. The Music. The Show. tour, which comprised a Mark 5 Print Pod-based IT system for the backstage area and Hytera UK pro mobile comms radios for the entire production. Hodge also oversaw global RF licensing, ensuring that once the tour left the UK, RF frequencies were show-ready, resulting in zero interruption. A truly global tour, the radios had 19 territorial frequency zones, which had to be licensed – in some cases nine months ahead. The tour also carried a matrix comms system based around a 32-port RTS Zeus matrix, DKP16CLD panels which performed show calls into mobile users and a distributed backstage speaker system for artist show calls. Surfhire was recently acquired by Britannia Row Productions, having enjoyed a close working relationship with the legendary audio rental house for more than 10 years. Commenting on the purchase, Hodge stated: “I’ve been growing Surfhire for over a decade and, following several conversations with the team at Brit Row about where I wanted to take the company in the future,
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INTERVIEW
BOB O’BRIEN:
SOS GLOBAL EXPRESS ENTERTAINMENT & MUSIC DIVISION After nearly three decades working in the live events industry, Bob O’Brien makes the leap from Production Manager to working with SOS Entertainment Logistics, a division of SOS Global Express. Having been in this new role for almost a year, TPi caught up with O’Brien to discuss the move…
The end of a tour always brings that inevitable question; what next? While most have their eyes set on the next tour bus, Production Manager Bob O’Brien had other ideas. Following another very successful campaign with The Script, the PM opted to hang up his touring laminate and set out on a new venture in the world of entertainment freighting. “Over the years, I’ve worked for a variety of artists including The Script, Ellie Goulding, Franz Ferdinand, Arcade Fire and The Strokes,” said O’Brien. After his final run with The Script, followed by a stint working as Production Manager on the Papal visit in Ireland, O’Brien knew it was time to try something else. For over 30 years, SOS Global Express has made a name for itself in the world of freighting with an enviable selection of clients
in TV, music, film and sports. Across all these sectors, clients trust SOS to handle all aspects of time-sensitive freight movements with very tight control. The company has come along way since getting its break working for ABC, handling several small shipments for the 1988 Winter Olympic Games in Calgary. Based in New Bern, North Carolina, SOS has 10 locations across the State, with a further three international offices in London, Hamburg and Moscow. With over 200 staff from logistics specialists to sales staff, the company prides itself in being able to offer a true 24/7 service year round. Over the years, SOS has diligently developed its entertainment arm of the business and most recently has formed a business partnership with 78
• Over 30 years experience in the event industry worldwide • Flexibility, honesty, integrity and personal service • Adheres to ‘Best in Class’ customer service and support
Premier Logistics provider to Major Events since 1986 In Excess of 3,000 yearly events including sports, music, film and tv events coordinated by dedicated teams 24/7/ 365 USA : sos@sosglobal.com +1 252 635 1400 sosglobal.com UK : sos@sosglobal.co.uk +44 1707 871565 sosglobal.com Germany : info@sosglobal.eu +49 40 611 6407 11 sosglobal.eu Russia : info@sosglobal.ru +7 925 417 31 06 sosglobal.ru Brazil : info@saxlogistica.com +55 11 2368 0290 saxlogistica.com.br
BOB O’BRIEN
SOS Global Express’ Bob O’Brien.
entertainment and touring specialists Horizon Entertainment Cargo, led by “Despite the usual challenge involved in an event with various locations music touring veteran Phil McDonnell. The appointment of O’Brien to head throughout Japan, SOS is well versed to deal with such issues having up this partnership is yet another piece in this expansion. worked in the region for over 30 years.” “Over the past 15 years, I have seen first hand the amount of touring After almost a year working with SOS, O’Brien reflected on some of the that every band has to undertake in order to guarantee various levels of biggest challenges he had come across since joining the transport side of revenue,” commented O’Brien, reflecting on his personal experiences from the touring industry. life on the road. “There are so many shows in place for 2020 and as a result, “It’s been a re-introduction to seeing how various airlines prioritise bands and suppliers are under more pressure than one shipment over another at short notice. It has ever before with schedules and moving equipment always been a concern when moving any tourand productions around the globe – in most cases related gear throughout the world,” he continued. with little or no time in between shows. “Now I see that, at first hand and in a very short “Over the past 15 years, I “I’ve always been interested in the logistic space of time, I have to make sure I know where side of touring and the time-sensitive schedules,” every piece of equipment is from the moment it have seen first hand the he continued, explaining why he wanted to enter leaves it’s origin to when it arrives.” amount of touring that every the field. “With my background in touring and live SOS Entertainment Logistics’ arm of the shows I have a solid base in understanding when business has already had a busy 2019, having band has to undertake in a schedule will pose issues with-time sensitive worked with acts including The Strokes on their order to guarantee various logistics and how to come up with solutions. I’m latest tour. “We have various standing contracts more than familiar with the usual routes tours with PRG across the touring side of things levels of revenue. There are often take, so it seemed like a natural fit to come alongside handling all logistics with the band, so many shows in place for aboard.” Picture This,” commented O’Brien. In fact, it seems that more people in O’Brien’s While working on building its client base, SOS 2020 and, as a result, bands position would consider a move into logistics. He is also rebranding, complete with a new website and suppliers are under more furthered: “I haven’t met anyone who has gone in an attempt to help open up the business to new this route as previous touring guy to working in potential customers. “SOS knows that in the live pressure than ever before, freighting. Personally, it seemed like a natural touring industry, there are long-standing loyalties with schedules and moving transition. It’s also a nice change of pace. When that various vendors and bands have with their you’re in the throws of a tour you get stuck in a support companies,” concluded O’Brien. “All we equipment and productions little bubble, but since joining SOS Entertainment are doing is letting people know we are there and around the globe – in most Logistics, I’m in contact with far more people from that we offer a first-rate logistics network with over the industry.” 30 years of experience!” cases with little or no time in Upon joining SOS, O’Brien was tasked with TPi between shows.” overseeing existing tours and also the advanced Photos: SOS Global Express planning stages of the Rugby World Cup in Japan. www.sosglobal.com SOS Global Express’ Bob O’Brien 80
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IN THE FIELD
IN THE FIELD: CHAUVET PROFESSIONAL ÉPIX STRIP IP Jacob Collier updates his lighting rig, adding CHAUVET ÉPIX Strip IP fixtures to his touring arsenal. Lighting Designer Luke Edwards of Cue Design explains why the fixtures are vital to the multi-instrumentalist’s midi-controlled, multicoloured multi-verse…
Jacob Collier’s live shows are described as a journey through every musical genre under the sun. Case in point is the London-based performer’s latest project: Djesse – an ambitious four-volume, 50-song album featuring more than two dozen artists and ensembles. Lighting Designer, Luke Edwards of Cue Design helped create an immersive environment for musicians and the audience by utilising the capabilities of CHAUVET ÉPIX Strip IP fixtures. Edwards first came across the fixtures while searching for LED strip products. “Matt Hallard at CHAUVET Professional convinced me to have a look at the ÉPIX,” he recalled. “With its high pixel count, robustness and lightness, it ticked all the boxes for us. Jacob was so impressed with them that he invested for the four years of touring ahead of us.” To this end, Edwards used 32 CHAUVET Professional ÉPIX Strip IP 1m-long RGB strips in his 12-universe show. Each of the ÉPIX Strip IP units were topped with “old school” Edison bulbs – an arrangement that
symbolises Jacob Collier’s multifarious music, which bridges the gap between digital and analogue. Using the ÉPIX Drive 2000 IP, which is required with this product, allowed Edwards to control the ÉPIX Strip IP via Art-Net, Kling-Net, or sACN to configure and program shows in a matter of minutes rather than hours. A total of 16 ÉPIX Strip IP fixtures were rigged upright on stage. “Using them as colour blocks, twinkles and sparkles gives us a lot of flexibility during the show to change the mood on stage and set the scene,” Edwards commented. “They are fully pixel mapped so we have full control, allowing for some interesting looks on stage.” The new 1m LED strip also features a quick-programming mode that greatly reduces the amount of time needed to set up pixel-mapping programs by allowing access to several prebuilt effects while using just a few DMX Channels. Collier is famed for his energetic and interactive performance style that often sees him running around the stage, the small 82
CHAUVET EPIX STRIP IP
Lighting Designer, Luke Edwards of Cue Design.
footprint of the fixtures is a huge advantage. With 100 RGB SMD 5050 LEDs lined up in a row, the ÉPIX Strip IP produced a stunningly bright output and extremely highresolution graphics. Adding to its versatility are its three different lens covers, which can be used to create a wide range of diffused and high contrast looks. In keeping with this flexibility, the ÉPIX Strip IP offers a variety of programming options. As an alternative to the quick programming mode, Edwards could opt to control each pixel individually, or divide the fixture into five-, 10-, 20-, or 50-pixel sections – also maintaining the ability to utilise the fixtures as a media server to control every pixel or section. When it came the larger shows – Sydney Opera House, for example – Edwards increased the number of fixtures used, doubling the amount from 16 to 32 CHAUVET Professional ÉPIX Strip IP fixtures. Ruggedly built, Edwards concluded that ÉPIX Strip IP are “ideal” for the touring environment. “Not only are the strips IP65 rated, but the four-pin XLR connectors that link them to the ÉPIX Drive 2000 IP are, too. These connectors are also fast and easy to work with, further simplifying life for end users.” TPi Photos: Jordan Munns www.jacobcollier.com www.cue-design.co.uk www.chauvetprofessional.co.uk
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GEAR HEADS
ALLEN & HEATH AVANTIS Allen & Heath’s R&D Director Andy Bell and Head of Product Nic Beretta discuss the company’s latest audio console, the Avantis.
What were the initial goals for Avantis? Andy Bell: The goal for Avantis is to bring a next-generation, 96kHz console to a middle segment of the live sound market where most of the mixers currently on offer are 48kHz, DSP-based desks that are getting a bit long in the tooth.
expanders, you can even use those with the new console. Customers will also have the option of upgrading their console with the Avantis dPack, which is an awesome package of dLive processing, including Dyn8, DEEP Compressors, and the Dual Stage Valve Preamp. What sets it apart from the other two consoles? NB: Channel and bus count is the most obvious differentiator between the three series. At 64 inputs and 42 mixes, Avantis fits neatly between the 48 input, 36 bus SQ and the 128 input, 64 mix dLive. Avantis is designed as an all-in-one console, with the ‘brain’ in the console, whereas dLive is a mixand-match solution with the processing in the MixRack, capable of scaling from a fly-in rig to a vast installed system with 800 total system inputs and 96 remote controllers.
When did this development begin? AB: We devoted a large R&D team to the Avantis project, so we’ve been able to deliver it in around two years from first concept to completion, which is a pretty impressive timeframe for digital console development. The new release is the third instalment of the 96kHz Mixer Trilogy. What features from both the dLive and the SQ have been brought in? Nic Beretta: Avantis and SQ are both adapted from the XCVI FPGA core that we first developed for our flagship dLive series. One of the big advantages of the system is that it comes with a ready-made ecosystem of audio networking cards, personal mixers and our Everything I/O family of 96kHz DX and DT expanders – and if you’ve already got our 48kHz AR and AB
What markets within the events industry do you foresee the Avantis thriving in? NB: Avantis is made for Allen & Heath’s heartland of live venues, rental and AV companies and houses of worship. 86
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The third mixer based on our 96kHz XCVI FPGA engine, Avantis puts all our next-generation technology in a standalone 64 channel / 42 configurable bus console, with dual Full HD touchscreens, a super-flexible workflow with Continuity UI, extensive I/O options, add-on processing from our flagship dLive mixing system, and a rugged full metal chassis. Step up to Avantis. Leap ahead of the curve.
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How does the desk’s design deal with the rigours of live touring? AB: Ruggedness and reliability is something of an obsession for A&H. Our consoles are used right around the world, so they need to handle heat, cold, humidity, dust, dirt roads and rough handling. We put our designs through a punishing regime of simulated and real-world testing before they’re approved for production. Avantis’ all-metal chassis gives it great strength and rigidity – even in our drop-tests, the frame has taken terrific punishment and done its job of protecting the audio core.
What aspects of the control surface are engineers going to appreciate? NB: Having two huge, full-HD touchscreens with over 200 sq inches of screen real estate lets the engineer keep more of the controls they need at their fingertips. We have built a new user interface, which we call Continuity UI. Continuity is all about the seamless connection between the physical controls and the screens. From all the feedback we’ve had, we’re confident that engineers will find it incredibly easy to walk up and mix on Avantis. Another exciting new feature is the Fast Grab Tabs concept, which lets the engineer assign parameters like AUX sends, EQs or compressors and have them dynamically show up at the side of the screens when they’re needed.
Did you bring any sound engineers in during the design of the project? AB: We’re lucky to have developed great friendships with many accomplished audio engineers, and their feedback has been invaluable during the development of Avantis. We also have an in-house application engineer who spends half their time touring and half their time embedded in R&D, so we are always plugged in to real-world feedback. Understanding engineers’ workflows has a particularly significant bearing on the console’s UI – one of the best compliments we hear is that engineers find the controls on our mixers exactly where they instinctively look for them.
When can we expect the Avantis to start shipping? NB: We’re happy to say that Avantis is already on its way to our distribution partners, so look out for early tours and installs this side of Christmas. TPi Photos: Allen & Heath www.allen-heath.com 88
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GEAR HEADS
DPA MICROPHONES 6000 SERIES DPA Microphones Product Manager René Moerch, discusses the new DPA 6000 Series of Subminiature Microphones.
What were the original goals in the development of the 6000 Series? We wanted to create a microphone platform that delivered the same very high performance results as our established and 4000 series, but in a much smaller form. This required us to shrink the capsule down from 5mm to 3mm, which is tiny and the smallest microphone DPA has ever made. At the same time we were looking to incorporate this capsule into the ultimate headset microphone – one that met all the requirements of our various users across a number of industry sectors. We spent a lot of time working with customers to identify exactly what they wanted and we knew we needed to deliver a headset that was secure, lightweight, unobtrusive, easy to fit and extremely comfortable to wear. It also had to look sleek and sophisticated and, of course, deliver DPA’s renowned audio quality.
fantastic response from customers – to the point where we have lost count of the number of customers who have told us that, from now on, this is the only headset they will wear. What are the technical specifications of the DPA 6000 Series? In general the specifications of the 6000 series are on a par with our 4000 series of miniature microphones, which have been serving the audio community very well for many years. These microphones are so accurate that they set the standard for high performance and high durability from a capsule with a very small footprint. Indeed, our 4000 series is the mainstay of many prestigious theatre productions on Broadway and in London’s West End. The 6000 Series follows this tradition by offering comparable audio quality. For example, the noisefloor of the 6066 is exactly the same as the 4066. From a purely technical point of view, this shouldn’t be possible because the 6066 is approximately 60% smaller and the diaphragm is only about 30% of the size of the 4066. In theory, this should lead to a higher noisefloor as the diaphragm area plays a significant part of the selfnoise of a microphone – a larger diaphragm equals lower noisefloor and vice versa. However, our design team has achieved the impossible, and we now have a subminiature capsule with the same noisefloor as our miniature capsules – and with the same ability to withstand high sound pressure
What are the key design elements and how do they benefit the end user? The main design element of the 6000 series is its size. Because the capsule is so small and has such a low profile, it can be hidden much more easily. This means that on-stage performers, broadcasters and people working in film sound now have a microphone that is virtually invisible without sacrificing sound quality at all. All those attributes of stability, comfort and ease of use that we have designed into the 6000 Series headset has made it the first choice for many performers and presenters. Since launching it at IBC 2018, we have had a 90
DPA 6000 SERIES
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DPA Microphones’ René Moerch.
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levels. We have achieved this by incorporating CORE by DPA preamplifier technology that reduces distortion and increases dynamic range. Indeed, the noisefloor of the 6000 series – and its ability to reach high sound pressure levels without distortion – is better than any other 3mm capsule on the market today. One final point to note is that all of the microphones in our 6000 Series have IP58 ratings, as do all 4000 Series microphones that incorporate CORE by DPA. This ensures that they can withstand the toughest conditions, as they have a waterrepellent nano coating as well as hermetic sealing of the sensitive amplifier parts and dual gold plating of the diaphragm. How does the 6000 Series complement DPA’s d:screet Lavalier and d:fine Headset Microphone ranges? Our customers benefit from smaller-sized capsules that are much less obtrusive, without having to sacrifice the high quality and durability they have come to expect from DPA’s 5mm 4000 Series. They also have access to a headset that is much lighter, more comfortable and more secure. What the 6000 Series really brings to our Lavalier and headset ranges is choice, because customers can now pick the right microphone for their requirements with the peace of mind that comes from knowing it will sound great – even if it has to be hidden in clothing. For sound engineers, especially those working in film and broadcast, there is the added advantage of interchangeability because it is virtually impossible to tell whether a 6000 Series or a 4000 Series microphone was used when the audio reaches the mix. What feedback have you received from users? The customer feedback has been overwhelmingly positive, both in terms of recognition of the fantastic sound quality and the high build quality. The 6066 Headset, in particular, has had really profound feedback because users recognise that we have taken on board all the insights they gave us when we were initially specifying the design goals of this product. The extremely positive comments they have given us focus on the small form
factor of the capsule/boom, the non-reflective surface formed by the PVD treatment and, of course, the stability of the headset with its new three-point grip behind the ear. They also appreciate the height adjustable boom round the pivot point below the ear and the cable management system that leads the cable the ‘right’ way down the neck so that it can’t be seen. The headset is such an innovative product that it received a Red Dot Design Award this year, which was really pleasing because it was an endorsement from outside our usual industry spheres. How important was feedback to the development of the product? During the design process of any new DPA product, we always visit our customers and ask them what they want. This was especially true of the 6000 Series, where we had product specialists on the road for many months, talking to customers and bringing their input back to the R&D department. Doing this obviously ensures that we are on the beat in terms of their requirements but, even more importantly, we are looking at what they are doing and how they actually work, so that we can better understand their pains and provide solutions that fit their needs. Where will we see the 6000 Series this year? Well, that is quite difficult to answer because the whole point of the 6000 Series is that it is too small to be seen! But joking aside, it is already being used on some very prestigious shows. For example, the Les Misérables concert show in London, Hamilton and The Cher Show in New York and Harry Potter and The Cursed Child in Melbourne, Australia. We also know that the subminiatures mics have been deployed on some prestigious film productions such as Danny Boyle’s Yesterday, as well as various TV shows. Orders are also coming in from rental companies for corporate events, many of whom have bought huge numbers of the 6066 Headsets – more than 150 of them in the case of one company – so I imagine a CEO or two will soon be kitted out with our almost-invisible microphone. TPi www.dpamicrophones.com 91
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FUTURE INSIGHTS
FUTURE INSIGHTS The latest product releases and announcements from this year’s PLASA Show.
ADJ ADJ showcased six new moving head fixtures, demonstrating the latest additions to its range of professional moving head luminaires; including beam, wash and hybrid fixtures as well as the much-anticipated Hydro Series of IP65-rated models. The flagship of the Hydro Series is the Hydro Beam X2, an extremely bright and feature-packed luminaire. Second in the new series is the Hydro Beam X1 – a compact yet potent moving head powered by an Osram Sirius HRI 100W discharge lamp. Finally in the Hydro Series is the new Hydro Wash X7 – a powerful LED wash fixture. ADJ also displayed the new Vizi Wash Z19 – a 380W professional moving head wash fixture powered by 19 20W four-in-one RGBW LEDs. Finally, the new Vizi CMY 16RX is a true hybrid moving head that functions interchangeably as a spot, beam or wash fixture. www.adj.com
ARKAOS ArKaos highlighted the latest version of it flagship MediaMaster Pro 5.6 real-time video control software on the stand of its UK and Irish Republic distributor, Entedi. Now available with a totally new ‘license rental’ service, which enables weekly rental periods of MediaMaster Pro usage, this latest development greatly increases flexibility and affordability for anyone involved in specific projects or events on which they want to use this award-winning platform. ArKaos also enjoyed the PLASA energy, observing that they saw more high-quality and serious visitors than last year, underlining PLASA’s place as a hub for the UK’s entertainment technology industry. www.arkaos.com 92
FUTURE INSIGHTS
AVOLITES Avolites showcased the Q4 media server, the latest development in the Q server range, on stand K50 at PLASA 2019. The new Q4 media server boasts four full 4K outputs, which can drive three layers of visually lossless, 4K content to every output simultaneously. The new Q4 features Avolites’ powerful Ai software, built on the Salvation node engine, which provides the tools needed to create stunning shows, whatever the requirements. Furthermore, the new server will also ship with Modular Flex Inputs, allowing for video inputs to be swapped in and out to suit every situation. www.avolites.com
AYRTON As Ayrton marks the halfway point of its Multi Twenty-one programme – it’s exciting three-year strategic vision to release 21 new, innovative fixtures by the end of 2021 – the company launched two new products and previewed another at a very successful PLASA 2019, along with its exclusive UK distributor, Ambersphere Solutions. Perseo-S and Huracan-X were the two to receive their official launch and visitors were treated to a first look at Karif-LT, due for release at LDI in November. Shipping now, Perseo-S is Ayrton’s first multi-function, compact, powerful, IP65-rated fixture developed for intensive outdoor use. Huracán-X is a unique profile luminaire with some exceptional features. Continuing its theme of naming its products after the winds of the world, Ayrton previewed Karif-LT, its brand new 300W LED hybrid with an incredible 3° to 45° zoom range. Ayrton was also proud to have supported the Knight of Illumination Awards by sponsoring The Ayrton Award for Drama, which was won by Anna Valdez-Hanks for Clique series 2. The KOI Awards celebrate the work of lighting designers in the UK and Ayrton will continue its support at the KOI-USA Awards in November. www.ayrton.eu
BROADWEIGH Broadweigh Bluetooth system was a major talking point on the A.C Entertainment Technologies (AC-ET) stand, having made its PLASA debut this year. The kit, which launched in June, has already been put through its paces at some major events – including the New York Auto Show and Glastonbury – and is in the running for the 2019 PLASA Innovation Award. Visitors to stand E30 saw a demo of the Bluetooth cells. Broadweigh’s standard load cells were also on display as well as the Wind Speed Sensor and TwistLink. Broadweigh also launched its in-house calibration service. www.broadweigh.com
CHROMA-Q Chroma-Q continued to celebrate its 15th year as a producer of performance LED lighting products by showing its latest range of LED solutions at PLASA 2019. Making its PLASA debut was the new Chroma-Q Space Force onebytwo variable white LED soft light panel. The popular Space Force fixture, upon whose technologies the onebytwo is based, was also on display. Visitors also experienced a demo of Vista 3 ‘Release 2’ (R2) control software, which adds a number of new features including expanded fixed installation and external trigger capabilities; an astronomical clock; and new auto show load options. The Vista EX and Vista MV control surfaces were also showcased. www.chroma-q.com 93
FUTURE INSIGHTS
ETC & HIGH END SYSTEMS ETC and High End Systems returned to PLASA on stand J38A/B with a selection of its latest products, ‘Tech Talks’ seminars by ETC specialists and an evening of networking and Augment3d games. Augment3d is ETC’s first integrated 3D programming environment, which will be a part of the upcoming Eos v3.0 software. A range of the latest moving lights were displayed, including High End Systems’ SolaWash 1000, TurboRay and ETC’s Relevé Spot. ETC’s newly acquired ArcSystem, BluesSystem and CueSystem product lines were also present, alongside interactive product presentations with product specialists on hand to provide demonstrations of the new options and features ETC has added to ArcSystem family, such as Fade to Warm and RDM versions of the entire ArcSystem range. www.etcconnect.com
HIGHLITE Highlite International BV displayed an array of new items and developments at PLASA 2019. As a long-term PLASA member and worldwide distributor of brands like Showtec, DAP Audio, DMT and Infinity, Highlite not only showcased the new Infinity Signature range and Chimp 2nd generation light controllers, but also the Infinity Furion family – with the Furion B401 moving head beam receiving a nominated for a PLASA Award for Innovation. Stand G31 presented a wide range of Showtec products such as the new Showtec Polar 340 Wash FX and the Co2 hazer Mistique. www.highlite.com
GOBOPLUS GoboPlus.com, along with its sister companies FollowSpotPlus.com, CutColourPlus and Inluster, enjoyed a very successful PLASA 2019 showing off the latest products in its range. The presentation of the new Rosco Image Spot Mini marked the start of a new range of IP65-rated gobo projectors designed for all outdoor applications. FollowSpotPlus.com also brought the range of LDR profiles, Fresnels and followspots to the attention of visitors, including the newly released architectural Fresnel lantern, Tondo F. www.goboplus.com
SOUND TECHNOLOGY Sound Technology announced the UK shipping of the new Martin MAC Allure Wash PC, with its first UK appearance at PLASA. This washlight variant of the MAC Allure Profile features a solid-state RGBW light engine with unique seven-segmented beam control. With instant colour control and pixelated beam, the MAC Allure Wash PC enables dynamic diffused projection and mid-air effects, previously not possible. The light and colour engine are divided into seven full-colour pixels. Pixels can be focused on projection or in the beam for aerial effects. The user has full colour and intensity control over each pixel via DMX or create effects via the fixture’s effects engine. On top of DMX, Art-Net and sACN, MAC Allure fixtures can be controlled via P3. www.soundtech.co.uk/martinpro 94
FUTURE INSIGHTS
NEXO NEXO launched its new NXAMP4x4Mk2 amplifier, completing the new mk2 Series of power and processing solutions. The NXAMP4x4mk2 is smaller and more than 12% more powerful than its predecessor and benefits from a new aesthetic, with a smart silver and black livery on the simplified front panel. On the back, four high-end analogue inputs use cascaded converters for low-output noise, and four digital inputs are available through the rear panel expansion card slot. It also includes a new modulator chip, developed and patented by Yamaha especially for NEXO’s mk2 Series. www.nexo-sa.com
PROLIGHTS PROLIGHTS PLASA highlights include the PLASA Awards for Innovation nominated PixieWash XB. Also nominated is the Mosaico XL, an extremely powerful, long-throw IP66 LED fixture for projecting gobos and textures with colour mixing, animation wheel and framing shutters. The Panorama AirBeam IP lead the extensive PROLIGHTS IP65 family, which includes pars, blinders, battens, strobes and moving lights. PROLIGHTS RA2000 moving profile was also on show. Eclipse range of theatrical Fresnels, Ellipsoidals and Pars were on show. www.prolights.it
ROBE Inspired by the launch of its new PLASA Innovation Award-winning ESPRITE moving light, Robe restaged the iconic Back to The Future movie franchise, presenting the first in a trilogy of new Robe products. As well as the ESPRITE, this included Tetra, a new moving LED batten incorporating the same high-quality optics and LED light sources used in the Spiider and Tarrantula LED wash-beams. www.robe.cz
ROBERT JULIAT Robert Juliat emerged from an extremely successful PLASA 2019 with UK distributor, Ambersphere Solutions, where it continued to celebrate its Centenary Year with new products. Robert Juliat’s new Maestro server for SpotMe, developed in collaboration with tracking specialists, zactrack, extends the capabilities of RJ’s SpotMe. The complete Dalis range now includes Dalis 860 cyclorama fixture, Dalis 861 Washlight; Dalis 862 and Dalis 862S Footlights; Dalis Access 863 and Dalis 864. www.robertjuliat.com 95
FUTURE INSIGHTS
SPOTRACK Spotrack introduced TracMe, a smaller, extremely competitively priced sibling of Spotrack, at PLASA 2018, the software can control up to four moving lights from any vendor in a single universe, opening access to the technology to a greater range of application. Spotrack exhibited on Stand N21 at PLASA and look forward to discussing the next generation of spotlight technology with lighting professionals and enthusiasts from around the world.
VARI-LITE Vari-Lite has announced that its new Vari-Lite VL800 Series of fixed and moving head LED fixtures is now shipping. The new series of fixtures can be seen at the PLASA Show on stand E60 at the Olympia exhibition center in London. Comprising three exciting new fixtures designed to work seamlessly in combination, the VL800 Series are colour-matched to be visually consistent. What’s more, the user experience and DMX mapping are consistent as well, allowing lighting designers and programmers to easily use multiple fixtures together in a single application. The VL800 Series includes: Vari-Lite VL800 PROPAR, Vari-Lite VL800 EVENTPAR and Vari-Lite VL800 EVENTWASH. www.vari-lite.com
TRIPLE E Triple E showcased its new 2Way Points System and the first product of its new Grip Equipment range at PLASA 2019 – including Triple E’s extensive range of track systems and plug-and-play track-mounted motors. Triple E’s stand demonstrated the flexible ModTruss system, which was recently seen in the Italia Conti Academy of Theatre Arts’ summer show, as well as forming the base of the iconic Greenpeace tree at Glastonbury. The Triple E team was on hand throughout the show to discuss products, installations and stage engineering requirements such as schools, arenas, tours and all applications in between. www.triplee.ltd
ZERO 88 Zero 88 showcased its new RigSwitch remote-controlled switching system together with a host of other neat, practical and innovative power, data and control solutions. Other exciting new and multifunctional products shown were the Betapack 4 – one product with six dynamic variants; the ZerOS Server – one product with three different uses, and a new Data Distribution range supporting both DMX / RDM, plus the latest Ethernet protocols. All the lighting desks on the stand were running on the latest ZerOS 7.9.6 software release. www.zero88.co.uk 96
Fly By Nite Studios, Redditch Wednesday 13 November 2019
Enter the Awardsâ&#x20AC;¦ www.productionfutures.co.uk
Sponsors & Supporters
PRODUCTION FUTURES
TPi Breakthrough Talent Awards 2019 With Production Futures 2019 around the corner, TPi is pleased to announce that nominations for this year’s Breakthrough Talent Awards are open. This month we outline the four categories and catch up with last year’s winners.
Set up as the ‘junior’ ceremony to the well-established TPi Awards, Breakthrough Talent, which is now in its fourth year, is an opportunity to recognise some of the brightest and best talents who are up-and-coming within the live events industry. Split into four categories – Undergraduate of the Year, Young Freelancer of the Year, Production Rookie and TPi Standout Talent – Breakthrough Talent Awards nominations will be open up until the week of Production Futures on 13 November. As well as walking away with the title, the winner of each category will be invited to the TPi Awards on 24 February 2020.
of a project they have been involved in recently – be that a tour, a one-off event or a festival – and state their role within the project. All nominations must also contain either photos or videos showing off the event. PRODUCTION ROOKIE This is a chance for companies within the industry to shout about some of its best and brightest employees. Nominees for this category must have worked at the company for no more than two years and must be put forward by a senior member of staff within the organisation. On the entry form you must comment on what this individual has brought to the company and explain why their aptitude to the industry has made them an invaluable member of the team. The nominee in question can come from any sector of the industry from the office, to the warehouse, R&D or an on-the-road technician. The more information you give about the nominee, the greater their chances of success.
UNDERGRADUATE OF THE YEAR Open to any student currently enrolled on a university course or having just graduated this summer, entries can either be self-nominated or by a tutor. In the application you will be asked to submit a project the nominee has been involved with in some capacity. This can either be a one-off show, a festival or a tour. All nominations must also contain either photos or videos showing off the event.
TPi STANDOUT TALENT This award will be announced on 13 November at Production Futures and will be decided by the editorial team of TPi and our panel of judges to a person or people who has gone above and beyond, showing a real dedication to the live events industry and a real entrepreneurial spirit. TPi www.productionfutures.co.uk
YOUNG FREELANCER OF THE YEAR Nominees for this award must be between the ages of 16 and 28 and can come from any sector of the live industry, from production, lighting or audio, to video, special effects or staging. Nominees must give an example
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PRODUCTION FUTURES
Terry King Young Freelancer of the Year 2018 “The past 10 months have been great. I feel like I have learnt and grown so much in so many areas. I wanted to put aside some time to delve deeper in automation systems, so that’s what I’ve been doing since last year’s Production Futures. I was also invited to do a Masterclass and Q&A to the degree students at BIMM Manchester at the end of January. It was great to share my journey and experiences – as well as answer their questions regarding our industry. It was awesome hearing their positive feedback as most of them had never been exposed to this side of the industry to that extent. In April, I started working with Not3s as Playback Tech and Audio Programmer before being asked to take on the PM role ahead of his festival run in the summer in early May. By combining my musical background with my work as PM, I was able to combine the role of show designer and PM. It was good to see my ideas come to life and also scale and adapt to different festivals and stages. I also had the opportunity to work with Wizkid in the Stage Manager role for his headline set at Ends Festival. Finally, I was offered the Head of Music role in January at Ruach City Church, which is one of the largest churches in Europe. It has several locations in the UK and one in the USA. I’m also working closely with the in-house production team to take the production to the next level across the multiple locations. The opportunity to attend the TPi Awards in February was truly amazing and an experience I will never forget. It was incredibly inspiring
and motivating to be in a room filled with talented individuals who I share a common passion with. It was also an awesome platform to network and connect with some of the industry giants that are normally not easily accessible.
Jordan Potts Production Rookie 2018
Harvey Fitzpatrick Undergraduate of the Year 2018
Since winning Production Rookie in November, it’s been an incredible year for both the business and I. I’ve moved up a rank into a managerial position controlling very intense touring logistics for artists and bands such as Phil Collins, Def Leppard, Florence + the Machine, Foals and Neil Young to name but a few. I was also invited to the TPi Awards in February, where we won Favourite Trucking Company. This was a fantastic achievement for TRUCKINGBY Brian Yeardley and it felt nice to know that I played a part of it.
“Since winning the award, I’ve continued working at PRG as an Event Technician and been involved in lots of projects, from TV, to festivals such as Boomtown, Creamfields and All Points East. I have also joined the Bryan Adams touring team. I have been out with him three times this year, and there are a further two planned for November and December. It’s great and I’m still soaking up all I can and asking questions to grow further in what I do. I look forward to the possibilities that will open up in the year to come.”
Elliot Baines TPi Standout Talent 2018 I’ve worked on a lot of projects since Production Futures. I have had production companies worldwide asking me if I would design their next shows and projects. I also worked on a show for Houssein, who plays a big part with Nickelodeon, as well as being involved in Shambala Festival and Boomtown: Chapter 11. Since winning the award, I have had a lot more clients come in and it has been amazing. The TPi Awards in February was also an amazing experience and great place to meet new people!
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PSA: THE BIGGER PICTURE
Music Support has amassed a plethora of industry supporters including: Brilliant’s Adam ‘Bullet’ Bettley; Dream Wife’s Bella Podpadec; Distiller’s Andy Granelli; FOH Engineer, Mike Woodhouse with Lighting Designer & Hot Milk Frontman, James Shaw; Production Manager, Jim Digby; Eagles of DM’s Jorma Vic.
TALKING SAVES LIVES Ill mental health, addiction and death by suicide are issues which plague the music industry. With a number of initiatives including Music Support’s Safe Hubs, and a peer-to-peer helpline which will expand into the northern UK next year, more lives than ever are being saved.
People working in the music industry are three times more likely to experience mental health problems than the general population. With mental health affecting approximately 36,000 people per year in the industry, everyone from musicians and road crew, to artist managers and multiple occupations in between is at risk. Road crew worldwide experience mental health difficulties. Entertainment Assist, an Australian-based support hub, documented in 2017: “In the past 12 months, Australian entertainment industry workers experienced suicide ideation five to seven times more than the general population, and two to three times more over a lifetime. In the past 12 months, road crew members experienced suicide ideation almost nine times more than the general population. Rates of suicide ideation, planning and attempts are extremely high and indicate a need for early intervention programmes tailored to the industry.” Each year, suicide is listed in the top 20 causes of loss of life globally for people of all ages and is responsible for more than 800,000 deaths – that’s a lost life every 40 seconds. World Suicide Prevention Day (WSPD) takes place on 10 September annually, closely followed by World Mental Health Awareness Day on 10 October. Key dates in the calendar, the days help to open conversations and break the stigma surrounding mental health. According to WSPD research: “For each suicide, approximately 135 people suffer intense grief or are otherwise affected. This amounts to 108 million people per year who are profoundly impacted by suicidal behaviour.” Touring Director and Production Manager, Jim Digby has worked with Linkin Park for more than 16 years. The loss of the band’s frontman, Chester
Bennington, in July 2017, had a devastating impact. “The very personal nature of mental health and emotional wellbeing makes it hard to observe when one is suffering – sometimes we don’t even recognise it in ourselves,” he said. “As we continue to enable and empower these types of discussions, it will be critical to have resources that are familiar, not only within the field of mental health, but with the trappings of working inside our glorious endeavours. “Music Support is such an entity, encouraging healthy dialogue, destigmatising perceptions of mental health and providing resources to both proactively and passively engage. We’re all human, and humans need each other to be at our strongest. This mission is crucial as we find new ways to look after one another,” he commented. Music Support helps individuals in any area of the UK music industry suffering from mental, emotional and behavioural health challenges (including, but not limited to, alcohol and drug addiction). The helpline has become a vital component in helping to save lives. All of Music Support’s helpline volunteers have personal experience of either working in the music industry or of being close to someone affected by addiction and/or mental health issues. All volunteers have attended rigorous courses, including Mental Health First Aid training. Currently, a volunteer staff of 15 help music professionals in need, and in crisis. For World Suicide Prevention Day this year, Music Support ramped up recruitment for its essential helpline, resulting in a potential further 16 volunteers joining the team – once they’ve passed the necessary assessments. For 2020, the charity is looking to expand its efforts into the north of the UK. By diversifying its volunteer pool Music Support will be able 100
PSA: THE BIGGER PICTURE
Music Support’s Managing Director, Eric Mtungwazi & Beat The Street Ground Transport Director, Ian Massey; BBC Radio 1’s Daniel P Carter; Show Designer, Louis Oliver; A Music Support Safe Hub; Video Director, Steve ‘TSP’ Price.
to provide call handlers with a familiar accent for northern callers, giving an extra layer of comfort and connection. When it was set up in 2016, Music Support’s ‘for the Industry, by the industry’ philosophy began to change the way the UK music industry approached mental health and, since then, hundreds of people have been helped. Critically, the Music Support volunteers also penetrate British festival season via Safe Hubs. The Hubs are hosted backstage at festivals across the UK as a means of addressing any needs that can arise during the often-stressful summer touring season. Festivals in particular have numerous time constraints, added pressures and can also be a difficult atmosphere for those in recovery. The Hubs provide a safe space for anyone working on or off stage to speak confidentially with a trained music industry peer. Knowing there is a judgement-free zone where crew and artists can seek support has proved very helpful. The Safe Hubs are also an alcohol and drug-free environment, where anyone can take a break. This year, Music Support managed Safe Hubs at Download, BST Hyde Park, Latitude and Reading and Leeds. Wireless and elrowTown festivals were presented with Outreach Programmes, meaning where a Safe Hub could not be allocated on site, the team was still within reach for confidential chats. You Me At Six frontman Josh Franceschi opened up about his experiences with mental health and explained how the service was beneficial to him. “Music Support came to my aid through recommendation from my manager when I was in a bad way,” he revealed. “It certainly felt like I’d hit rock bottom. The person I spoke to [at Music Support] felt like the only person around that understood my emotions… Maybe even more so than I understood them myself. They helped me to compartmentalise my issues and recognise warning signs and trigger points. Their help was life changing.” Lighting Designer and Production
Manager, Luke Edwards has also experienced how Music Support’s volunteers can help. “People are starting to understand that looking after your mental health is just as – if not more – important as looking after your physical health,” he said. “Having a peer-to-peer helpline is critical because Music Support’s volunteers are industry people who genuinely understand.” Bella Podpadec, bassist with London-based rock trio Dream Wife, also championed the charity. “Working in music comes with a very specific set of pressures, stresses, joys, highs and lows,” she said. “It’s a rollercoaster. No one is here to take an easy option. As I understand it, the function of music socially and the reason that it is so rewarding is the bringing together of people, providing support and shared experience. “Yet the pressures and demands of working in this industry can also see individuals isolated and burned out,” she continued. “Peer support is so deeply important within these networks, as these are the people who understand why we put ourselves through these things. The more we can communicate about what makes this hard, about how doing this thing we love actually messes us up, the closer we will be to healing ourselves, each other and the structures that govern us. That’s why I believe the Music Support helpline is so important to our industry.” Music Support Founding Trustee, Matt Thomas, added: “Our exceptional volunteers are the heart and soul of Music Support and make a massive difference to our callers in their time of great need and vulnerability. Music Support couldn’t provide its services without them.” If you are interested in becoming a Music Support Helpline Volunteer in 2020, please call 020 39486777 or email info@musicsupport.org. If you are experiencing difficulties, please call the confidential helpline: 0800 030 6789. TPi www.musicsupport.org www.psa.org.uk 101
INDUSTRY APPOINTMENTS
Sponsored by www.interfacio.com • +44 208 986 5002
INDUSTRY APPOINTMENTS
CHAUVET Professional’s Brad Haynes; d&b audiotechnik Country Manager Russia, Anna Kovyza; DPA Microphones sales staff with AVL Projekt & LAV Projekt; Elation Professional’s Alistair Smyth; Encore-SFX’s Anthony Earles & George Baker.
Absen has welcomed Australia’s Audio Visual Distributors (AVD) into its Value Added Distributor (VAD) network. The agreement sees AVD promote Absen LED products across the Australasian region. A.C. Entertainment Technologies (AC-ET) has been appointed as the UK distributor for the Claypaky range of professional lighting solutions, with immediate effect. Sister Company, A.C. Entertainment Technologies Ireland will handle distribution in the Republic of Ireland. Ryan Mattin has become ADJ’s new Southern Sales Rep. Having worked in the audio and lighting retail industry for more than 10 years, Mattin brings a wealth of technical knowledge and experience to the role. APG Rentals has expanded its operation into a full-service LED videowall and media technology company. Now known as APG Media Group, the company comprises APG Rentals, APG Distribution and APG Technical Services. Peter Russell is named Audio Project Manager at audio evolution. The recently launched sister-company to global video specialist pixl evolution will benefit from Russell’s vast experience of the corporate and theatre markets. Ayrton has confirmed ACT Lighting as its exclusive Canada distributor. “We are excited to further our partnership with Ayrton to now service the entire North American market,” stated Ben Saltzman, CEO of ACT Lighting.
Brompton Technology has expanded its customer-facing team with the additions of Dries Vermeulen as Business Development Manager (Europe), and Chris Grandin as Technical Support Manager. CHAUVET Professional has appointed Brad Haynes as its National Resource Manager, Concert and Touring. “Like people throughout our industry, I’ve been very impressed with what CHAUVET Professional has accomplished over the past five or six years,” he said. “It’s exciting to be part of a team that’s 100-percent committed to lighting. I’m looking forward to sharing the Chauvet story with industry colleagues.” Creative Technology (CT) has invested heavily in disguise servers, upgrading its stock of gx 2 media servers to the latest product on the market, the gx 2c. On top of upgrading the gx 2s, CT has also purchased additional gx 2c and vx 4 servers to add to its existing offering – making it one of the world’s largest stockists of disguise media servers. d&b audiotechnik has appointed Anna Kovyza to the new role of Country Manager Russia. Her appointment marks the first step towards d&b opening a new office in Russia before the end of the year. DPA Microphones welcomes two new distributors in Serbia and Croatia. AVL Projekt and LAV Projekt are now responsible for the company’s entire range of high-quality microphones, which includes products aimed at the recording and pro audio markets, live sound, installation and broadcast. 102
Design, Develop, Deliver
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SSE ARE HIRING SSE Audio Group has vacancies for full-time experienced Equipment Sales people based across its sites in the UK; Heywood, Redditch and Park Royal, London. Working at SSE means working with bright and innovative people every day. Our talented employees enjoy an environment that fosters success and professional development, as well as the support of seasoned industry experts. Our expertise is recognised around the world thanks to our employeesâ&#x20AC;&#x2122; passion and dedication to providing unique experiences to customers. The role involves managing professional equipment sales and installations from enquiry through to after sales support. The successful candidate will have experience in the audio-visual industry or worked in a similar role. Please find more information on our website sseaudiogroup.com/jobs.
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INDUSTRY APPOINTMENTS
Rigging Team’s Matt Millward & Adam Searle; Solotech’s Holger Schader; TMB’s Lauren Drinkwater; TLS Lighting Managing Director, Derek Bawdry with CEO, Alan Reeves; Malia LaFleur & Micah Dixon.
George Baker and Anthony Earles have launched Encore-SFX, a new fully comprehensive Special Effects provider based just outside of West London. Baker and Earles bring their years of working in the SFX industry with credits including the likes of Robbie Williams, Foo Fighters, X Factor, MTV EMA’s and London 2012 Olympic ceremonies to the new company, which aims to provide high-end bespoke effects as well as comprehensive show design whilst working within real show environments. Elation Professional has brought Alistair Smyth to the Technical Sales department of its European headquarters. A 24-year industry veteran, Smyth will provide technical advice, assistance and training for Elation’s extensive product line. ETC has hired Matt Cowles as Field Project Coordinator for its London office. Bringing 17 years of industry experience, Cowles is responsible for providing technical sales and managing projects across the country. Movecat founder Andrew Abele has moved from Movecat management to the LIFTKET Hoffmann Group, where he will assume technical management responsibility as CTO. Powersoft has promoted industry veteran Tom Knesel to the position of General Manager, North America. Knesel, who will be located at the company’s U.S. headquarters in Kearny, New Jersey, will report directly to Sales and Business Development Director, Luca Giorgi. PROLIGHTS has joined forces with Moscow-based SiM Company (Группа Компаний “SiM”). “The team over at SiM are so knowledgeable and have a great reputation throughout the area,” commented Paolo Albani, International Sales Manager for PROLIGHTS. “Russia covers such a wide area and we believe that SiM has the ideal company culture, infrastructure and contacts, and we thoroughly look forward to working with them.” Rigging Team has hired Matthew Millward for the role of Technical Manager at its Stevenage headquarters. “Matt brings with him over two decades of real-world experience in rigging, technical theatre and technical management,” Rigging Team Director, Adam Searle commented. “This wide-ranging understanding of our business will ensure he remains an
enduring member of our team.” Millward added: “Having partnered with Adam on a number of projects I am confident that Rigging Team and I will be a perfect fit. I’m looking forward to supporting clients, both old and new, with an even greater range of highly effective production solutions.” Solotech has selected Holger Schader as Senior Consultant, Concert Touring and Special Events, for the Live Production Division’s European operations. Reporting directly to President, Live Productions Division, USA, Mickey Curbishley, Schader is responsible for providing expert market advice and developing new business opportunities for Solotech in Europe. Elation Professional has named stage technology company Przedsiebiorstwo Specjalistyczne TEATR as its new distributor in Poland. “We’re excited to be partnering with such an experienced company in one of Europe’s fast developing and important growth markets,” said Marc Librecht, Head of Sales and Marketing for Elation in Europe. Lauren Drinkwater has joined TMB’s Global Customer Development Group. “We’re very excited to bring Lauren on board,” said Tim Obermann, European Sales Manager, TMB. Norfolk-based specialist supplier of UK-designed LED lighting and control, previously TLS Pixelite, has rebranded under a new name: TLS Lighting. “Taking the time to clarify what TLS Lighting stands for and what it represents to its customers is a very important step that makes an important impression at this stage of the company’s journey,” commented CEO, Alan Reeves. “It was important for me to keep the letters in the name and logo as a permanent reminder of the strength and integrity that we built upon and continue to take forward with us.” WorldStage has expanded its national sales and account management teams with the addition of Senior Account Manager, Micah Dixon, and Director of Business Development, Malia LaFleur. “We are delighted to welcome industry all-stars Micah and Malia to WorldStage as we continue to expand our offices and presence nationally to better serve our clients,” stated WorldStage Senior VP, Richard Steinau. TPi www.tpimagazine.com/industry-jobs/ 104
TPi PRODUCTION GUIDE
OCTOBER 2019 ADVERTISERS 10k Used Gear
15
Absen
11
Adam Hall
55
ADJ
43
All Access Staging
31
Allen & Heath
87
Ayrton 21 Beat The Street
27
59
CODA Audio
257mm
CLF Lighting
194mm
83
400mm
5
CHAUVET Professional
290mm
ChainMaster Buhnentechnik
220mm
103
Brompton Technology
220mm
400mm
290mm
2 39
Colour Sound Experiment
220mm
73
353mm
257mm
194mm
400mm
220mm
65
DiGiCo 51 Digital Projection
290mm
CPL 53 Creative Technology
400mm
290mm
220mm
Duratruss 105 Elation Lighting
7
Encore-SFX 103
290mm
400mm
290mm
19
Robe 71 ROE Visual
47
Schnick Schnack
45
Solotech 31 79 103
DuraTruss B.V. Junostraat 2 6468 EW Kerkrade The Netherlands Tel. +31 45 546 85 81 info@duratruss.com
StageCo 47 Team Audio
73
TRUCKINGBY Brian Yeardley
77
TW AUDiO
41
Video Illusions
58
105
400mm
14
580mm
67
Riedel
400mm
Quantum SFX
290mm
400mm
290mm
400mm
16, 17
W
290mm
220mm
6 57
290mm
220mm
400mm
220mm
290mm
220mm
353mm
257mm
220mm
400mm
290mm
194mm
75
220mm
400mm
220mm
290mm
37 BC
Pyrotek
SSE Audio Group
220mm
353mm
33
Patchwork London
SOS Global Express
220mm
353mm
84
257mm
Neutrik UK No.3 Catering
194mm
81 85
400mm
Music & Lights
290mm
220mm
49 13
NAMM Show
Protec
290mm
91
Madrix 73
Prolyte Group
400mm
290mm
220mm
4
Look Solutions
Pro Tapes and Specialities
257mm
220mm
61
Leisuretec Distribution
Powersoft
194mm
L-Acoustics 3 LDL
400mm
290mm
220mm
Kvant 69
400mm
290mm
220mm
89
220mm
IPS 29
353mm
Highlite International
257mm
IBC
MOVECAT
194mm
81
Harman Professional
MTFX
400mm
Funktion-One 63 GET Show
290mm
65
220mm
eps holding
148mm
580mm
BACK CHAT
FABIO SORABELLA Managing Director, PROLIGHTS
What have been your personal highlights? It has been amazing to have the opportunity to work with talented lighting designers. They have said what they wanted to achieve, and we have been able to make this a reality. One of my biggest highlights was working with Paul Normandale and seeing PROLIGHTS arena COBs on the international riders for Coldplay. Another highlight that people often overlook has been hearing feedback from our users. Having people take time out of their day to praise the quality of our kit, service and support means everything.
How have LDs and rental houses responded? The response to the PROLIGHTS Panorama IP range has been absolutely amazing. They have been quickly recognised as a workhorse staple for rental houses globally. They’ve been used to light up ancient architecture in Norway, as a big-air searchlight effect for the Sydney Opera House and Sydney Harbour, on the new Nucleus stage for Boomtown 2019 and as stadium lighting in Perth’s Optus Stadium. In addition to the workhorse fixtures, most newly released PROLIGHTS fixtures can now be found in leading rental houses globally. They’ve been taken on by Christie Lites, Upstaging, AMG, Neg Earth, IPS, Lite Alternative, Europalco and Cinelux, to name just a few. It’s a true testament to our distribution network, fixture quality and ongoing client support systems.
What sparked your interest in the live events industry? I was born into this industry – it runs in my blood. My father, Francesco Sorabella, started a full-scale production company and, from day one, I spent every waking hour in the workshop. I was fascinated by the way this industry merges technology and art – the ability to evoke such emotion or feelings in such a short period of time. With the seed planted, in 2003 I attended PLASA London. I saw the Martin Professional light show and I distinctly remember feeling that adrenalin rush. Right then I realised that this is what I wanted to spend my life doing.
What has been the biggest change in professional lighting for live touring and the events market? The largest shift has been the move to LED-based fixtures. Even now, the goalposts continue to move at such a fast pace. We see ‘traditional’ luminaires, but now they can run video content. The concert touring markets are complicated due to the mounting expectations placed on designers to make each show bigger, better and more spectacular than before. Designers need two core things: an idea and the tools to be able to make it happen.
How have you progressed at the company? I started out as a teenager working part-time in the technical department – learning, shadowing, listening, taking things apart and doing all the jobs I could possibly get my hands on. As time went on, I moved first into the R&D department then into the commercial department. My big break was when my father appointed me Managing Director of PROLIGHTS – a position I’ve held ever since.
What’s next on the schedule for PROLIGHTS? In the next few weeks The X Factor Italy goes live, which is full of PROLIGHTS. We have a lot planned for next year, including something pretty special, which we’ll be unveiling at this year’s LDI – watch this space! 106
ONE BEAM. 7 SEGMENTS. LIMITLESS COLOURS. THE MARTIN MAC ALLURE TM PROFILE. NOTHING LIKE IT. REALLY.
THE MARTIN MAC ALLURE TM PROFILE
Mar tin MAC Allure Profile, an all new creative tool enabling lighting designers to create dynamic and impactful projection and mid-air effects, making the impossible now possible. This industry-f irst concept features a novel RGBW light engine with unique 7-segmented beam control allowing for instant colour control and pixellated beams. The proprietary light engine sets new standards in compact design and eff iciency making the MAC Allure a power ful, vibrant and affordable solution. As the f irst f ixture to incorporate Mar tinâ&#x20AC;&#x2122;s P3 control, pixel mapping and pixellated beams can be controlled via standard protocol or switching to P3 at any moment during the show. There is nothing like it. Really. Learn more at www.martin.com/mac-allure
Contact us: European.Marketing@harman.com
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BRAND NEW T SERIES AMPLIFIER PLATFORM BRAND NEW T SERIES AMPLIFIER PLATFORM ARMONIA ARMONIA
DRIVING HUMAN AUDIO EXPERIENCE DRIVING HUMAN AUDIO EXPERIENCE
PS_TSeries_BACK COVER.indd 1 PS_TSeries_BACK COVER.indd 1
29/03/19 09:43 29/03/19 09:43
