TPi September 2016 - #205

TOTAL PRODUCTION INTERNATIONAL LIVE EVENT DESIGN & TECHNOLOGY • SEPTEMBER 2016 • ISSUE 205 PRODUCTION FUTURES - CALLING ALL NEW TALENT…

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SEPTEMBER 2016 #205

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We don’t do things by halves at the good ship TPi, so in the midst of a very busy festival season, we took on a new member of staff; while Charlotte has moved on to another of Mondiale’s fine publications (good luck Goodlass!), we’ve welcomed Georgia Guthrie into the fold. A huge live music fan - she’s put on her own festival before now - Georgia will be coming to the beautiful Festival No.6 straight after her first print deadline. Not for the entire weekend however, as Ste will be flying with her to Dubai for some TPMEA meetings. Hope you don’t have too many plants to water love...

Speaking of fresh blood, please read all about the new Production Futures news on Pg.8 and help

us say sayonara to this industry’s generation gap with the new recruitment fair and TPi’s Breakthrough Talent Awards.

Now, this issue is a brilliant example of how the global outdoor event industry is booming. We’ve

got news and exclusive stories from all over the world; Stew writes about the first ever Bluedot Festival (Pg.50) held at the stunning Jodrell Bank site in Cheshire, Ste finds his long lost relatives (probably) at the world’s biggest metal festival, Wacken Open Air (Pg.70), and I witnessed MJF’s 50th celebrations at the glorious Lake Geneva. At the other end of the scale I also became somewhat obsessed with street skateboarding thanks to NASS. This sports and music festival brought together exceptional athletic skills (ahem, not mine) and a line up worth the five hour drive. It’s become clear that when placed alongside music production, the action sports lifestyle syncs seamlessly for some dual outdoor entertainment. Go behind the scenes on Pg.26! I’m pictured above with the Plaster Communications team who look after NASS. We were unsure at that point who had the best skating bruises but it became clear a day or so later.

I didn’t win.

Kelly Murray Editor

EDITOR Kelly Murray Tel: +44 (0)161 476 8360 Mobile: +44 (0)7738 154689 e-mail: k.murray@mondiale.co.uk ASSISTANT EDITOR Ste Durham Tel: +44 (0)161 476 8385 Mobile: +44 (0)7891 679742 e-mail: s.durham@mondiale.co.uk STAFF WRITER Stewart Hume Tel: +44 (0)161 476 8360 Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk GENERAL MANAGER - TPi MAGAZINE & AWARDS Hannah Eakins Tel: +44 (0)161 476 8360 Mobile: +44 (0)7760 485230 e-mail: h.eakins@mondiale.co.uk Advertising Sales Georgia Guthrie Tel: +44 (0)161 476 8360 Mobile: +44 (0)7501 597837 e-mail: g.guthrie@mondiale.co.uk EVENT MANAGER - TPi AWARDS Mo Naeem Tel: +44 (0)161 476 8360 Mobile: +44 (0)775 9272 313 e-mail: m.naeem@mondiale.co.uk

GRAPHIC DESIGN & PRODUCTION Dan Seaton: d.seaton@mondiale.co.uk Zoe Willcox: z.willcox@mondiale.co.uk ACCOUNTS Lynette Levi / Sarah Miller: ar@mondiale.co.uk CHIEF EXECUTIVE Justin Gawne MONDIALE GROUP CHAIRMAN Damian Walsh COVER PHOTOGRAPHY NASS Festival by Tim Borrow

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EDITORIAL INTERN Louis Roberts PRINTED BY Buxton Press • www.buxpress.co.uk Annual subscriptions (including P&P): £42 (UK), £60 (Europe), £78/$125 (RoW).

Subscription enquiries to: Subscriptions, Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport SK1 3AZ, UK. Tel: +44 (0)161 476 5580 Fax: +44 (0)161 476 0456 e-mail: subscriptions@mondiale.co.uk www.tpimagazine.com • www.tpiawards.com www.tpmeamagazine.com Issue 205 - September 2016

TOTAL PRODUCTION INTERNATIONAL is a controlled circulation magazine, published 12 times a year by Mondiale Publishing Limited under licence.

ISSN 1461-3786 Copyright © 2016 Mondiale Publishing Limited. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publishers. Every effort is taken to ensure accuracy in the preparation of this publication but neither Mondiale Publishing Ltd, nor the Editor, can be held responsible for its contents or any consequential loss or damage resulting from information published. The views expressed are not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, illustrations, advertising materials or artwork. Total Production International USPS: (ISSN 1461 3786) is published 12 times a year by Mondiale Publishing Limited United Kingdom. The 2014 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.

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ITINERARY

EVENT FOCUS 08

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Production Futures Production Park and TPi reveal an event for the future of the industry.

10 Colours Festival

One of Europe’s highest profile

independent festivals turns 15.

14 Deep Time

Edinburgh International Festival opens

with an audio-visual spectacular.

18 Singapore National Day

VYV and Hexogon Solutions create

mindblowing 3D projection mapping.

22

Sensation: Angels and Demons PixMob brings LED technology to Amsterdam’s touring club night.

PRODUCTION PROFILE

26

44

26

NASS Festival Kelly Murray picks up a skateboard for the extreme sports and music event.

38

Montreux Jazz Festival 50 years and still going stong; TPi looks at the festival’s technical news.

44

Haçienda Classical It’s the culture-clash of the year as acid house meets a live orchestra.

50

Bluedot Festival The inaugural year for the festival that blends science and music.

62

70

Paléo Festival TPi travels to Switzerland to the county’s largest outdoor festival.

Wacken Open Air Ste Durham raises his horns at the heavy metal Mecca.

FESTIVAL FOCUS 84

In this instalment: Henley Festival, Greenfields, Barn On The Farm, We Are FSTVL, BottleRock and more.

CLOCKING OFF 100 Production Park takes on Tough Mudder

for the Prince of Wales Hospice.

50

ROAD DIARIES 102 Mat Davie, Keyboard Tech for The

Prodigy is up against the odds.

GEAR HEADS 104 Elation Professional’s Sales Director, Eric

Loader, discusses the Platinum HFX.

INDUSTRY APPOINTMENTS 108 The latest movers and shakers.

PSA: THE BIGGER PICTURE

62

110 PSA checks in with the Event Safety

Alliance’s latest initiative.

BACK CHAT 114 Business Development Director at

Backstage Academy, Sara Gleadhall.

EVENT FOCUS

PRODUCTION FUTURES LAUNCHES TO SUPPORT THE BACKSTAGE CREW OF THE FUTURE Inaugural Breakthrough Talent Awards to reward young backstage brilliance.

A brand new initiative to support and reward emerging talent in the backstage business is being launched by Production Park, the number one live events production destination in Europe.

The first event of its kind, Production Futures, will take place at Production Park’s Wakefield HQ on 6 October 2016. The event is for students and graduates across the UK and will have a two-fold focus.

By day, Production Futures will present a Recruitment Marketplace offering real employment opportunities for graduates - an Education Zone and an Industry Forum with an inspiring programme of panel sessions, demonstrations and industry-driven networking opportunities. By night, the event will introduce the first-ever Breakthrough Talent Awards in partnership with TPi, celebrating the stars of the future and recognising young talent, whose exceptional commitment sees them excel in their chosen field. The entire event, open to all in the production sector, will be free of charge for students and graduates.

Production Park’s Managing Director, Lee Brooks, commented on the inaugural Production Futures event: “At Production Park, we are delighted to be opening our doors to the talent of the future. It’s only by bringing students and graduates together with experts, educators and employers that we can futureproof our sector, push the boundaries of live events, and become the most technically innovative country in the world.

“With the Breakthrough Talent Awards, we hope to reward technical talent and backstage brilliance. We know that across the UK there are young people working behind the scenes with bands, on the road and at a wide range of live events, and it’s time to recognise these young unsung heroes. We hope that everyone in the music and creative sectors will get behind Production Futures and join us for what will be an incredible celebration of young talent.”

At the Education Zone, attendees will be able to meet education providers who specialise in training within the live events industry, and 08

PRODUCTION FUTURES

• • • • • •

discover more about the exciting world that exists within live touring, events and production - from 3D animation, the latest server technology, creative design concepts, stage craft, engineering, sound, lighting and event management to visualisation, video mapping and pyrotechnics.

Through the Industry Forum, all students and graduates will have the opportunity to interact with a broad spectrum of trade organisations and crucially - live events companies looking to recruit.

Taking place on the evening of Production Futures, the Breakthrough Talent Awards, in partnership with TPi, will recognise the achievement and dedication of individuals who are still in education and training in the following roles:

Entries can be submitted by individuals, colleges, universities or companies within the industry and will be judged by previous winners of the annual TPi Awards.

Winners will not only benefit from the accolade but will also be given the opportunity to attend the principal TPi Awards 2017 in London.

To register for the event as a graduate, freelancer or exhibitor, or to nominate an individual for the Breakthrough Talent Awards, visit the dedicated Production Futures website: www.productionfutures.com.

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EVENT FOCUS

Celebrating its 15th anniversary, Colours of Ostrava Festival once again showed why it’s one of the highest profile independent festivals in Europe.

COLOURS OF OSTRAVA FESTIVAL The former Dolní Vítkovice steelworks in Ostrava, Czech Republic provided a fantastically gritty industrial backdrop for the 15th annual Colours of Ostrava Festival, which took place from 14 - 17 July. As one of the highest profile independent festivals on the central European calendar, the event has become a firm favourite with music fans from all over the world.

This year, Robe BMFLs, Squares and Strobes featured on the two primary stages - Ceska Sporitelna (main) and the ArcelorMittal (second), both with an exciting and interesting line up of artists including Underworld, Passenger, 2CELLOS and many more. Equipment for the Ceska Sporitelna stage was supplied by HighLite Touring from Ostrava and for the ArcelorMittal stage by Brno-based RentalPro.

Seidl likes to work with Robe fixtures in general and he used the BMFL Washes plus some other moving wash lights to illuminate and colourchange across the whole stage.

The BMFL Spots were used mainly for effects coming from the stage floor, with lots of high-impact gobo looks. Seidl said that the gobo selection was great and that the power of the fixtures is “still amazing even with gobos”.

The 10 BMFL Blades were all on the front truss and used for key lighting, where Seidl made the most of the great colour rendering and the fast accurate framing shutters for precision specials and tight highlighting.

The 16 ColorStrobes were all in the roof trusses where they could have maximum impact with features like zone control. Naturally, the incredible brightness made them a serious blinder and a fantastic workhorse for a festival scenario like this.

Most bands brought their own LDs, and those who didn’t were lit by Seidl and included Treacherous Orchestra from Scotland, Italian folk band Kalascima, Czech indie pop outfit Lake Malawi, Washington DC based DJ collective Thievery Corporation and award-winning Czech Singer Barbora

CESKA SPORITELNA The Ceska Sporitelna stage lighting design was created by Ivo Mechel from HighLite and programmed on site by Martin Seidl, who lights musicals at the Mestke Divadlo Theatre in Brno as well as being a regular freelancer for HighLite.

Like all festival production designs, flexibility and general practicality was key. The team aimed to create something original while offering all of the bands a great looking show and allowing incoming artists to integrate their floor packages seamlessly into the house rig.

A total of 13 BMFL Washes, 10 BMFL Blades, 16 ColorStrobes, and four BMFL WashBeams rigged to the FOH structure were included on the rig.

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A variety of Robe fixtures made an appearance on both the main and second stage with the former being supplied by HighLite Touring and the later supplied by RentalPro. The festival had a varied line up including English Indi band, The Vaccines (left) and Washington DC’s DJ collective, Thievery Corporation (Right).

Polakova. He also operated lights for Passenger’s set.

Crt Birsa, LD for 2CELLOs, was pleased to find Robes on the rig and said he really appreciated the intensity of the BMFLs in the “battle with daylight”.

some spectacular and integrated effects. He loved the power and possibilities the Squares brought to the stage, both as an animation tool and an effects fixture as well as for assisting in those big, bold epic festival lighting looks.

ARCELORMITTAL Kružík made the most of four BMFL WashBeams, which were used to The festival’s second stage was named after the Czech Republic’s largest throw strong beams from the FOH position onto the sidestage banners integrated steel and mining company, still headquartered in Ostrava and and branding, and for effects and animations across the whole stage. He producing around three million tonnes of crude steel every year. The worked closely with Jan Šuskleb from RentalPro on the programming and lighting for the ArcelorMittal stage was designed by Kamil Kružík from they welcomed the several guest LDs that arrived with various artists.

RentalPro. Headlining artists appearing here throughout the four-day event In addition to these two performance areas, a selection of Robe LED kit included The Vaccines, legendary Czech funksters Monkey Business and 12 CitySkape Xtreme and eight CitySkape 96 floods - was used to light some Dutch singer Kovacs. of the amazing environmental features of the old steelworks including Kružík took into account the riders of all the concrete cooling towers, bunkers, blast furnaces, main bands playing on the 20m wide stage, and various factory buildings and the intricate network constructed his production lighting design with of industrial-grade pipes. this in mind. He decided to use 24 Robe Squares The main festival entrance was highlighted with for the first time. Eight were positioned on the four Robe BMFL WashBeams on a tower which “The gobo selection was front truss with another 12 in two rows of six were also used to produce lighthouse style beams great and the power of two-metre sections of upright trussing positioned blasting out into the night sky, a beacon of light upstage on the deck, just in front of five columns of clearly visible from several miles away. the fixtures is still amazing LED screen. The other four were - two per side - on TPi even with gobos.” two angled truss sections at the back.

Photos: Matyas Theuer In this configuration he could programme www.robe.cz , www.colours.cz Martin Seidel 12

EVENT FOCUS

EDINBURGH INTERNATIONAL FESTIVAL: DEEP TIME TPi’s Ste Durham hot-footed it to Scotland’s capital for the breathtaking opening event of Edinburgh International Festival.

Following the success of The Harmonium Project in 2015, Edinburgh International Festival (EIF) chose once again to open proceedings by holding a large-scale projection mapping show on the face of another of the city’s iconic structures. This time it was the majesty of Edinburgh Castle, along with the ancient rock cliff upon which it sits, that served as the canvas for the audio / visual spectacular featuring a soundtrack from Scottish post-rock trailblazers, Mogwai.

Such a feat was only possible thanks to the collaboration of three companies working alongside EIF; design company 59 Productions, and technical suppliers Blue-i Theatre Technology and mclcreate.

Leo Warner, Director for 59 Productions, explained: “We did the Harmonium Project for EIF, which was based around a piece of music and projected onto the outside of Usher Hall after a concert. Despite the late hour and obscure nature of the performance, the show was extremely popular. It essentially proved that there was interest as well as appetite from the public when it comes to artworks of significant scale.

“We were asked back to create something bigger and more spectacular.

I spent time with festival director driving around the city and looking at different public sites, back and forth in the dead of night on a very cold

January evening. We kept ignoring the castle because it is already used for fireworks at the end of the festival, as well as Hogmanay celebrations and so on.

“We ended up stood up at the foot of the cliff, looking up at this huge rock and decided it was so iconic that we had to use it. We just needed to make sure we did it justice.”

Deep Time reimagines the ancient site from which Edinburgh sprang, using the castle and its rock base - a volcanic plug of 350 million-year-old dolerite - to tell a story centred around the deep geological history of this unique location.

Warner continued: “Edinburgh-born James Hutton is considered the father of modern geology: it was Hutton who in the 18th century proposed that the Earth was billions of years old, drawing on evidence he found in the city around him. The university, who we partnered with to develop this concept, were the ones that suggested Hutton to serve as our central character.

“We wanted to celebrate Edinburgh as the city that inspired our understanding of the world’s deep history, and Hutton’s ideas of discovery and logic, which were considered anathema at the time. The content also 14

DEEP TIME

Below: Organised chaos in the projection booth with the Panasonic DZ21K projectors stacked three high.

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focuses on the history on Edinburgh Castle itself, from a Bronze Age settlement to the spectacular edifice we see today, across almost 3,000 years of Scottish history.”

Rather than project on the building, which is a relatively tried and tested surface, the team decided that the technology and technique existed to be able to include the rock and trees below as well. This more organic, less reflective surface proved much more challenging.

“We had a team of 10 animators we work with regularly on things of this scale,” Warner explained.

“It serves as a good example of both our 2D and 3D work; we built a model of the volcano for ‘flyarounds’ and so on, whereas the fossil images were painted by someone on paper then animated.

It’s a real showcase for our artists, a celebration of the talent within our team.

“With each project we seek a new challenge and this time it was the rock. We didn’t really have any 3D data so we had to build a model based on laser scans and photography and even then we had to do a lot of manipulation of it on site in the week building up to it. It was another step up in ambition and risk, but that is kind of the way we like it - although it does get tiring from time to time!”

Halfway through the week, after the team had decided on the coverage and projector layout, Warner decided it simply wasn’t going to work - forcing the crew to start again from scratch.

He said: “Because the team was so good we were able to do that in a night and a half and get back on track. It was a dark moment, but we responded quickly and efficiently and I was really proud of the guys.”

Warner also praised the relationship 59 Productions shared with Blue-i, which supplied the tech together with mclcreate, leaving his team to worry about the creative production. He said: “Blue-i are great to work with and were very responsive to all of our needs. We specify these things because of our experience; we brought our own programmers for the d3 Technologies media servers, as well as our own projectionists and our Production Manager, James Roxburgh.”

To maintain consistency and help facilitate a smoother preparation week for the technicians, 59 Productions specified 42 of the same projector, the Panasonic DZ21K. Ed Cooper of Blue-i explained how this factor was key to his company’s involvement: “The huge amount of high spec projectors on the project required a collaboration. We came in with mclcreate, who support the festival locally anyway, to pool our resources and expertise. The comination of Blue-i’s expertise with d3 and our stock of 4X4 Pro Servers and VFC Cards made this much easier to get involved with.”

The team had two points on a roof opposite the castle to project from, with the majority of the kit rigged in a booth directly across from the main rock face. The SDI VFC cards on 4x4pros allowed the team to use 16 HD outputs per server. In this case, each output served three projectors stacked on top of each other, overlaid to make one channel, resulting in a total 840,000 lumens of brightness.

Usually concerned with corporate work that quite often is shrouded in secrecy, Blue-i’s Dan Orchard was excited to be involved in such a high-profile public event. He said: “We’ve drawn on the innovation and creative thinking we’ve used in the past in terms of pushing the technology, but at the end of the day we are loading onto a roof and projecting onto a world-famous castle, instead of 15

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DEEP TIME

Above: The exterior of the main projection booth; Blue-i’s Ed Cooper and Dan Orchard at the EIF after party; Edinburgh Castle in all its glory during one of the more colourful moments in Deep Time.

into a hotel to project on a function room wall! That’s why we were on site a week ago and have been in pre-production for weeks before that. All of 59’s content is programmed before we get on site, then it’s a case of lining up and dealing with the environment and weather.”

Although the VIP vantage point for a visual spectacular like Deep Time is not customarily in the bowels of a multi-story car park, we were afforded an awe inspiring angle on the castle as it lurched from darkness into light.

The opening rumble of the Mogwai soundtrack signalled the beginning of a journey through Edinburgh’s history, complete with visions of whirring cogs, cascading lava and a blizzard of photographs depicting the city’s residents, past and present.

“The car park was chosen to make sure that the bulk of the audience was blasted with the soundtrack that accompanies the story,” said Warner.

“The closer to the rock you are, the more it towers above you. It’s a great view from high up on Cornwall Street but it looks like distant screen. As you get closer you are more of the impression that we’re transforming the rock.

Scale is the most important factor for us. We wanted it to be overwhelming.“ Cooper added: “59 are always pushing the boundaries, and every

project has a cherry on top. It’s always challenging but definitely in a good way! They’re very exacting and they push the kit very hard – that’s why the gear needs to be such high quality. I love working with them!”

The synchronisation of so many projectors in one place, at one time, and all feeding from multiple media servers was no mean feat - particularly on such an unforgiving canvas - but it was a challenge that every member of the team relished.

Orchard concluded: “This specific combination of companies has never worked together before, but we sincerely hope it paves the way for the future. The collaboration played a significant part in the project’s success and it really is a testament to the quality of everyone involved that it went so beautifully.”

TPi Photos: Eoin Carey www.eif.co.uk www.59productions.co.uk www.blue-i.tv www.mclcreate.com 16

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EVENT FOCUS

XX

SINGAPORE NATIONAL DAY

Opposite: In celebration of Singapore’s 51st National Day, VYV and Hexogon Solution provided a 360° real-time tracked 3D projection, all of which took place in the New Singapore National Stadium.

SINGAPORE NATIONAL DAY

Hexogon Solution achieves world’s largest ever 3D projection mapping and 3D tracking using VYV’s Photon media server.

VYV Photon media servers were used to achieve the world’s largest real-time motion-tracked 3D Projection Mapping, in celebration of Singapore’s 51st National Day at the New Singapore National Stadium.

For Singapore’s National Day Parade, VYV and partner Hexogon Solution provided a 360°, real-time tracked 3D projection mapping for two scenes - a large moving boulder that was to be split into eight pieces, and a floating city made up of 15 collapsible fabric towers totaling 99 objects, which stands 20m tall and 60m in diameter.

Hexogon Solution deployed a total of 40 tracking cameras, 66 projectors each producing 30,000 lumens, 250 VYV Copernic tracking emitters and 12 VYV Photon servers for this task. Accurate tracking, quick and painless automatic calibration and dynamic edge blending were all essential ingredients to the success of this record-shattering mapping on moving objects.

Adrian Goh, Group Managing Director of Hexogon Solution highlighted: “The challenges faced at this National Day Parade were firstly the constraints of having to map on empty space without actual objects in the initial mapping stage and secondly the short turnaround time allocated for calibrating and alignment on the complex structures after they were 19

SINGAPORE NATIONAL DAY

Hexogon Solutions deployed a total of 40 tracking cameras and 66 projectors for the show, along with 12 VYV Photon media servers.

erected.” He added: “The unpredictable on-site wind conditions plays a significant factor, as it will cause the fabric structures to move and deform as we map onto the structures. This issue was greatly resolved through our sophisticated state of the art VYV tracking system as it instantaneously renders and maps onto the uneven moving surfaces.”

Martin Granger-Piché, co-Founder of VYV and Head of Strategic Development, added: “Largescale events such as these call for processes that remain quick, simple and highly accurate regardless of setup size. Our fully automatic camera and projector calibration took only 55 minutes to calibrate all of the 40 cameras and 66 projectors, which freed up valuable time.”

Emric Epstein, co-Founder of VYV and Head of R&D, enjoyed the opportunity to do motion tracking at such distances. “When cameras are over 100m from the tracked surfaces, accuracy is of utmost importance and the calibration process must be independent of scale. It was great to be able to verify that our approach is indeed size-independent and could handle 99 objects, through 250 emitters, simultaneously.”

TPi Photos: VYV www.ndp.org.sg www.vyv.ca www.hexogonsol.com

“When cameras are over 100m from the tracked surfaces, accuracy is of utmost importance and the calibration process must be independent of scale.”

Emric Epstein, Head of R&D, VYV

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PROJECT

SINGAPORE NATIONAL DAY PARADE 2016

TECHNOLOGY USED & FACTS • 12 PHOTON servers • 3 ALBION controllers • 66 independent projection channels • 16 megapixel uncompressed playback

• 99 objects tracked • 260 VYV Copernic emitters tracked • 100 m tracking distance in stadium conditions • Automatic calibration of all projectors and cameras in 55 minutes

EVENT FOCUS

SENSATION: ANGELS AND DEMONS On 2 July 2016, Sensation returned to its spiritual home at the Amsterdam ArenA with a brand new show. TPi spoke with interactive lighting expert PixMob about its contribution to the EDM spectacular.

Sensation has become something of an institution in the world of electronic music since its inaugural show at the Amsterdam ArenA in 2000, popping up all over the world in various guises during the 16 years that followed. As the different incarnations rolled by, from Dreamcatcher to Innerspace, Sensation’s compulsion to push the boundaries of technical production remained as essential to the event’s identity as its all-white dress code.

For the brand new Angels and Demons edition, Sensation broke with convention by introducing a split black and white theme, allowing attendees to embrace their inner angel or demon depending on the colour they were allocated upon buying a ticket.

Over 35,000 angels and demons packed into the arena to witness the mind-boggling production that included aerial performers, a revolving central DJ booth and a whole arsenal of pyro-related madness alongside sets from Sam Feldt, Robin Schultz, David Guetta, and Nicky Romero, to

name but a few.

To make sure that the crowd was fully immersed in the cascade of lighting and video technology on display, the event once again called on PixMob to provide 26,800 of its Pro2 infra-red wristbands, as well as Show Operator Xavier Begin-Leblanc. This technology allowed Begin-Leblanc to use the bulk of the crowd as a canvas on which to create a full RGB effects, including the ability to group the angels and demons independently.

The company was first introduced to Sensation through Heineken on the Asian leg of the Wicked Wonderland tour in 2013-14, where it was tasked with activating the wristbands green at a specific climax in the show.

The success of this set-piece led to PixMob deploying its technology for the full Into The Wild tour through Europe, Russia and the Americas, which was followed by other shows in Dubai and Amsterdam among many others.

The company made sure that the audience was immersed in the lighting design throughout Angels and Demons, as well as providing visual 22

SENSATION

reinforcement to the ‘battle’ that occurred between the rival groups during wristbands in mind. The battle section was very well-executed and it the second act of the show. This involved the integrated so well into the overall production.”

PixMob wristbands being programmed to follow PixMob Producer Sophie Blondeau added: “This the lighting and video in separating each faction, particular edition was just awesome and so as they were involved in an all-encompassing different from what you usually see. It was so conflict. special to witness Sensation at its home in the Begin-Leblanc commented: “I’ve done many Netherlands and the black and white theme was “I’ve done many shows with shows with Sensation over the past few years and also really successful. When the wristbands lit Sensation over the past this one was particularly impressive. It’s a massive up and split the crowd in two it was a fabulous venue and it looked great to see 30,000 attendees moment - it was electric!” few years and this one was all being part of the same show and living that TPi particularly impressive...” moment together.

Photos: Courtesy of Sensation Xavier Begin-Leblanc “A nice thing about Angels and Demons was www.sensation.com Show Operator that Sensation really built the show with the www.pixmob.com

23

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PRODUCTION PROFILE

NASS FESTIVAL Owned and produced by Vision Nine, the 2016 NASS Festival drew in 15,000 festival goers and over 400 athletes to Shepton Mallet for a weekend of music and action sport lifestyle, which this year included the International BMX Freestyle Federation (iBMXFF) World Championships - almost three decades since the UK last hosted the competition. TPi’s Kelly Murray got in on the action.

NASS FESTIVAL

Audile provided both sound and lighting for the festival.

Staged alongside one of Europe’s top skateboarding competitions, Bath & West Showground, near Bristol, became home to some stomachchurning scenes. Alongside this, more than 100 artists comprised the music line up, which hip hop royalty Jurassic 5 and electro house pioneers Knife Party headlined.

Production Director Tom Sabin has worked with Vision Nine for more than four years, leading the technical feat on a variety of events including Boardmasters, Masked Ball and Freeze. This year, he says, the biggest challenge for the NASS production was the changes implemented, namely moving the main stage into the centre of the site. He told TPi: “It worked extremely well, brought the audience into the area earlier and improved the general audience flow around the event.” The popularity of NASS and the need to factor in action sports as well as music needs means the Vision Nine crew essentially works on NASS for 12 months of the year. Continued Sabin: “I’ve already started on 2017! Yet the physical build time takes eight days once we’re on site as the showground has so much infrastructure in place already so it’s much faster than a greenfield site.” As well as the main stage move, Sabin and his crew also had more outdoor sport activities this year, such moving the vert ramp to a central area of the event site. “This definitely added to the atmosphere as our dirt jump course was bigger this year.”

A purpose-built pro park featured a 14ft vert ramp that served as a home from home for the international athletes.

When it comes to his suppliers, Sabin has a handful of trusted companies in tow. He elaborated: “Audile supply our audio and lighting as I’ve worked with Rob Leach and the Audile team for over 10 years now; they understand our shows and have both great kit and crew. They also produce great quality advancing information in terms of drawings and renders to bring their designs to life. Importantly, they work hard on-site to get the best possible results for every stage.

“Audile travel down from Manchester but it makes logistical sense to use a number of suppliers who have kit coming out of Glastonbury, which is just up the road from this event. Alpha supply our fencing, SPS and Serious Stages provide our staging and although there was a delay in Glastonbury load-out times due to poor weather conditions, the knock on effect for us was pre-empted.

“Transition Video are great too; they’re always reliable and have great VJ skills. They brought together sport, festival brand and artist video content in a coherent visual programme for the main stage.”

Emma Reynolds has been the NASS main Stage Manager for three years after stage managing the main stage at Boardmasters in 2013. Having helped the festival go from strength to strength, she explained her key objectives: “The main thing to keep in mind with high profile acts I find, is to respect their crew and help them around your stage as much as possible.

I introduce them to all of my crew so that everyone knows who they are and can offer a helping hand as and when needed. J5 had a couple of large props on stage so we had to make sure we had the floor space to build and the height to accommodate these, but our Sunday night show with Knife Party was the largest production, so once we knew that would fit everything else slotted in nicely. I advance the main stage at NASS as well as run it on the day, which really helps as I already have relationships with visiting teams. Audile do an epic job, so it’s well worth them making the journey. I couldn’t do it without them and the hard work and knowledge of their crew is a real credit to the company. Delta provides the stage crew and they’re brilliant.

“The reason I love working on NASS is as much to do with the BMX and skateboard elements; it really sets it aside from all the other shows. I used to work in the skateboard industry prior to working in events, so its great to get back to my roots and see old friends, some of whom come from overseas to ride at NASS. It’s recognised as a destination for riders on the 28

35 Years xy

d&b is 35. Jones is d&b.

Jonas ‘Jones’ Wagner is part of the Education and Application Support team for Central Europe at d&b. He’s been on board since 2000. “d&b is not like most companies, there‘s a sense of family, or as we call it in Germany, “Wir-Gefühl“. It’s a feeling not just inside the company, but among all our users, so there‘s much less difference between work life and home life. It‘s a good thing to be part of.” In 35 years d&b has evolved from a small garage venture to a worldwide standard in professional sound systems. It’s people like Jones who make this story possible, and just that bit different from the rest.

Welcome to System reality.

NASS FESTIVAL

The main stage hosted a d&b audiotechnik J Series PA system; Video Illusions supplied Transition Video with the main stage video screen.

summer competition circuit and has enjoyed the addition of riders like Matt Hoffman this year and Tony Hawk in 2015.”

PRO100 desk for control. “A substantial rigging and extra lighting package was provided for Knife Party, upping the count of Mythos and Robe 100 LEDBeam fixtures,” he noted.

The Southbank area was in the round. He continued: “We supplied a quad-hang d&b V-Series system controlled by a Midas PRO2 and Precise Audio M15 wedges and P18B subs provided the monitoring.

“Lighting was rigged on a four-leg slick ground-support system, and comprised Clay Paky AlphaSpot 700 HPEs and Sharpys, Robe 100 LEDBeams, Martin by Harman Atomics and Prolights PixRoll 12’s, controlled by an Avolites Pearl Expert.

“The Warehouse and the Hanger both featured Funktion One Resolution sound systems, with a wider variety of lighting fixtures including Martin by Harman MAC 700 Profiles and MAC 250 Entours, Clay Paky Alpha Beams, Showtec Active DMX Sunstrips, again controlled by Chamsys and Avolites consoles.

“The VIP area also featured a Funktion One Resolution sound system,

THE TECHNICAL PRODUCTION Audile’s Rob Ashworth believes the nature of the festival brings a different element to the production: “It’s certainly a different vibe to work on a sports / music combo festival - the dual focus really adds something to the weekend. When the focus moves from sports during the day to music in the evening and into the night, the audience is fresh and anticipating the music.

The crowds are really energetic and up for it!”

The main stage was a standard Audile festival package a d&b audiotehcnik J-Series PA and FOH control comprised an Avid Profile console and Lake LM44 prosessors. d&b M4 and C7 wedges were placed on stage and run from a Yamaha PM-5DRH. The lighting comprised various Clay Paky fixtures including Mythos, Sharpys and Stormy CCs. Ashworth also specified Robe 600 and 100 LEDWash Beams, with a Chamsys Magic Q

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Bristol-based Upfest invited street artists from the UK and Europe to decorate the site; Audile provided an Avid Profile at FOH; Serious Stages supplied the main stage; Skateboarders came from across the globe to compete.

with ChromaQ DB4’s and Studio Due StudioLEDs for lighting.”

For the sports production elements, which included both commentary and music in the Pro Park, a d&b audiotehcnik C7 system was provided.

Other small sound and lighting packages were supplied for the numerous other sports areas. Ashworth noted: “Generally the genre of the music doesn’t make a big difference to our designs, but with NASS the dual sports / music focus lends a different atmosphere to the gig and our crew really enjoy working on it as a result.” Audile’s Rob Leach designed the lighting and headed up the lighting team, with Dan Scantlebury designing audio and crew chiefing the sound team.

Video Illusions’ own product. He said: “I have a long-standing relationship with Tom Sabin, and although I’ve worked on the event for a few years, this is the first year I’ve done so as Transition Video. I think the concept of NASS festival works really well. Combining an extreme sports festival with a music festival has its challenges, but the crew at Vision Nine pull it off and 2016 has definitely been the festival’s best year to date. Vision Nine are always very accommodating and working alongside our friends at Audile and Delta makes the job run smoothly.”

Video Illusions Nick Whiteoak furthered: “We’ve been involved with NASS for years so it’s always nice to have our kit in use. We love the festival - back in the day Video Illusions even designed a score board system for Sportsvision - as Vision Nine were known then.

“Rhodri at Transition is a good friend of ours and we were delighted

VIDEO Transition Video’s Rhodri Shaw supplied the main stage video screen with

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NASS FESTIVAL

Sports Production Manager, Joe Baran; Event Marketing Manager, Ryan Mathews; Production Director, Tom Sabin; Stage Manager Emma Reynolds.

to supply him with our brand new VIL66mm. It has to stand up to direct sunlight all day on that main stage and with 5500nitts, it does. Tom Harding also did a fantastic job VJing.”

Video Illusions products were also used for Knife Party’s performance.

“The same panels were used on the backdrop to risers supplied by Litestructures. We are able to remove modules in our VIL6 product that allows for bracing to pass through and attach to the clamps behind the crow. Perry Scenic makes these and the effect is a phenomenal show,” added Whiteoak.

STAGING Serious Stages, which provided the main stage structure, also enjoys a long-standing relationship with Vision Nine. Steven Corfield, Managing Director at Serious Stages, said: “NASS had previously been held as an indoor show or with a very small outdoor stage, however as demand for the festival increased and its potential grew as an outdoor event, we were brought in to deliver the larger staging requirements. This year’s NASS festival witnessed bigger acts than ever before, meaning the production required a larger stage. However, the organisers wanted to ensure that it remained in keeping with the festival aesthetics and offered an intimate connection between audience, artist and the surroundings.”

In order to achieve this, Serious Stages supplied a 16m steel Orbit stage with a Supernova roof consisting of three 3.6m bays and a cantilever, to allow increased weather protection and enhance audience sight lines. Two 7.2m x 2.4m covered extensions flanked the stage and housed monitor desks and production technology. An access ramp was also installed from the rear of the stage to the loading dock, as well as a set of 1.2m wide steps from the stage deck to the ground. A 12m x 7.2m stage extension was also installed at the rear of the stage. Two 9m single mast flying systems were also installed to hang PA speakers, and a 4.8m x 4.8m covered FOH tower was constructed, decked on two levels to house lighting and sound.

Continued Corfield: “Our Supernova roof is manufactured in our Somerset facility and offers organisers and production teams a steel frame and steel truss medium sized roof, capable of taking the higher production loadings. Its modern engineering design and our in-house fabrication combine to ensure full wind-loading calculations and weight loading calculations are carefully undertaken for every show. With the Supernova, the depth of the stage can be varied by five metre increments thanks to our modular bay design, with rear loading ramps, access stairs and covered side-sheds for monitor desks or storage areas. This roof was perfect for NASS, enabling organisers to accommodate major bands with heavy production loads and video loading in the roof arches.

“The biggest challenge was the very wet weather which had lasted for three weeks by the time we undertook this build. This is particularly hard for the crews who are constantly battling with weather; crew welfare is very necessary under such conditions. The Bath & West Showground is great to work on as it has hard standing ground and roadways that criss-cross the whole site. Of course the timing of the event meant that we were also taking down stages at Glastonbury during the NASS build up, careful planning meant this wasn’t an issue.”

The Serious crew was led by Jack Lea who had an an eight man team, plus a permanent standby crewmember for production and show days.

Concluded Corfield: “This was our second year supplying NASS and we were thrilled that our stage hosted some of the biggest names in music.

Just like the sports it showcases, the music bill was fast and loud so our stage had to accommodate the accompanying large scale technical production and creative elements. It was important that our stage was flexible for all acts, as well as having the right look to accommodate performances taking place throughout the day as well as the evening.

For us it’s about supporting organisers in delivering a great festival and creating the best possible experience for artists, production teams and the 32

NASS FESTIVAL

During the daytime, sports took centre stage.

audience - from the stages to the ancillary structures.”

Event Solutions supplied 110 metres of front of stage barrier across all of the site’s stages, LX Trix provided power.

Amateur Park, Jon Kearns won Amateur Vert and Keegan Alves won Amateur Flatland. As well as the BMX Worlds, top pro skateboarders competed over the weekend for their share of prize purse totaling over $50,000 (the largest BMX and skate prize purse in the UK).

THE ACTION SPORTS LIFESTYLE Sabin explained the effect this element has on the festival crowd: “The The International BMX Freestyle Federation (iBMXFF) World Championships mixture off programming we offer makes a difference to the audience saw Logan Martin, Vince Byron, Nick Bruce and Matthias Dandois taking profile and movement. A lot of the attention during the daytime is on sport the World Champion titles. This was the first time the iBMXFF World as some of the best-known sports stars can draw music headliner size Championships have been held in the UK crowds. Each of the sport courses has its own in 28 years. Australians Byron and Martin production requirements to facilitate a smooth took the Pro Vert World Champion title and build and operation and we work closely with Pro Park World Champion title respectively specialist contractors for each discipline to while American Bruce was named Dirt improve these from an athlete and audience World Champion and France’s Dandois was point of view each year.”

“I’d like to think we bring crowned Pro Flatland World Champion. A truly Vision Nine’s Richie Inskip, Brand and Event something to festivals that isn’t international turn out.

Manager, was also keen to point out the impact typically there; live action!”

For the first time ever, amateur athletes action sports notoriety is having on the UK were also invited to compete, with the top event.

Pete King, performers qualifying through to the pro “My job involves carrying our brand King Ramps competition. Jak Tones took the title for personality and curating the sports elements

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NASS FESTIVAL

Nass Event and Brand Manager, Richie Inskip; Shaun Scarfe of Four One Four; Pete King of King Ramps.

- from courses to contests. This festival attracts the alternative youth materials, sorting and packing for about two weeks, but the design starts culture, so we have to make sure we get our brand across effectively. months in advance as there is a lot of detail to consider,” he furthered.

“For example, scooters get a bad reputation in action sports, but Scarfe, who has a long association with the festival, and has also seen a I’ve worked with some of the best riders out there and it undoubtedly significant rise in its popularity: “I was at the very first NASS as a BMX rider communicates with a younger audience. We’re looking at integrating and we were doing shows for the crowds before NASS hosted BMX or skate all action sports into NASS so that we can represent what we’re about contests. When NASS decided to host a contest we organised the BMX accurately. side of things, contacting riders, judging and choosing the MCs. Since the “This year we’ve also stepped up our game when it comes to aesthetics early days a lot has changed; the sports are still very young but they have on site. There’s been a significant increase in this thanks to the creative evolved quickly. NASS has done very well at progressing and evolving the team from Upfest, a non-profit organisation based in Bristol. They’ve contest setting and the course has grown, meaning the rider level is now brought some of the most famous street artists in Europe to NASS and had the highest in the world.” them decorate the black scrim [fence covering] with their own style, so throughout the grounds you’ll see a lot of different art influences.”

2017 AND BEYOND Joe Baran, NASS Sports Production Manager for three years running.

Inskip concluded by saying how this year’s festival went: “2016 has been an He told TPi: “I run my stage the same as I would a music stage because I incredible year for NASS, with the largest crowds we’ve ever seen. Jurassic have DJs and comperes working here and the athletes are the performers, 5 and Stormzy stole the show on Saturday night, before an epic Sunday so there’s a similar crossover, but NASS has grown and grown. One of the of action sports which saw Danny Leon and Logan Martin as four time coolest things we’ve got is the biggest vert ramp in Europe. The Ghetto champions in skate and BMX Pro Park respectively. My personal highlight Park, the Ring of Fire - where people literally skate through a burning hoop was the Matt Hoffman and friends demo, what a legend.” [see cover photo] - and the other courses around the site make it a really Reynolds added: “NASS is moving in a strong direction. Andrew popular event for people who love to BMX and skate with their friends. I’ve Topham, festival owner, and Tom Sabin, our Production Manager, both definitely seen a growing sports community year on year.” genuinely listen to the feedback we give year on year, which really helps to Pete King - an ex pro skater - is responsible for building the biggest vert push the festival in the right direction. Long may that continue - I can’t wait ramp in Europe, which is present at NASS. Having worked with the event for to see what NASS 2017 has in store!” the last six years, his company now builds the outdoor vert ramp and places Ryan Matthews, Event Marketing Manager at Vision Nine, said this had mini ramps around the site in order to help create an authentic street skate been the festival’s most successful year to date, with a huge team effort environment. He said: “I’d like to think we bring something to festivals that from the event’s creative and technical suppliers. “It’s a brilliant event to be isn’t typically there; live action! It isn’t just for people who ride or skate, it’s involved with, we’re very passionate about what we do, and this year I think great fun to watch and there’s lots of adrenaline at the forefront.” we’ve done it better than we ever have before.”

Shaun Scarfe of Four One Four also provides skatepark ramp NASS Festival 2017 will take place between 7-9 July. equipment, as well as contest management to BMX and skate shows. “We TPi spend a lot of our time working on indoor Photos: Live photos courtesy of NASS Festival; skatepark builds and ramp equipment for TPi. promotional events and adverts,” he said. “For www.nassfestival.com NASS Festival we made the Pro Park Course. www.visionninehq.com In brief it is a full on skate park layout, not the www.audile.co.uk usual couple of ramps you see at events; it’s http://videoillusions.net a fully bespoke layout that we only ever build www.stages.co.uk the once, so it’s always fresh. As NASS hosted http://eventssolutions.co.uk the iBMXff World Championships this year, we www.sps-productions.co.uk “2016 has been an incredible wanted to go all out and build the best course www.lxtrix.co.uk year for NASS, with the largest possible.” www.deltacrew.uk The build of the Pro Park took 3.5 days using www.alphafence.co.uk crowds we’ve ever seen...” a crew of 32 who utilised 54,000 screws and www.transition.video Richie Inskip, 18,200m of timber and 590 sheets of plywood. www.fouronefour.co.uk NASS Brand Manager “We do a lot of prep in the workshop cutting www.kingramps.co.uk 36

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PRODUCTION PROFILE

MONTREUX JAZZ FESTIVAL: 50 YEARS OF RECOGNITION In the five decades that have passed since Claude Nobs, Géo Voumard and René Langel founded Montreux Jazz Festival, some of the most high profile and innovative artists and musicians the world has ever heard have graced the high end stages of this Lake Geneva offering.

Originally launched as a pure jazz affair in 1967, Montreux played host to the biggest stars of the day, and 50 years later, it welcomes bands of various genres and levels to perform during a three week period.

The event’s core audio partners - Meyer Sound, DiGiCo and Shure - have been in place for some time and continue to up the production values for global touring artists and sound engineers at the top of their game.

The audio partnership includes the utmost quality in sound design and onsite technical support for visiting engineeers. In addition, this landmark celebration saw a virtual reality installation from PRG Lab and audioborn.

Here are some of the 2016 technical highlights from a truly unique event in the festival calander.

TPi Photos: Georges Braunschweig Edouard Curchod FFJM Daniel Balmat www.montreuxjazzfestival.com

MONTREUX JAZZ FESTIVAL

DIGICO SOUNDS OUT JEAN-MICHEL JARRE Renowned FOH Engineer for Jean-Michel Jarre (JMJ), Alain Courieux, visited Montreux Jazz Festival with the electronic titan to headline the Auditorium Stravinski. The French artist is known for the visual aspects of his preformances, but if you’ve ever attended one of his shows, you’ll know that his intricate relationship with high end audio is also a force to be remembered.

Courieux, who is undoubtedly a world-class live sound engineer, told TPi: “I started in this business after I studied classical music, and after my interest in production peaked, I began working in pro audio during the 1970s. I have worked for various rock bands during my career, and when I met JMJ, we clicked. I started working with him some years after we met initially for his 2004 show in Beijing for which he was looking for an engineer who was able to manage the 5.1 set up he wanted for his Forbidden City concert.”

Their relationship has continued with ease and Courieux has since brought DiGiCo consoles into the fold. He furthered: “David Webster and Bob Doyle first introduced me to the D5 console during an exhibition in France and I’ve used them ever since. I‘m very happy with what these boards can do.”

For the MJF appearance Courieux used a lot of multiband compressors, reverb and external gears including one DME 64 Yamaha and an M 6000 TC Electronic with the SD7 desk provided. Monitor Engineer Vincent Mantz also used a DiGiCo SD7 console for his mixing duties.

Continued Courieux: “The DiGiCo team always work closely with us, as Vincent and I are very keen to try the new technology on offer from them.

“JMJ knows exactly what results he wants to achieve; he is a very smart artist who is determined to create the best show possible, this of course includes the best sound quality available.“ The show also utilised 12 channels of Shure PSM1000 IEMs, 12 channels of Shure UHF-R Wireless microphone systems, and four channels of Sennheiser EW300 IEMs. A SUPPORTIVE RELATIONSHIP DiGiCo Technical Specialist - and South American whirlwind of personality - Fernando Delgado spoke of the emphasis DiGiCo places on relationships, technical support and its involvement with the prestigious event: “Montreux is a festival I am always ready for. Although it requires a lot of hard work from DiGiCo, the opportunity to see how the best engineers in the world use our consoles to mix on is priceless. Especially when they become our good friends, such as the Jean-Michel Jarre crew. This year Alain and Vincent brought us some great memories and delivered an incredible sound in the Stravinski; it was perfectly balanced and refined truly an amazing show to hear.

“Every year we see more and more bands bringing their own DiGiCo desks to their shows at MJF, so it can be very busy at times, but it is great to see what we have achieved here; the challenges are far outweighed by the rewards.”

TPi Photos: FFJM Lionel Flusin, TPi www.digico.biz 39

MONTREUX JAZZ FESTIVAL

MEYER SOUND CELEBRATES THREE DECADES OF PARTNERSHIP John Meyer with MJF Founder, Claude Nobs.

Meyer Sound celebrated 30 years of collaboration with MJF, an event that many consider the world’s most illustrious and eclectic annual celebration of popular music.

“Sound really mattered to Claude Nobs,” said Meyer Sound CEO John Meyer, recalling the festival’s late founder. “I remember distinctly when he came to me and asked how we could make the festival sound better.

He had a curiosity about sound and a real desire to create unique and extraordinary experience for artists and audiences.”

The 2016 MJF lineup featured a host of luminaries across a spectrum of genres, including Muse, Herbie Hancock, Neil Young, Santana, Quincy Jones, Robben Ford, Slayer and others.

Meyer Sound has a tradition of introducing new technology at Montreux, including a series of premium stage monitors named in honour of the festival that was launched with the MJF-212 in 2006. This year’s new entry is the powerful yet petite MJF-208, which brings the award-winning MJF technology to intimate venues and tours where space is limited. The twin-driver design yields excellent sound quality and impressive headroom despite the small footprint.

“Montreux Jazz Festival has played an important part in our product development history,” said Executive Vice President Helen Meyer. “Through our research and development in sound technology we are able to bring the sound quality of the festival to a new level each year and, at the same time, to receive valuable feedback from the festival professionals and artists. What I love is that the real beneficiaries of this great collaboration are the audiences who come to hear great music in one of the world’s most beautiful settings.”

LYON and LEOPARD, members of Meyer Sound’s award winning LEO Family of line arrays, power the sound at Auditorium Stravinski, Montreux Jazz Lab and Music in the Park, supporting a diverse range of artists.

Nearly 500 Meyer Sound loudspeakers provide exceptional audio quality throughout other festival venues as diverse as clubs, bars and even intimate shows on trains and boats.

Collaborating with artists and institutions to drive sound innovation has been a part of Meyer Sound’s DNA since it was founded in 1979. Many of the company’s products were created as a direct result of challenges faced by artists and creators such as The Grateful Dead, Steve Miller, The Three Tenors, Metallica, Cirque du Soleil and Francis Ford Coppola, among many others.

Auditorium Stravinski was the venue of choice for TPi’s 2016 visit, with French electronica pioneer Jean-Michel Jarre entertaining us for the night.

At this venue, 12 boxes of LYON were placed per side (eight LYON-M and 4 LYON-W) with six 1100-LFC flown behind, making a total of 24 LYON and 12 1100-LFCs. The centre array comprised four LEO. A total of six M’elodie were used as frontfill (but were removed for Jean-Michele Jarre’s concert), and two UPQ-1P and two UPA-1P were used as infill and outfill respectively.

New to the sound design this year was a cardioid array of six 900-LFC in a line placed under the stage. This helped to evenly disperse the low coverage on the floor. The system was processed through a Galileo Callisto 616 AES at FOH and two Galileo Callisto 616’s on stage.

José Gaudin, a Technical Support Specialist from Meyer Sound noted

that this year’s festival went extremely well. He said: “The 50th anniversary featured an extra venue at the Casino, and we refined the setups in a few other stages. There was a little more pressure on us this year because of the anniversary, but I’m lucky to work with a very strong audio team. Rental companies TonSpur and Skynight help to smooth the whole process by installing and maintaining almost 500 Meyer Sound speakers during the 22 days of performances in eight different venues.”

Gaudin continued: “There’s a real sense of pride, but as Meyer Sound has been involved with MJF for so long, there is also some routine. Being a small part of the Montreux team is very humbling because the event is prestigious and we all have to be up for the challenge.

“It’s a great feeling when you know from the start that everyone in our department is relaxed in spite of the complex nature of the sound designs because the people entering the room are enjoying the quality of the system.”

TPi Photo: FFJM Lionel Flusin www.meyersound.com://www.digico.biz

WHAT THE ENGINEERS SAY Lana Del Rey FOH Engineer Jon Lemon on LYON: “Terrifically accurate with great fidelity and headroom, a pleasure to mix on.”

Nathaniel Rateliff & The Night Sweats FOH Engineer Jamie Medford on LEOPARD: “I didn’t have to work as hard as I normally do, it just sounded great.”

Matt Gill, Son Lux’s FOH Engineer on LEOPARD: “I had a blast mixing on the LEOPARD. The room sounded great right off the bat.”

Buddy Guy’s FOH Engineer, Max Maxson, on Meyer Sound at MJF50: “I had lots of low-mid presence.

It was very easy... a pretty amazing night.”

40

MONTREUX JAZZ FESTIVAL

SHURE SELECTS WINNER OF VOICE COMPETITION 2016 Latvian vocalist Arta Jekabsone wins prestigious title at Montreux Jazz Festival

The Shure Montreux Jazz Voice Competition was established to nurture and promote talented young singers from all around the world. As sponsor of the competition since its inception in 2003, Shure was proud to announce the winners of the 2016 contest.

The finals were held on 9 July in the Petit Théâtre at Montreux Palace during the world-famous Montreux Jazz Festival. This year 164 entrants from all over the world took part, with 10 semi-finalists performing in Montreux before an international jury of singers, composers and journalists, presided over by Beninese singer / songwriter Angélique Kidjo.

With great difficulty, three contestants were chosen to go through to the final: Fabio Giacalone from Italy, Arta Jekabsone from Latvia and Erik Leuthäuser from Germany. Following a final performance, Jekabsone was

announced as the winner, Leuthäuser won second place, Giacalone third.

A former violin student and graduate of the Riga Choir cathedral school in the Latvian capital, Jekabsone is currently studying on a scholarship at the New School for Jazz and Contemporary Music in New York. She made her winning performance as personal as possible, as she explained in an interview after receiving first prize: “When I was thinking about the concept of what to sing, for me the first condition was: be yourself. I chose the songs where I felt a connection.”

All three of the 2016 finalists took home various Shure products of their choice to a value of €2,000, alongside other prizes.

TPi www.shure.co.uk 42

MONTREUX JAZZ FESTIVAL

AUDIOBORN AND PRG LAB CREATE VR EXPERIENCE FOR THE ARCHIVES OF MJF

For this year’s festival, audioborn developed a project allowing the festival to be captured through 360° / 3D video and sound recording technology for the first time. This content can later be rendered and used in virtual reality applications, permitting users to experience the selected acts in real-life quality.

Commissioned by the Metamedia Center of the University École polytechnique fédérale de Lausanne (EPFL) together with the Montreux Jazz Festival, project lead and official technology partner audioborn is partnering with PRG Lab for the video expertise. The company is responsible for capturing and reproducing all concerts in 3D audio with its software real-time processor called Auratorium. The software system is designed for 3D audio and virtual reality applications. It uses a ray-tracing approach to calculate physically correct and 100% natural sound.

PRG Lab, a division of PRG XL Video, based in Germany, develops customised interactive and leading software solutions for the event and exhibition market. PRG Lab will be supporting the project with a 360° / 3D Nokia OZO camera system to capture a 360° spherical video of chosen acts at the festival.

The cooperation between audioborn and PRG Lab will be one of the first commercial uses of the OZO system in a production of this size. In addition to the standard multitrack recordings, audioborn will capture the sound in the form of a 3D recording, using the Sennheiser VR microphone prototype, and be able to reproduce highly realistic 3D audio for the recordings.

“The methods we use to capture sound - which is the most important part of Montreux’s Jazz Festival - will be pioneering for 3D audio sound recording as well as reproduction. Using our 3D software audio processor

Auratorium, we will be able to achieve the highest possible degree of immersion for the jazz archive,” said Dr. Dirk Schröder, CEO of audioborn.

“We will have to determine how each instrument and sound will react depending on the position of the camera in the room. When sound and video are combined for VR playback, the virtual user should feel as if he or she is actually at the festival in person. Our goal is a total immersive playback experience in sound and vision. We are proud to work closely together with PRG Lab as our professional partner for 3D video capturing.”

“This project is outstanding in its dimensions. We are going to record a huge amount of data during the 16 festival days with the OZO system. This will be the most demanding challenge we have to face during the project.” commented Michael Ochs of PRG Lab. “This is very exciting, state-of-the-art technology being used at the Montreux Jazz Festival. It is the first project of its kind and we can’t draw from previous experiences. ” One of the challenges of this project is the large amount of data collected through 3D recording. A concert of three hours would create approximately 2 TB of compressed data. Uncompressed it multiplies later in postproduction by a factor of 12.

PRG Lab is continuously expanding its 3D capabilities and will be using OZO production computers as well as the audioborn Auratorium software to create immersive experiences. The audio mixes can be rendered for multichannel 3D audio systems or binaural headphone reproduction.

TPi www.audioborn.com www.prg.com

43

HAÇIENDA CLASSICAL When rave instigators from the Haçienda’s glory days teamed up with the Manchester Camerata Orchestra, legions of dedicated fans were promised a fresh take on the biggest tracks of the acid house movement. The benefits of creative collaboration were seen both on stage and backstage amongst the suppliers working on the show at Manchester’s Castlefield Bowl. TPi heads to the hometown gig to talk nostalgia, club music and the success the shows had enjoyed.

For those who remember the ascendency of acid house, bolstered by acts such as New Order and Happy Mondays, the name Haçienda still resonates as if the deep basslines play on. It has been almost two decades since this famous venue in Manchester city centre closed its doors to dancers and ravers. The building still stands today, although now in the corporate guise of an apartment block. The role the Haçienda played in British rave culture has not been forgotten, and the name has enjoyed longevity far exceeding the venue’s lifespan. So, when it was announced that DJs from the club’s heyday would return, the old vanguard - who have long since retired their flourescent shirts and whistles - sat up and took notice.

Haçienda Classical saw the DJs join forces with a live orchestra, combining the contemporary with the classical in an unusual twist all

under the watchful eye of New Order’s Peter Hook who took on the role of Event Producer. As the Haçienda is born and bred Mancunian, who better to collaborate with the Manchester Camerata? The run of shows began in the venue’s hometown in February with a night at the Bridgewater Hall that sold out in minutes. The group of classical musicians and DJs played nights across the UK including the Royal Albert Hall in London. TPi caught up with the team behind this bizarre but beautiful culture-clash at the Castlefield Bowl, in front of a sold out crowd of 8,000, for the Sound of the City concert series, promoted by SJM. The series included headline sets from James Bay, Stereophonics, Catfish and The Bottlemen and Guy Garvey.

COME TOGETHER The man taking on the task of bringing together two worlds was Production 44

PRODUCTION PROFILE

Opposite: Playing several dates up and down the UK in 2016, Haçienda Classical offered a trip down memory lane playing some of the most well known hits from the ‘80s and ‘90s. Below: The project was the brainchild of some of the Haçienda pioneers including New Order’s Peter Hook, the Event Producer.

Manager, Matt Jones. Pre-show, he talked about how he first encountered the project. “It’s safe to say that during the early days, no one really understood how much of an undertaking this project would be. I entered the picture after Joel Perry [Account Manager at Wigwam] got in touch to ask about my availability. As well as Production Managing I have a lot of experience in audio, working as monitor engineer for Pixies for the best part of 11 years, as well as freelancing for Wigwam on various occasions.” Matt credited his ongoing professional relationship with Tom Bush [Wigwam’s Project Manager] for securing the contract adding: “All the Wigwam guys knew that there needed to be a production manager with a real knowledge of audio due to the demands of this show.”

With Matt in place, the next challenge for the PM was to fuse the polarities of classical and club music. “Honestly, compared to my other production managing jobs, this has easily been my most challenging show.

There really is a clash of ideologies with the chaos of the Haçienda and the very strict structure of the orchestra. I love the chaotic aspects of the Haçienda crew as I think that is what makes their show so good, but at the same time the structure of the orchestra really gives the show its power.

It demands a really delicate mix. For example, the orchestra only have a finite amount of time they can adhere to. During rehearsals we could never could go over the timeslot allotted as any overtime meant £15 per head in the orchestra every 15 minutes. When dealing with a 70-piece orchestra you can understand why organisation had to sometimes reign supreme.” But according to Jones, all the hard work is more than worth it: “There are some amazing looks during this show. We are coming into the traditional ‘classical’ settings and bringing back the club aesthetic. It really is something special.”

The show at Castlefield Bowl had some additional logistical issues, as it’s an open-air venue in the middle of the city centre. “There are tight curfew laws which makes sense when you look at the location,” explained Matt. “The only times we can make noise is between midday and 2pm! This meant coming in early this morning so we were ready to go by midday, no

matter what. We have a private company constantly taking measurements to ensure we don’t exceed the limits.”

CAN U DANCE? The live mixing of a classical orchestra with a foreign genre is hardly a new concept. Many acts draft in an army of brass and string players to add new depth to their material. In fact, Wigwam was brought into the project at least in part due to its experience dealing with orchestras. But despite the company’s expertise, this show still presented a challenge for the audio specialists. Matt explained: “Just for audio control we had to bring in seven people. For this show we also had added complexity as this was the first time we had complete changeovers with four DJs, including Mike Pickering and Graeme Park, as well as 808 State playing sets. There are a lot of moving parts on stage!”

FOH Engineer, Steve Jones to talked through the control package: “We have one desk that mixes the orchestra, manned by Jonathan Digby [also the show’s System Designer] although for this show we have Jon Brooks covering for him. He sends me groups of the orchestra to my desk. So I have control of each of the groups that I mix together with the DJ tracks, backing tracks, choirs, bass and the several live singers that we have coming in on some tracks.” Digby had specified a DiGiCo SD7 for the orchestral element, while Steve was provided with an SD9.

Steve explained one of the hardest jobs during this show was to find the balance between the club mix and the orchestra: “There is almost a slight division within the crowd. On the one hand there are those simply curious what the mash-up would sound like, and on the other, the hardcore Haçienda fans who just wanted to go mental. It’s a case of people still getting the club feel while keeping the kick-drum in the mix alongside the DJ scratching and still ensuring the orchestra is ever present.” Steve wished to complement the legendary DJs that shaped the Haçienda sound, Mike Pickering and Graeme Park, who created a set list that crescendoed as the night went on: “The way they organised the set list is very much 45

HAÇIENDA CLASSICAL

Robert McCourt, Stage Tech, John Ginley LD, Richard Knowles, Stage Manager, Matt Jones Production Manager; Wigwam provided a whole range of DiGiCo desks for the show with an SD10 used for monitor control and an SD7 and SD9 for FOH; Lighting and audio departments comparing notes; The SJM and artist liason team, Kara Leckenby, Sarah Hodson, Kyle Hogg and Jude Robinson.

like a club. It starts slow with three bpm changes throughout. Nearer the end it gets pretty full on until it really starts to feel like the old days at the Haçienda!” The Haçienda team were certainly very involved in all elements of the production. Co-founder, Peter Hook, even stands at FOH with Jones during the shows. Steve enthused: “He knows the songs inside out and the cues and what should be happening in the mix. He used to do sound for a couple of bands back in the day and still does a bit of producing. He’s a very knowledgeable guy.”

Although Wigwam was the audio supplier for the tour, as the Castlefield Bowl show was one of several gigs that week at the site, the supplier only needed to provide a control package, with a PA system already in place courtesy of Adlib. The PA consisted of 16 L-Acoustics K1 boxes along with four ARCS, 16 KARAs and a sub section of 16 L-Acoustics SB28’s and two SB18’s. For side hangs 12 L-Acoustics K2 speaker boxes were used.

“It’s definitely been a learning curve since our first show. During that Bridgewater Hall show we didn’t utilise close-micing enough and were picking up audience shouting over the sting elements, but we learned from all those teething problems.” Tom Bush, Project Manager for Wigwam elaborated: “The opening night was a very raucous, very exuberant crowd, which are anomalies in a symphonic hall environment. We had to adapt the mic techniques, by swapping out from condensers to bug pick-ups in order to provide maximum gain, while cutting ambient noise. We stuck with it for the remainder of the dates.”

For monitor control Wigwam provided DiGiCo SD10 for Monitor Engineer, Andy Squibb. Adlib provided an on stage monitor and side fill system but Haçienda Classical opted to use all RF, which gave the production clearer sightlines; a benefit with so many musicians on stage. The use of RF also gave orchestra members more control over their environment.

RIDE (THE FADERS) ON TIME One of the biggest issues that the audio team faced was the sheer number of microphone channels needed to pull off this show. Taking up the story was Robert McCourt, Stage Tech for Wigwam. “For the Castlefield show we only have 40 musicians that all have to mic’d up, but for our first show we rolled out a 70-piece orchestra which ended up using 104 channels. With such a large channel count, simply dealing with feedback creates a lot of stress but I think we have got it down now.” McCourt explained this was one of the benefits of the Castlefield Bowl set; the lack of a roof gave the ability to push the audio more than in previous shows. “The high intensity of this show was one of the reasons I was so keen to work it,” concluded McCourt.

“If you have one microphone on stage that doesn’t work you have to be out there in 20 seconds flat. I found the challenge pretty cool.”

Jones was very quick to praise the prowess of his audio team.

HOW DOES IT FEEL? It’s hard to describe the cultural movement of ‘80s and ‘90s rave culture - spearheaded by venues like the Haçienda - without talking about its aesthetic. From the brightly coloured neon clothing to the light shows that used to go hand-in-hand with the performances of the day, it was only right that the nostalgia-driven shows followed suit in terms of design. In charge of recreating the club feel for the show was LD John Ginley along side lighting supplier, Lite Alternative. Ginley was brought in thanks to his prior relationship with Wigwam, much like Jones. Ginley told TPi: “Wigwam got in touch with us at Lite Alternative. Both companies go back a really long way since they both started 25 years ago. Interestingly enough, Lite Alternative actually used to be situated in the corner of Wigwam’s warehouse in the early days.

In terms of Haçienda Classical, we had heard rumours of it happening 46

HAÇIENDA CLASSICAL

Conductor Tim Crooks led the Manchester Camerata under the up-stage mirror ball, a personal highlight of LD John Ginley; It wasn’t just traditional orchestral instrumentation that were added to the show but various other forms of percussion; Rowetta from the Happy Mondays was on hand to sing some of the biggest tracks form the ‘90s.

for a while and when it was put at our feet I personally jumped at the opportunity to work the show. I love the music and the whole scene and really wanted to be a part of it.”

Just like the audio department, Ginley explained how there was a need to find the balance between an intense club show and a traditional ‘classical’ light show. “There was a lot of back and forth in the early stages of the project but what we ended up with at the first show was a real club look. One thing that I kept mindful is the highlights throughout the show from the choir to the DJs and the various guest vocals that make an appearance in the show.” After the first show, Ginley sent an email to all the performers to check the sheer amount of strobes and smoke was not uncomfortable. After all, this sort of show is slightly outside the norm for classical players. “But all the responses back were really positive,” reported Ginley. “I think we have a really good balance now.”

Ginley used several Martin by Harman products, including MAC Auras.

Although there was already a sizable lighting rig in place courtesy of Adlib, Lite Alternative and Ginley brought with them a light package including the Martin by Harman VDO Sceptron. Ginley commented: “We have found that the VDO Sceptron really suited the style of this show. We use them in a pretty simple way opting not to put any video content through them. For us, it works perfectly.” Altogether Lite Alternative supplied 34 Martin VDO Sceptron 10 LED Luminaires along with 14 MAC Aura LED Wash Luminaire.

Adlib’s house rig comprised of 26 Martin MAC Viper Profiles and six MAC Viper Washes along with 24 Clay Paky Mythos. For effects, 24 Clay Paky Stormy with two Profusion DF50 Hazers and two Jem ZR 33 Smoke Machine were used.

But pride of place was the mirror ball hanging above the stage, an effect

that Ginley was especially excited about: “You really can’t go wrong with a mirror ball! For a show like this it works perfectly. It’s a bit of a moment but it brings the house down. You could be sceptical about it but when you see the audience reaction it all makes sense. Having it in the rig is justified.” Just like the audio for the show, Ginley stated how he followed the same format of building up excitement in the show: “You try and create something as the show goes on, it gets a bit faster and a bit more full on and active. You also have to keep up with the music and the way the show is going. Just like the audio, it starts of quite slow and it just keeps going.”

IT TAKES TWO Although the Haçienda Classical production was preparing for several other dates throughout the summer, it was clear that the last Manchester date held a special place in the hearts of both the crew and the performers.

Before the night kicked off Jones encapsulated the excitement of the crew stating: “Tonight is going to be buzzing. If the same lot that rocked up to the Bridge Water Hall are going to be here, it’s going to go off! Haçienda Classical was gratefully received by the Mancunian audience; it’s always brilliant to see that no mater how many years pass by, the cultural impact of the music from this famous venue is still remembered with such affection.”

TPi Photos: Jack Kirwin www.fac51thehacienda.com www.manchestercamerata.co.uk www.wigwamacoustics.co.uk www.lite-alternative.com www.adlib.co.uk 48

“From mix position to any position in the room, it’s hard to mentally process how consistent it is and how easily we achieved it. Anya has the purest impulse response I’ve ever gotten off of a PA system. The acoustic phase response is just breathtaking.”

Robert Scovill FOH Engineer, Tom Petty & The Heartbreakers “Anya sounds more like a giant pair of nearfield monitors than a typical concert array, with a transient response that allows for an extremely dynamic show. In the Paramore show there are a lot of subtle elements that don’t always translate well into the mix.

But with Anya, everything was immediately present.”

Everyone knows all of that processing compromises fidelity.

Right?

Eddie Mapp FOH Engineer, Papa Roach, Paramore “Anya is extremely musical, very powerful and can be customized to match any environment. What else can I ask for in a system? This system should be on every rider.”

Stanley Soares FOH Engineer, Juanes, Sepultura “I have been in a lot of challenging venues. It is amazing to experience how easily Adaptive Systems can blanket the seating area and drop off everywhere else – and sound better than any other systems out there. Every show has sounded fantastic.”

Jason Decter FOH Engineer, Blink 182, Bassnectar “I was hearing a really clean, pure vocal and a very natural open sound. As I said, I really love it when you don’t hear the speakers. For me, that’s the mark of a great system! Thank you!”

Jerry Eade FOH Engineer, Placido Domingo “I have to admit, I have never been that impressed with a loudspeaker in my life – it’s a game-changer listening to those loudspeakers.”

Joe Patten Project Design Manager, CDA

photo © Mark Hanna, FxN Productions

That depends on the machine. Conventional line arrays use few, relatively large sources – like ‘acoustic pixels’. Applying discrete processing to each source means adjacent devices produce very different signals. This ‘acoustic pixelation’ creates impulse response problems that you can hear.

Adaptive Systems are different. With a large number of sources that are small for their bandwidth, these systems were developed to harness the power of signal processing without compromise. They apply sophisticated algorithms to the high resolution array of sources to ensure that processing changes from source to source are small. The result is unprecedented control, consistency and most importantly a pristine impulse response everywhere. Like rendering the same image with a lot more pixels.

You don’t need better processing to fix your machine. You need a new machine. eaw.com/products/adaptive

www.eaw.com

Adaptive_FOHquotes_TPI.indd 1

6/29/16 1:22 PM

PRODUCTION PROFILE

Opposite: In the shadow of the Lovell Telescope at the Jodrell Bank Observatory, Bluedot Festival enjoyed its first year, marrying the two worlds of science and music into a weekend that had something to offer all ages.

BLUEDOT FESTIVAL Bluedot Festival enjoyed its inaugural year under the shadow of the Lovell Telescope at Jodrell Bank. Setting itself apart, Bluedot fused the worlds of science and space exploration with some of dance music’s brightest stars, including Underworld, Jean-Michel Jarre and Caribou. TPi voyaged to the observatory to meet the crew that brought the cosmos to Cheshire.

Every year a new festival comes along promising an alternative experience for those who don’t wish to stand shoulder to shoulder with fellow drunk patrons in a couple of inches of mud. The summer of 2016 was no exception. The organisers of Bluedot offered punters a festival of discovery. In the apt setting of Jodrell Bank Observatory, with the Lovell Telescope dominating the skyline, revellers bore witness to groundbreaking encounters, live performances and DJ sets, and talks from leading experts in various scientific fields.

Under the supervision of Bluedot’s Creative Director, Ben Robinson, the festival grew out of other events that had been held at the site for the last few years. “Around six or seven years ago we came down here to try and do an album launch for British Sea Power,” explained Robinson. “Unfortunately it didn’t quite come together but Jodrell Bank came to us afterwards and said they would like us to work with them on attracting a new audience to the location and to bring together the worlds of science and culture.” After this encounter, Robinson went on to help create landmark shows including performances from New Order, Sigur Rós and The Flaming Lips. Despite the popularity of these events, Robinson and his team were keen to push this science-meets-music mash up further by launching an annual event. After putting their heads together, the result was a festival that was all about innovation, creativity and broader thinking; Bluedot was born. “Personally, I’ve been to a lot of festivals over the last decade that have very similar line-ups and events have become a bit more throw-away,” stated Robinson.

“What I wanted to do with Bluedot was to maintain an ethos similar to Glastonbury; to encourage and enable people to explore new ideals and learn.”

PRODUCTION Heading up the production was Tommy Sheals-Barrett and Dominic Morris on behalf of Ground Control. The duo split responsibilities, with ShealsBarrett managing the main stage (the Lovell Stage) and the second Orbit Stage, and Morris managing the other four stages. Sheals-Barrett discussed how the partnership worked for the weekend: “In terms of responsibilities, the specification and advancing required for each stage was split very easily and clearly between the two of us. We then worked closely together in terms of budgeting, scheduling and procurement for production across the whole site to ensure we maximised resources and didn’t double up on requirements.” This was the first time Morris had taken on the role as Production Manager. He expanded: “I have worked as a production assistant for Ground Control for a few years now and have specialised in looking after some ‘non-musical’ events at Festival No. 6. This event shares some of their more unusual elements, so Jon Drape, Ground Control’s MD, approached me and asked if I was interested.” Morris added: “I really enjoyed having so much expertise available. This was also the first time I had worked with Tommy and I learnt an awful lot from him; I definitely took a lot from his years of experience.” Also assisting the duo in the production office was Office Production Manager, Jess Webb, a familiar face on the Ground Control team.

The festival industry can be a sector predicated on one-upmanship, in which each event tries to exceed the former with its individuality. However, it seems that Bluedot has a unique blend of music and science and it has struck a cord with its audience: “I think it has a lot to do with the venue,” stated Sheals-Barrett. “It’s completely unique as a festival setting. It’s 51

BLUEDOT FESTIVAL

Bluman Associates was brought in by Ground Control to illuminate the large telescope with the work of 77 Million Paintings; a collection of visual images created by musician and artist Brian Eno.

such a brilliant place to visit before you even begin installing any event infrastructure, so you already have a head-start over other festivals.

When you couple that with interesting and unusual artists, you have a recipe for something really unique.” Another thing that set Bluedot apart, according to Morris, was the diversity of acts: “Take the Mission Control stage for example,” he began. “In the daytime it hosted lectures and talks from people from BBC Horizon – not to mention a performance from the Clanngers early in the day for children – then at night we had acts such as DJ Yoda. There was certainly a wide demographic. I have been hearing customers’ feedback that there was plenty to keep all ages happy. I’ve even seen some pictures from the weekend showing kids on their parents shoulders watching Underworld. Images like that really demonstrate that how family orientated Bluedot is and there is something for everyone.”

there for a number of years now, Ground Control’s relationship with Jodrell Bank is great and that really helped everything run smoothly.” Despite the helpful staff at the observatory, the location did create an interesting challenge for the crew working in the build and break down. “Mobile phones and Wi-Fi are not allowed as they interfere with the telescope. It’s not ideal by any means but you get used to it!” commented Sheals-Barrett.

Handling the logistical elements of the show was Joe Baran. His main roles were to handle site logistics, allow all contractor vehicles in and out of site, deliveries (from miles of trackmat to model spacecraft from UK Space Agency), as well as deploying kit across site. Despite Bluedot’s semi-rural location, there was very limited storage space, which required slightly more transport in and out of the grounds. Baran talked through some of the logistical challenges he encountered when working with the unusual festival grounds: “Usually with festival sites you have free rein of an area but this was not the case here. The public had access to the Discovery Centre and gardens right up to live show days and it’s busy with school trips and other organised groups visiting. There are also scientists from Manchester University and SKA conducting research around the clock so vehicle and plant movement in some areas can only happen in specific time slots. With only one road in and out the logistics took some careful planning. Although it can be very challenging to work with multiple land owners, it was a smooth operation, with minimal interference to the day to day operations at Jodrell Bank.”

GROWING PAINS As this was the first year of Bluedot festival there was no previous blueprint to shape production plans. This may have phased many production teams, however, both Morris and Sheals-Barrett believed that despite the challenges the event was a huge success. Sheals-Barrett began: “When you’re stepping into unknown territory you always want to make an impact.

Having said that, you don’t always know if what you are planning will reap the necessary rewards. I think the biggest potential issue that we had was the scope and variety of talent appearing in the same space. On the main stage we had everything from 30-piece orchestras to eminent scientists doing live video link talks with telescope sites based in the US and even Jean Michel Jarre… All on the same day!” Sheals-Barrett complemented all the members of the production team whose diverse skills and expertise made the whole event possible. “One benefit we had on our side was the Jodrell Bank staff,” he continued. “They are very involved in everything that happens on the site and Bluedot was no exception. After holding events

SUPPLIERS Most of the vendors for the festival had already worked with Ground Control at various events. Sheals-Barrett discussed the importance of working with familiar suppliers and building existing relationships: “This event was brand new and the specs were changing almost daily as we all tried to nail down exactly what we wanted and how best to achieve it. It 52

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BLUEDOT FESTIVAL

John Robb on stage with The Membranes; There were a number of space-themed installations around the festival site; Underworld enjoyed a triumphant headlining set; It wasn’t just music that Bluedot had to offer but talks from distinguished names from the world of science including TV favourite, Dr. Brian Cox.

can be quite frustrating and time consuming for everyone going back to the drawing board over and over, so the key thing for myself and Dom was to work with people who understood that process was necessary, and could work with it.”

included 18 Clay Paky Mythos and 12 Sharpy Beams along with 18 Robe Robin 600 LEDWashes and 12 100 LEDBeam lights. For effects, 11 Clay Paky Stormy CCs were present along with 12 Showtec Sunstrip Active DMX battens, six 4-lite molephays and 18 2-lite molephays. Key lighting was provided by 12 ETC Source Four profiles, four Arri 2000W Junior Fresnels and four ArcLED 7513 Zoom LED PARs. Finally, from the stage standpoint, Audile provided two Martin by Harman Jem ZR-44 smoke machines and two Look Solutions Unique 2.1 haze machines. For control, as with audio, two consoles were put in place including an MA Lighting grandMA2 and an Avolites Pearl Expert desk. Distribution came courtesy of the Luminex ArtNet DMX data system.

As Bluedot is a festival of futuristic ideals and discovery, it seems fitting that the production was equally as innovative. On both the Orbit and the Nebular stages, Audile deployed Precise Audio’s latest Voice series PA. “The PA itself was supplied by Audile but overseen by Aaron Booth, owner of Precise Audio,” explained Morris. “This system is currently not on general release and is still being beta tested out in the field at various shows.”

Speaking to Booth a week after the festival, he talked through how the field testing of the new system was going: “We have been getting great responses with the new system and are excited for its official launch. There really hasn’t been any negative feedback and a lot of what we have been working on is the aesthetic of the speakers and making them easier to carry.”

He went on to outline which stages utilised the Voice PA. “We had our new Precise Audio Voice Series monitors on the Orbit Stage. The model was an M15, a two-way bi-amp 15 and a quarter-inch wedge monitor.

Altogether we had 14 monitors in total providing a 10-way mix powered by five of our four-channel PA-M20 DSP amplifier. We also supplied our new Precise Audio Voice Series Point source speakers on the Nebular Stage.

These were powered by our four channel DSP amplifier PA-M20 amps. The

OLD FRIENDS Providing lighting and audio site-wide, with a few exceptions, was Audile.

“Ground Control has a long-standing relationship with Audile,” explained Morris. “They are one of our go-to suppliers when it comes to procurement for the simple fact that we know them so well. They always deliver everything we request.”

Described as the ‘hub of the Bluedot universe’ was the Lovell Stage.

Situated just in front of the famous telescope from which it gets its name, the stage had a carefully curated line up designed to reflect and celebrate the visionary innovator Sir Bernard Lovell - who conceived and constructed the large steerable telescope and headed up the Jodrell Bank Observatory for 35 years. The stage hosted Underworld, Jean-Michel Jarre, Public Service Broadcasting and even everyone’s favourite softly spoken physicist, Dr. Brain Cox. To handle the audio demands for this varied line up Audile provided a complete d&b audiotechnik system consisting of 28 J8’s and J12’s. For the sub-bass 16 J-SUBs were deployed along with two d&b audiotechnik V12 lip fills. All speakers were powered by d&b D12 amplifiers with a Lake LM44 drive system. For control, Audile provided two mixing consoles including an Avid Profile digital mixing console, as well as a Midas Venice 240 analogue desk. For monitor control a Yamaha PM5D-RH digital mixing console was put in place. For on stage sound 16 d&b audiotechnik M4’s were deployed along with two d&b Q-subs, two d&b C7 Tops and four d&b C7 subs.

Audile also supplied a lighting package for the main stage, which 54

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system consisted of six Voice 4 Mid/Hi speakers, which is a three-way tri amp system, four Voice B21 speakers which are dual 21-inch subwoofers and four PA-M20 amplifiers.”

Rob Ashworth, Director of Audile was onsite to oversee the companies involvement with the festival. “We were really excited to get involved with Bluedot,” he began. “Jodrell Bank is a fantastic venue, and the science element of Bluedot made it unlike anything else we had worked on before.

It was an added bonus to work with Jean-Michel Jarre. For those of us who grew up in the ‘80s and early ‘90s, it’s fair to say that his shows back then were an inspiration for all of us to join the industry. We are all very much look forward to next year’s edition!”

Also providing PA solutions for Bluedot was Manchester-based Noisebox Productions. “Noisebox was a new supplier that I personally bought on this year,” explained Morris. “I have worked with some of the guys that run the company before, outside of Ground Control, and I thought that it would be good to get them involved for this year’s event.” Noisebox’s responsibilities focussed on the Roots Stage; a platform for new talent.

Director of Noisebox, James Clamp, discussed the experience. “We agreed that a small company would be in-keeping with the aesthetic of the Roots Stage.” Joining Clamp on site was fellow Director James Playford. Noisebox provided the PA, monitors, mixing desks, microphones, DJ equipment and all other necessary cables and power distribution to bring the Roots Stage to life. “Being an open air, primarily acoustic stage, clarity and coverage were our main considerations when choosing which system to send out,” stated Clamp. “We ended up choosing out Electrovoice Deltamaz DML1152 tops (two per side) for the job as they work quite well for long throw applications and have quite a wide coverage area. With these we also used four PD1850 loaded CV A subs (two per side) for when electronic and full band acts took to the stage, providing plenty of bass to fill the area. Even from behind the trees and the art instillations around the stage and the main entrance where we were located, the music was clear and audible

without being overly loud. This also added to our PA choice as we were the first stage people saw and heard upon entering the festival!”

Noisebox Productions also deployed its Ohm BR15s for monitors, which provided ample volume to even the loudest band. Providing both FOH and monitor duties were Behringer X32 mixers. This was mainly controlled via an iPad as it had to be set up side stage. Clamp added: “It was actually quite pleasant being able to sit on the grass in the sun while mixing the acts under the gaze of the telescope.”

Big Fish and STS Touring supplied backline across all stages.

VIDEO / PROJECTION While making your way toward the site of Bluedot, one element that dominates the skyline is the iconic Lovell Telescope, named after Sir Bernard Lovell. The structure is actually the world’s third largest steerable radio telescope. Its imposing structure would be enough for most festivals to simply be a quirky feature but the organisers of Bluedot really wanted to make the most of the satellite by illuminating it with 77 Million Paintings; a collection of images created by musician and artist Brian Eno. The artist worked in conjunction with Bluman Associates as well as Eno’s visual team, Lumen, to create a projection design that lit up the 70m high structure.

During the early stages of planning the festival, the decision was made to project images onto the girder work of the telescope with the goal to highlight the mechanics of the structure. Working with such an unusual surface meant that it was difficult for the projection team to visualise what the final product would look like. Fortunately Bluman Associates modeled the telescope in 3D using a d3 Technologies media server to help the creative team visualise the finished product.

The technical design included two projection locations with four Barco 40K Projectors on each side. Due to the complicated surface, it wasn’t possible to layer the images by overlaying the projectors. Instead they were tiled together by splitting a single image into a four-way grid, dividing it

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between the four projectors and carefully positioning the output of each projector to create one large image. Despite the image was broken up by the mechanical nature of the telescope girder, there was still enough of a coherent surface that the image resolution was bold and strong. Pod Bluman of Bluman Associates talked about his experience at the festival: “This was one of the largest and most complicated surfaces we have ever projected onto. Our role was to look at the content, the environment, design and facilitate it all coming together with the chosen artwork. As it’s such a big structure, it was important to make sure the projections were as impactful as possible so be seen by the whole audience.”

Dominic Norman-Taylor from Lumen reflected his experience on the project: “We were really happy with the finished result and the feedback from those who attended the show was fantastic. Given the job was quite challenging, we were very pleased with how it all turned out.” NormanTaylor went on to describe that due to the challenging projection surface they had to make sure all the images were strong and bold. Continuing: “The lighter colours just didn’t create the same level of impact. So driving back on Thursday night, Brian and I were sitting in the car amending the images. After the viewing on Thursday night we amended the images so by Friday night the images were so much stronger.”

TRANSITION Transition Video provided video elements for all of the stages. “Transition Video was formed in November 2015 and our first year has been incredibly busy,” stated Director Rhodri Shaw. “Having supplied video for over 18 festivals from Glastonbury to Boardmasters, we’ve now outgrown our new warehouse based near Heathrow and are looking to move to larger premises to deal with the demand. We’ve had incredible support from our clients and suppliers and look forward to what already looks to be a busy 2017.”

Before Shaw founded Transition Video, he had already worked with Ground Control and since the company’s inception has helped on several events throughout the summer period. For Bluedot we supplied site wide

Above: Jean-Michel Jarre was one of the higher-profile acts on Bluedot’s inaugral line-up.

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Production Manager, Tommy Sheals-Barrett; Fellow Production Manager, Dominic Morris taking a walk on the Lovell Dish; Transition Video’s Director, Rhodri Shaw; Ground Control’s Jess Webb; Audile’s Rob Ashworth.

video,” explained Shaw. “For the Lovell stage we supplied a ROE MC-7H LED screen which was on a rolling riser. The screen was rolled on and off for various artist and was very effective for the quick changeovers.“ The company also supplied a 6m by 3m Vies 4mm LED screen driven by Playback Pro on a MacBook Pro for the Close Encounters stage and a 10ft by 6ft Fastfold screen and a Barco FLM HD20 20,000 ANSI video Projector (again driven by Playback Pro on a MacBook Pro) for the Contact stage.

For the Orbit Stage a Barco FLM HD20 video projecting on to a 10m by 6m Shark tooth Gauze for the Be One show, the act performed behind the gauze. We also supplied a 16ft by 9ft Fastfold screen. Finally for the Mission Control stage three, 10ft by 6ft Fastfold screen with three Barco FLM HD20 20,000 ANSI video projectors edge blended using a Green Hippo Hippotizer V3 media server.

Shaw gave his final thoughts: “Bluedot is certainly a very different festival to most. It was great to come on board in it’s first year. Having worked with production managers Dom Morris and Tommy Sheals-Barrett at Ground Control on numerous events of the last couple of years, the process of pre-production and advancing was made easy, and from load-in to load-out, the production ran seamlessly. The stages were effectively inflatable venues and were a challenge due to the amount of ambient light, we upgraded the projectors in all venues to Barco HD20 20,000 ANSI video projectors to overcome this issue.”

Working alongside Transition Video for the weekend, providing video content for the Mission Control stage and the Orbit stage was Logan and Wilcox. The content providers didn’t have the quickest turn around with the project having only two months to prepare for the festival but according to Vik Kaushal, Director of Logan and Wilcox, it was nothing that his team could not handle: “We have worked with Rhodri at Transition Video many times before, not to mention having worked on multiple projects with Audile. It always helps when your working with people you know.”

As Bluedot’s main theme centred around space and the universe, Kaushal made sure that the content produced for both stage fit in with these motives. “For the Mission Control stage the aim was to make it feel

like the audience was in a space shuttle looking out into space. Because there were three screens on the stage the idea was to span the image across all three to make them appear as the window of the space craft. We even used some footage from NASA to produce some of the looks.”

STAGING For all its staging needs, Bluedot and Ground Control brought in Serious Stages to provide a 19m Supernova Knee Roof stage for the main stage.

The Supernova range of steel stages was designed and manufactured by Serious at its Somerset facility, offering a range of concert stages which can be configured to suit each client’s needs. Bluedot used an 18m depth comprised of five, 3.6m bays plus a cantilever front to increase weather protection for the performers and accommodate a forward lighting truss.

The stage incorporated two side extensions to accommodate monitor desks and production technology and a rear access ramp from stage height to the loading bay. Flanking the stage Serious installed two, 12.5m single mast flying systems to hang the PA speakers. It also supplied a 7.2m wide by 4.8m deep FOH mixer tower, decked on two levels to house the lighting and sound, along with a 7.2m by 4.8m assisted viewing platform and three covered projection towers from which the stunning visuals were mapped onto the iconic telescope. Providing all the other stages and risers requirements was MLS. CREWING AND LOGISTICS Providing the local crew was DNG. The company has traditionally been involved with all the Jodrell Bank’s events over the past few years making them a natural choice for Bluedot to provid all the production and stage crew for the festival. Senior Crew Chief for DNG Crewing, Mark Wilson explained: “Over the weekend we provided over 40 crewmembers. We have a very good relationship with the production team. We actually have worked a number of events together over the season and it creates a good working environment.” Wilson went on outline some of the challenges faced over the weekend: “The biggest challenges are the site and the 58

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weather, as is the case with most picturesque festival sites. There are a few extra rules with the observatory, exclusion zones, radio use limitations, but the local team are open to having events there so certainly nothing is an obstacle.” Wilson concluded that he thought the new addition to the festival season adding that he and the rest of the DNG Crewing team look forward to see what they have in store for next year. Providing crew accommodation on site fell to Silvergray busses who supplied two 16 berth sleeper buses for those working on the site.

necessary. This resulted in stable power across site, whilst running engines efficiently and keeping fuel usage within an expected amount.”

IN THE NOT TO DISTANT FUTURE With the ever growing list of festivals each summer there is always the fear of oversaturation within the market. More and more it seems that festivals have to work even harder to make sure their annual extravaganzas are a true experience as well as having a desirable line up. It seems however that Bluedot really stumbled on a magic formula; marrying the world of science and music, giving a festival that brings something completely new to the table. The weekend was an unquestionable hit with the punters but what’s more is that all the crewmember seemed to really support what Bluedot was trying to achieve with all of them expressing their excitement for next year’s event.

With 2016’s successful launch we will now have to see what orders come from mission control to push festival further into the stratosphere.

TPi Photos: Tom Martin www.discoverthebluedot.com www.jodrellbank.net http://groundcontroluk.com www.audile.co.uk www.noiseboxproductions.co.uk www.precise-audio.com www.bigfishrentals.co.uk www.ststouring.co.uk www.lumenlondon.com www.blumanassociates.com http://transitionvideo.com www.stages.co.uk www.vme-uk.com www.dngproductioneventcrew.wordpress.com www.eurogenerators.co.uk

I GOT THE POWER Ensuring there was enough power for the site fell to Euro Generators. The company supplied all generators, distribution, festoon and site lighting across the entire Jodrell Bank site, from car parks, event areas and campsites. Ben Hyman, Euro Generators General Manager, was on site during the festival and filled TPi in on the company’s involvement with the event. “This was the first project that Ground Control had contracted Euro Generators to supply site power to one of its events, so we were really excited to be part of Bluedot Festival, especially with it being the first year of the festival as well. A total of 30 road-tow generators were distributed across the site to power production and concessions and two of our ultra-silenced 200Kva Twinset Generators were supplied for the main stage. Synchronised sets were used across all major areas of site not just to ensure reliability, but to be used in load-control configurations during certain times of the day.” Hyman went on to explain that having a fleet of road-tow generators was helpful on the Jodrell Bank site, as some of the generators were located in semi-remote locations away from hard standing ground.

The project was managed by Euro Generators’ Aaron Harvey-Holt, and delivered on site by a team of eight over a period of seven days. “Key values to our company, and any temporary power project is efficient running of generators,” stated Hyman. “With this in mind, Aaron spent considerable time calculating real-world loadings and specifying generators as

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PRODUCTION PROFILE

PALÉO FESTIVAL DE NYON TPi’s Ste Durham (along with his trusty translating pet monkey) travels to Switzerland to experience the country’s biggest outdoor music festival.

With six days and nights of musical and artistic performances, 4,700 volunteers, six stages and an attendance of 230,000, the Paléo Festival de Nyon is one of the most prominent and successful festivals in Europe. Beginning in 1976 as folk music event held on the shores of Lake Geneva, Paléo Festival De Nyon was forced to move in 1990 to a larger meadowland north of the town of Nyon due to its growing popularity.

This opened up the festival’s musical horizons, eventually embracing everything from world music to rock, hip-hop, and electro.

For the 41st, or ‘40+1’, edition, the organisers booked a typically eclectic collection of artists including Iron Maiden, The Chemical Brothers, Muse, Francis Cabrel and The Lumineers. Aside from the jam-packed musical schedule, Paléo is renowned for going above and beyond to give its guests

a memorable festival experience. The Village du Monde (World Village) zone showcased the food, drink and culture of a particular corner of the world, with this year’s village serving as a microcosm of all things Celtic including an old fashioned Irish tavern complete with rowdy folk acts and Guinness on tap. For out-of-the-ordinary entertainment, La Ruche (The Hive) provided weird and wonderful street and circus performances for guests to enjoy as they explored the various ‘honeycombs’ tucked away in the woods.

BIG WHEELS KEEP ON TURNING Lyon-based technical supplier Alabama, part of the Dushow Group, has been an integral part of the success that the festival enjoys today, having

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Audio Crew Chief François Soutenet; Video Manager Jean-Marc Robyr, LD Franck Bonnier and Alabama’s Joël May; Loving life in the Village du Monde; Technical Director Nick Sandoz; Some of the extremely camera-shy technicians at la Grande Scene FOH.

been involved for 10 years (15 years for Technical Director Joël May). The company was not only responsible for the two main stages of the festival - les Arches and la Grande Scene - but also for content management.

The Alabama team was responsible for broadcasting all images on the IMAG screens, managing video recording at the Arches, and ensuring that local and national TV got all the images they needed by managing and distributing audio and video signals from its dedicated control centre.

“We’ve been using video at Paléo for 15 years now,” remembered Alabama’s May. “Back in the day, people were worried that video would override the music show. We were working massive pixel pitches and we had to use a crane to install a video wall.”

For the past two years, Alabama has used state of the art 5.2mm pitch Absen X5 LED panels to make sure that the performances are visible from all over the festival area. “They are really amazing,” enthused May. “I truly believe they are the best in the market - the brightness is excellent, and even for the crowd standing 10 metres away from the stage, the image is fantastic.”

For the main stage, Alabama deployed a screen per side, each measuring seven metres x four metres, giving a total resolution of 1344 x 756 pixels. With a total of 98 panels (14 x seven), it only took two hours to build each screen, according to May. Alabama developed bespoke ladders in-house so that the structure was easier to service and also more robust to withstand harsh winds - a system they now offer in their portfolio.

“Building the screens is the easy part,” admitted May. “The X5 is lightweight and the locking system is easy to use, so the main stage was all set for video in four hours. The products are real workhorses, they are robust and reliable, which is a massive advantage as it gives us peace of mind at least enough to let us worry about something else!”

Another set of 6mm LED panels was on hand for bands such as Bastille that required an extra screen. The Absen screens also took pride of place

on both sides of the Arches stage, with two 11 x six screens (making a 1056 x 648 pixel pitch).

May continued: “The festival has always been careful to separate the show from sponsorship. Although a number of videos are screened on the LED panels before the sets, only a small amount are sponsor-related.

These are predominantly animations made by the HES engineering school.

They are fun and offbeat, with every effort made for the benefit of the festivalgoers themselves. The organisation is regularly praised for the politeness of the staff, the high quality of food and its discreet security.”

Alabama set up a technical room with a media server, from which its team could manage all of the video feeds, including welcome signage, the broadcast signal and security messages to keep punters up to date. In case of power failure, a generator kicks in, so there’s always at least one screen in operation to display critical messages.

Making sure that the screens are always operating during the six days of the festival is of critical importance for Alabama. “And these are really subject to the most challenging weather conditions,” explained May. “It’s not rare to get temperatures of over 35 degrees and the next minute you can get torrential rain, so we have decided to fit two electronics for redundancy in case of signal failure. By doing this, we are immune to a cable cut, a bad connection, rain, wind, anything. The dual power redundancy in the Absen LED screens really gives us extra peace of mind.”

The video signal was maintained on a fibre network, along with lighting and audio, and kept on top of by Video Manager Jean-Marc Robyr, who’s also responsible on the field for the fibre optic system. He explained: “We are constantly monitoring everything and because we are working with live signals, we can’t afford to relax. We have back up lines running in parallel in case of failure, the bulk of which are underground.”

Perhaps unusually, the majority of the network cables remain a metre under the earth year round, having been permanently installed two years 64

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Above: The crowd at the festival spanned all ages, and was as eclectic as the performers on stage; Rover was one of the many high-energy performances on the secondary stages; The pop-up travern structure in the Village du Monde.

ago. Although a number of connections have to be made to get everything up and running, the job is considerably less labour-intensive than usual.

Robyr continued: “We need to service everything throughout the year as the cables are not being used, but it makes the job so much quicker once we arrive on site for the load-in. I’ve never seen cables installed permanently, to this extent at least, at any other festivals. Although the rust is a concern, we have a lot of lines down there that are not being used, so we can switch in case of failures.”

touring LDs, many of which were changed from the previous year. He said: “We kept the Martin by Harman MAC Viper, but changed the MAC 2000 Wash to the Robe BMFL WashBeam. It’s very powerful and has great quality gobos. We also changed to the LED version of the Martin by Harman MAC Atomic 3000 Strobe, which worked in extended mode, allowing us to be able to flash and work in colour.”

As is the case with most festivals, daylight played its part in Bonnier’s considerations. “It’s interesting as the festival is being shown on TV, so we have to make sure the show is looking good at the time and on camera.

Designers need colours and effects - spot and wash fixtures are not enough in daylight, which is why the LED fixtures are so useful to us. We also provided Martin by Harman MAC Auras for the LDs to create some great eye candy looks.”

Due to its popularity, the MA Lighting grandMA2 was chosen as the house console, with a main and backup for use during the shows as well as the WYSIWYG suite that was situated at the back of the lighting level of the FOH structure. Although this allowed the designers to prepare and account for the levels of daylight, the weather around Nyon is notoriously unpredictable. “The sun can be blazing here one minute, but when the clouds roll in and thunderstorms begin it gets considerably darker. We can’t fix the weather, so we just warn the LDs in advance and give advice at the time regarding the use of followspots and so on,” Bonnier said.

The lighting rig also used the subterranean fibre optic network, using MA-Net2 as the basic system. “We also offer a Luminex GigaCore system, which allows LDs to use a separate DVLAN if the prefer,” Bonnier said.

“Essentially it’s one of two options: ArtNet into MA-Net2, then straight to the NPU, or to the Luminex node from ArtNet.” As well as supplying la Grande Scene, the company also designed les Arches with a different setup. Bonnier added: “We have mostly the same kit there all week, though we sometimes have to alter the height of trusses or

FAIL TO PREPARE, PREPARE TO FAIL Another member of the Dushow Group, Dushow SAS, was on site to supply lighting for the two main stages and the Dome stage, while Geneva-based Skynight supplied the rigging and motors. Lighting Designer for the event, Franck Bonnier from Troisième Bureau, who is also responsible for la Grande Scène design, explained: “We designed the rig to be adaptive, although there were constraints depending on the size of the stage. The big issue on la Grande Scene was building a system of trusses that can be moved up and down as they were needed in order to accommodate some of the heavier incoming rigs, like Massive Attack’s.

“We had to make sure the structure was efficient, so we built a movable bridge system that split into three, allowing us to move each section independently as and when it was necessary. The 10 motors stay on the truss, which lets us move the light and the truss at same time.”

While the truss system aided the crew to an extent, they still had to be extremely light on their feet given the tight turnarounds overnight. Bonnier continued: “We finished at 1am last night and had to remove more or less all of the previous headliner’s fixtures in time for Massive Attack’s arrival at 6am. They added two tailor-made trusses with very specific gear, it would have been very complicated to do it any other way.”

Bonnier used a variety of fixtures that he felt would be familiar to 66

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fixtures. It’s quite different to la Grande Scene in that we use the area itself and the bands to help us with our design. We understand the music and needs of the artists and plan ahead so they don’t have to do too much once they arrive.”

and stay below the threshold. It allows us to reduce the amplitude between front and back, still projecting very far and avoiding certain areas. The space in front of la Grande Scene isn’t flat but we can still achieve a very well-balanced coverage.”

Although Soutenet stressed that problems with the gear were rare, the crew was still on site for a week, far from their warehouse, and so made sure they were amply stocked with backup gear. He said: “We always bring spares of the critical gear, though it is unlikely we will use them. The Meyer speakers are active so we don’t have to worry about carrying or setting up amplifiers. The signal transmission is immediate and for complex installations there’s no loss of signal. The system also allows us to monitor the speaker directly from the RMS system at FOH - we can see live, amp by amp, how they are working. We can pinpoint problems easier, even instantly muting any that are faulty, although it never breaks anyway!”

Dushow SAS was also charged with looking after the Club Tent, opting for a Meyer Sound LEOPARD and LFC900-based system, allowing the crew to better manage infra-sub levels, therefore limiting the overall noise pollution on site.

Soutenet commented: “As this stage is more centred around electronic music than the others, they need more low end power. Physically it’s not far from both of the main outdoor stages so we have to be mindful of that throughout the festival.”

It is this level of familiarity with both the festival and the speakers, having been a Meyer Sound user for 25 years, that allowed the Dispatch team to run such a tight ship at Paléo. The company had two crew at FOH to babysit incoming engineers, as well as a team on stage to react to any problems. Out of the 17 sets during the festival, Dispatch provided a console just once.

The crew had a Soundcraft Vi5000 as the house audio console, marking the first year the festival has provided a digital desk. Soutenet explained: “This was mainly because we matched the desk of the one engineer that

THE LETTER OF THE LAW Dushow SAS also supplied audio for the festival, basing the main stage rig around a Meyer Sound LEO system. Auio Crew Chief François Soutenet explained the choice: “I love the LEO as it as its small, light, and very powerful. We use the same system at Download as it’s capable flexible, and meets any request you make of it. Despite the power, the sound retains a lot of colour and is still refined.”

The crew hung 16 boxes of the LEO system per side, with more for side fills and a vertical chain of flown subs. While this is not the conventional setup for the system, Soutenet maintained that it was to ensure that a smooth and even coverage was achieved in the sloping infield area of the festival. He said: “Outside of the quality we need to maintain, we have to make sure that we achieve even coverage, as every member of the audience deserves the same quality of sound. We modelled the area using Meyer Sound’s MapOnline software to make sure we can strike a balance between power, clarity and coverage.”

At Paléo, noise pollution between stages is as much of a concern as bleed between stages, with les Arches and la Grande Scene in particular being relatively close in proximity. This factor, along with the strong and unpredictable gusts that sweep through the festival, meant the team had to do as much as they could to stay on top of the volume.

“It’s rare that we have problems, although the Swiss law means that the threshold for volume is limited to 100dBA over one hour, but we’re used to it. The Meyer system is well-balanced so that it’s only 1dB lower at the barriers that it is at FOH 64 metres away. That’s why we had the chained subs hung that way, so we can have an array that helps with even coverage

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Above: One of the main qualities of the festival itself is the attention to detail that goes into each one of the distinct zones.

wasn’t bringing their own. Usually we use a Midas XL4, so it’s something of a transition moving from analogue to digital. That said, our job is to make sure that both the engineers and audience are happy - we will use whatever gear we can to make that happen.”

middle of les Arches and la Grande Scene. We tried to overcome it, and it’s getting there, particularly as the technology improves year-on-year.”

Swiss-based structural supplier Nussli has been in charge of the staging and structures at Paléo for over 10 years. This year, the company had between 10 and 15 people on site for a two-week build, supplying the main stage structures as well as additional buildings such as FOH and the VIP platforms. Nussli’s Christian Stadler commented: “It certainly was a mixed bag in terms of weather during the build, but our stages are calculated to meet international standards so we weren’t adversely affected. We have a lot of experience here so we know what to expect. In general this Frenchspeaking Swiss region is really easy going and the festival is a great example of that - it’s definitely one of the events that we look forward to being be a part of.”

MOVING MOUNTAINS Nick Sandoz came into the fold at Paléo in 2001, eventually working his way up the production ladder to the position of Technical Director for the festival. During this time he cultivated a distinct idea of what Paléo represents - an ethos that is one of the main strengths of the event itself.

He explained: “Basically I see the tech aspect as being only the tools we use, it is the people that are the main difference on a festival. Things like talking together to find solutions are so important. We also work with a lot of volunteers who are here to have fun as well as work - if they don’t, then that doesn’t happen.”

Sandoz continued: “I try to be general but listen to the specialists so I can give a different perspective and, hopefully, offer a global solution. Quite often, each tech only sees his own problems - he gives me his solutions and ideas and I have to integrate that into the bigger picture and convince them to compromise. It’s good to know certain things but not too much in one area. Working together is the key - if that clicks, you can move mountains.”

It must be said that this philosophy does seem to trickle down right from the top to each and every member of staff, whether they are greeting guests on the gates, serving them food and drinks in the Village du Monde or keeping the crowd safe during the performances.

Sandoz continued: “It’s hard to implement change when it’s working so well but you have to because otherwise you will rest on your laurels and not maintain such a high standard. It’s all about friendly competition, even sometimes with yourself. For example, three years ago we had a large tent instead of les Arches. We changed this because it was too small but that created sound bleed problems for any audience members that stood in the

PERKS OF THE JOB It must be said that my French was non-existent before I arrived at Paléo and it hasn’t improved much (aside from one or two unprintable essentials to my vocabulary) since I returned. That said, with the help of my trusted guide and translator, I saw a great deal of what is surely one of the most positive and friendly festivals of the summer. The proactive and enthusiastic philosophy embodied by those at the forefront of the event is easily seen around every turn, from the crew chiefs to the welcome staff. To be brutally honest, being able to enjoy an après-festival drink next to Lake Geneva didn’t hurt either. Until next year Paléo, Santé.

TPi Photos: Pierre Descombes, Eddy Mottaz, Anne Colliard, Jacques Rattaz, Boris Soula, Lionel Flusin www.paleo.ch www.dushow.com www.alabama-media.com www.nussli.com 68

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PRODUCTION PROFILE

Opposite: LD for Bullet For My Valentine, Tom Campbell; Lighting Designer Jerry Appelt.

WACKEN OPEN AIR 2016

Dubbed the ‘Mecca of heavy metal culture’, the journey to Wacken has become an annual pilgrimage for bands, crew and metalheads alike. This year, TPi’s resident dark lord, Ste Durham, was among them.

Hello, my name is Ste Durham, and I’m a metalaholic. I love blast beats, I love circle pits and I love deafening guitars. As a result of this affliction, I’ve spent the majority of my life revering the legendary Wacken Open Air festival. Essentially the North German location that gives the festival its name is a sleepy little village, home to less that 2,000 people, that’s overrun each year as it hosts what has become the biggest metal event in the world. What began in 1990 as a local festival for a handful of German bands is now an institution: Faster, Harder, and Louder than anything else.

The minute you drive into the village, the festival iconography and eager pilgrims are everywhere, each housing estate and side road teeming with high-vis clad event staff and welcoming locals - many of the latter using the event as an opportunity to sell coffee, beer and other homemade wares from their lawns. Despite what the corpse paint or studded leather may lead you to believe, this is not just a festival, it’s a community.

Wacken is just as impressive from a technical standpoint, with the main double stage (called the True Metal and Black Metal stages) and iconic flaming skull that seperates it serving as an imposing centrepiece.

Gruss, took up the story: “Following the break, the Wacken promoters saw a 180,000 person event we did and were so impressed that they decided to have us back to supply the main stage audio in 2006.

“We sent out a technical rider to sound engineers for all the leading acts, and in it we proposed to use d&b audiotechnik J-Series for side fills - a system we’d begun to invest in heavily earlier in the year. In Flames’ FOH Engineer Tom Kubik jokingly wrote back and suggested, ‘Hey, why not turn the side fills outward and use them as the main system?’ He admitted later that he’d heard the J-Series on a Slayer tour and had been really impressed.

I was already of the opinion that the MOST features of the J-Series (Midrange Outperforms Similar Tops) made this a sensible suggestion, so we polled the other engineers and the promoter about this and an agreement was reached.”

The audio rig implemented across the two main stages at Wacken consisted of four main hangs of 22 d&b audiotechnik J-Series with two outfills of eight J-Series per side. Running along the downstage edge of the True Metal and Black Metal stages stood what must surely have been one of the most imposing sub arrays seen across Europe this summer. The array consisted of 51 sub positions, each of which were made up of two J-INFRAs or three J-SUBs, powered by D80 amplifiers.

This giant audio setup was complemented four delays of 10 J-Series, situated 60 metres back from the main stages and set out to ensure that the 140 metres to the back of the infield area were adequately covered. The

LOUDER THAN HELL German audio expert Crystal Sound originally came on board to provide sound reinforcement for the 1996 and 1997 incarnations of the festival, before taking a break to focus on other events. The company’s CEO, Gerd 71

WACKEN OPEN AIR

Above: One of the many Wacken flags on show around the usually sleepy village; The passion that the Wacken fans have for the festival can be seen at every turn.

system was controlled by d&b audiotechnik R1 remote control software.

On-stage monitors consisted of 16 d&b M2’s on the True Metal Stage and 16 M4’s on the Black Metal Stage, both with three d&b D12 amp racks and a Yamaha PM5D for monitor control. Two d&b C7’s with four C7 subwoofers were used on each stage for drumfill, along with two more d&b D12 amplifiers. Sidefills were made up of eight d&b J8’s with six d&b J-SUBs, again with D12 amps.

The choice of console at FOH was a Soundcraft Vi6, complete with the requisite stage boxes and stereo equalisers, with TC Electronic and Eventide outboard effects available. The company also supplied a full arsenal of Shure wireless microphones.

Although the True Metal and Black Metal stages could be viewed as two independent performance areas, the shared FOH structure was located dead centre with enough space to house as many as 11 incoming technicians and their desks of choice.

As with many festivals, a big issue for the audio team and the festival promoters themselves is always noise pollution. Although 99.9% of Wacken’s population is fully supportive of becoming the centre of the heavy metal world once a year, there are still the odd one or two that object to having their windows rattled by blast beats and screamed vocals until 3am.

Product Management specialist at d&b audiotechnik, Werner Bayer, was on hand to explain how some of the company’s software developments, both new and not-so-new, were instrumental in the design, rigging and monitoring of the system before and during the festival.

“In 2007, using the d&b ArrayCalc software, we found the algorithms to control the dispersion of the sub array’s low end without compromising sound on site. We have been able to achieve really steep drops above 100° off at each side of the stage, which is an integral part of the system design,” Bayer said. “We worked a lot to keep the noise away from the sides, as well

as trying to align the main system and delays so that we can get a higher level of damping at 180° using physical obstructions. It’s all about playing around and running as many simulations as possible to achieve the correct coverage - I firmly believe that the J-Series is still one of the best systems on the planet for this kind of job.”

While the ArrayCalc software was proving useful at successive festivals, the team still striving to have an influence on far field behaviour. Bayer continued: “This is a completely different situation to the first 100 metres, with different physics at work. We partnered in collaboration with noise consulting and software development experts SoundPLAN using our data and their algorithms – the outcome was NoizCalc.”

The software predicts sound propagation of ‘multiple coherently emitting sources’ such as line arrays and subwoofer arrays. Using 3D terrain data NoizCalc accurately predicts the far field noise emission across the terrain according to ISO 9613-2 and Nord 2000 standards, allowing system designers to predict any potential noise issues during the event planning stage.

Gruss continued: “We started doing this kind of thing a few years ago but the rules seem to be getting stricter. The promoter gets his showtimes and, even though we can play until 3am, it is all done under exact guidelines. It is important for us and d&b to know the law and how to find that extra dB for the crowd. It might seem strange to think of the Wacken tagline - Louder Than Hell - and we still have noise restrictions, but that’s the world we live in.”

As well as being able to make use of high-powered software such as NoizCalc and ArrayCalc, Gruss, Bayer and the rest of the audio team were not above using slightly more low-tech methods to achieve their offsite noise-reduction goals. Bayer explained: “The promoter has invested in a number of strategically placed physical obstructions to attempt to dampen 72

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WACKEN OPEN AIR

Above: A panorama of the main infield area; d&b audiotechnik’s Werner Bayer with Crystal Sound’s Gerd Gruss; Becoming one with the mud.

the noise even further. In addition, Noise Consultant from AMT, Michael Oehlerking made the suggestion to construct some walls out of straw, as well as more solid structures, to keep the level correct. One of the main structures, a large scaff tower packed with damping materials, can be found at the left side of the Party Stage.”

This stage, set slightly to one side of the double-wide main area, also featured a d&b J-Series system, supplied by Grandpa PA & Light.

Bayer commented: “We had some problems with this stage last year, but the J-Series, combined with the new software and physical damping structures, have made our lives here a lot easier.”

The Bullhead City Circus tent, featuring another, albeit smaller, double stage setup, was also supplied by Crystal Sound via dry hire from CGS Licht- und Tontechnik. The company also supplied d&b-manufactured sound reinforcement to additional areas such as the large screens that allowed headline performances to be viewed away from the hustle and bustle of the infield.

THE WACKEN EXPERIENCE The audio crew and incoming engineers shared the space at a two-storey FOH structure with visual technicians, many of whom came from main lighting, rigging and video supplier, PRG XL Video. Although the two main stages started life as an A (True) and B (Black) setup, the promoters and design teams have already begun making the two as equal as can be.

Lighting Designer Jerry Appelt explained: “Although the two stages are becoming more

similar, the True Metal stage still has around 20% more kit this year.

Basically the main rig is oriented around Iron Maiden’s setup, who headline on Thursday night. It’s a mixture of a functional festival design and what Maiden’s crew needed to make the changeover as comfortable as possible.

The Black Metal stage is closer to a usual festival rig – a versatile and familiar setup to make sure all the incoming bands are comfortable and can still have strong looks during the daytime.”

The True Metal rig included 40 Martin by Harman MAC Viper Profiles, 54 Vari-Lite VL3500 Washes, 39 Clay Paky Sharpys, 37 SGM Sixpacks, 24 SGM P5’s, and 42 SGM Q7’s. The design was reinforced by audience blinders, washes and decorative lighting fixtures such as the iconic 18 A&O Falcon 7kW Beams that were mounted on the roof of the stage and used as searchlights.

Appelt continued: “Usually we design both stages independently but Maiden gave us the details so early that we thought it would be quite easy to accommodate. It’s a good flown rig and it allows us to keep the floor as clean as “It’s quite different to other possible, making it simple to accommodate set pieces and floor packages for each band, as well festivals because here, Wacken as making for quick changeovers. is the star, not the main act.

“It doesn’t make sense to include a bunch of strange or rare equipment that will throw the The people come to have the LDs off when they receive the kit lists. We always Wacken experience, and we are try to provide a mixture of what we want and what PRG can deliver - it is important to stay in the business of creating the flexible. There are always add-ons so it’s a give Wacken look.” and take relationship.”

Lighting Designer Jerry Appelt The Black Metal stage rig consisted of 74

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WACKEN OPEN AIR

Above: Thousands packed into the Bullhead City Circus to enjoy quickfire changeovers on the W:E:T Stage and Headbangers Stage - the festival’s second double stage.

much the same fixtures, used more sparingly or in slightly different ways.

This included 29 Martin by Harman MAC Viper Profiles, 42 Vari-Lite VL3500 Washes, 54 SGM Sixpacks, 24 SGM P5’s and 26 SGM Q7’s. The stage had the exact same quantities and design for its audience blinders, washes and decorative lighting fixtures. Both stages had MA Lighting grandMA2 Full Size desks on hand for the LDs that would rather work from a show file than haul desks 60 metres through the no man’s land that formed between the stages and FOH during the weekend.

Although the design for both of the main stages used modern fixtures, Appelt maintained a reverent view when it came to the heritage of such a visually distinctive genre. He added: “I’m always looking back into the history of metal and that generally means a lot of PARcans and blinders! I don’t want to lose this approach completely, but six lamp bars are simply no longer the appropriate tool, as they are too labour intensive. Setting up beam lights in rows of four is reminiscent of the old ACL four light groups, so this is what I have in mind - always making sure we remember where we are coming from.

“The bottom line was not to create stunning, never-before-seen designs, it was to support the bands in the best possible way. To provide the bandwidth in the rig for them to do the best they can. It’s quite different to other festivals because here, Wacken is the star, not the main act. The people come to have the Wacken experience, and we are in the business of creating the Wacken look. Things like the 7kW searchers on the roof of the stage and the fiery skull - that’s what the people look for and that’s what we try to provide.”

The team opted to use a WYSIWYG system for the seventh year running to allow incoming LDs to fine-tune their shows, situated in the production area behind the two main stages. This ran on the same network as the rest

of lighting and video across the festival site, though the multiple layers acted as a buffer just in case. Appelt said: “The performance of WYSIWYG is great. As a tool at a festival of this size it’s very helpful, plus it allows the designers to get away from FOH at night while the crew works on the changeover. It’s really accurate and can achieve a fantastic result if you know how to handle it.”

As well as providing lighting, PRG XL Video also supplied an extensive of amount of video, including LED backdrops for the main stages, three main stage IMAG screens, one IMAG screen mounted on the back of the FOH structure, two at the Party Stage, and one at Bullhead City Circus as well as six LED trucks for information, warnings and showing select band sets. The kit on site varied, though the two main stage setups consisted of identical 18m by 7m backdrops, made up of 30mm panels and controlled by two PRG Mbox EXtreme media servers and two MA Lighting grandMA2 Light consoles.

According to Unger, the lack of space behind the stage was the biggest problem for the LED crew as well as the lighting guys – though they know the site well enough by now to adapt their way of working. He said: “We can only bring in three trucks behind the main stage, one on each dock, so we park our trucks up early and the stage is built around us. We work really closely with the stage management team and have known about these factors for years.”

He continued: “As guests tend to come just as early, we have to have some of the LED trucks ready to go by Monday morning to broadcast information and so on. These techniques are something we’ve developed over the years. They improve things each year at this festival, and that includes making it better from the crew as well as the fans. It’s all about maintaining and improving the quality of the Wacken experience.”

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WACKEN OPEN AIR

Above: A warm welcome greets fans the second they drive into the village; FOH was packed for Iron Maiden’s blistering headline set; Bullet For My Valentine took to the True Stage to get the crowd moving in the decidedly un-Wacken afternoon sun.

Appelt also gave his view on what the festival’s visual identity is rooted in: “Wacken tries to stay away from a lot of LED like some other festivals.

The stage itself and the lighting is more real, and a great deal of work goes on around the site in terms of practical decoration. They make the extra effort to use nice prints or subtle gobo projections on a tent - anything to make people feel at home here and enjoy it. You can also feel this on stage and with the crew. Everybody here tends to see the bigger picture.”

tricky for stage builders but, much like with the famous Wacken weather, we’re used to it. A double stage means double work, double drawings, and double truck space but it’s more or less the same task as any other festival rig.”

At its busiest period during load-out, Stageco had 62 trucks on site, many of which had arrived with gear from the company’s warehouses in Berlin or Belgium, as well as from ongoing European tours. Olma continued: “Sometimes we drive 900km to supply this festival, and in the German ALL IN THE FAMILY summer the main highways have restrictions on trucks at weekends. All of Stageco arrived at Wacken on Sunday 24 July with a three-man team this has to be accounted for during the planning stage – it’s difficult but not to begin offloading trailers in preparation for the half crew arriving the too complicated if it is well organised.” following day. By the time the full team arrived on Tuesday the total crew A key figure in Stageco’s engineering department during the planning including forklift and crane drivers amounted to 98 people. The team stage was Kai Eppinger, who was on site to make sure his mountains of built the True Metal, Black Metal and Party blueprints and kit lists were followed to the letter.

Stage, as well as other major structures such as He said: “Despite the size, all the tasks we have the entrance gates, scaff towers, VIP to infield here are quite standard. The biggest roof here is staircase, FOH structures, and meet and greet only a 20m system, and even though the rigging area. capacity is large, there have been no problems “When you have a good Stageco Crew Chief Markus Olma was on site this year. Rammsetin in 2013 is our benchmark delivery schedule and a good to coordinate this massive endeavour: “We need because that was a much harder show with a lot the maximum time and space to work, that’s why more space and weight - 35 tonnes of production working plan, the rain doesn’t we start a bit earlier with the trucks. We also lift in the roof alone! There’s a lot of administration matter. The job will be done the main stage skull, which is owned, along with and calculations involved, and the authorities the rest of the bespoke décor, by the promoter. have to check structures - I have 10kg of either way - it’s just a case Everything we supply is stock, the majority of paperwork with me in the production office that of whether we’re wearing a which has been the same since switched to a fourtook a week to print!” tower main stage system in 2013 for Rammstein.

Due to the sheer size and scale of Stageco’s jacket or not.”

The most difficult thing on site is the slope, duties at Wacken, a special crew was assigned Stageco’s Markus Olma which is around two metres from left to right. It’s to build each of the different components.

78

WACKEN OPEN AIR

This involved meticulous detail from Eppinger, supplying colour-coded, separate drawings for each part of each structure. He continued: “Every year the promoter hires a company to designate where each of the structures are to be placed with GPS. The edges of the buildings are marked with little wooden markers in the ground, which are numbered and coloured so we know where to begin.”

While the weather in northern Germany was uncharacteristically kind during the festival itself (and the Tuesday of the build in particular), the crew still had to deal with Wacken’s notorious rain - or more specifically what it can do to the ground. Olma was more nonchalant: “When you have a good delivery schedule and a good working plan, the weather doesn’t matter. The job will be done whatever the weather - it’s just a case of whether we’re wearing a jacket or not. Stages are designed to be outside, even near the sea in the north of Germany.

“Everyone is happy when the sun is shining but we just adapt. We have to try and not damage the grass too much before the fans arrive - forklifts and cranes in particular could tear up the infield. We always have a plan B so that we can work elsewhere if the rain is too heavy. We can make pathways from aluminium panels or use tractors that won’t damage the ground too much.”

Eppinger added: “The promoter is from this village so he does not want to cut all of these trees and pour concrete down to make more space behind the stages. It’s a big family here and we want to look after the festival grounds. It works still after all these years and we know what to do.”

Although Wacken’s famous double stage system is becoming more popular at festivals the world over, the team has been reluctant to make too many alterations to the layout itself to over the years, limiting the year-on-year changes as much as possible.

Eppinger continued: “We have worked in some new ideas this year

but most of them will be invisible to the fans, like the new platforms and new skin systems for the dimmer cities. We still adapt to suggestions. For example, we made the headers for the main stages slightly bigger this year and changed the PA tower as well. It’s generally just small details to make life easier for the tech guys and the fans. We could make an even bigger stage but for emergency exits and trees, neither of which can move.”

Another of the distinctive characteristics of the Wacken main stages is the giant metal cow’s skull that looms above the central IMAG screen and is engulfed in flame once the sun sets. Although pyrotechnics supplier Pyrotec performer GmbH Germany were in charge of providing the fuel and kit to make this effect possible, Olma and his crew were the ones in charge of flying the gargantuan icon into its rightful place: “The pyro is permanently installed within the steel, they just connect the gas lines. We know the pyro guys really well and if they ask us to check things then we will. He trusts us to fly the skull. When the steel company and the pyro guys designed it, we installed two platforms to help - hidden behind and used to fix problems and service pipelines. The lighting and production guys can use it as well to maintain fixtures or cameras.”

Manfred ‘Pyro-Manny’ Weniger, Owner of Pyrotec, has been a part of the Wacken family for the past 20 years, origiannly being brought on to make the promoter’s dream of a flaming skull a reality. He laughed: “They came to me to ask if I could make it appear as if the skull was burning for the duration of the festival, as well as breathing fire at certain points - I just said yes without knowing how I do it! This requires a lot of preparation and careful planning in the weeks and months leading up to the festival. There are many gas lines and ignition cables that have to be laid and then kept on top of, but it always looks very spectacular when you see the it burning in the darkness.”

This year Pyrotec had eight crewmembers on site for a week prior to

79

WACKEN OPEN AIR

Above: Welcome to Wacken; The VIP area was a giant wooden stag, of course; The famous Wacken tower, one of the festival’s numerous landmarks; The Stageco crew: Thorsten Weymar, Structural Engineer, Kai Eppinger, Engineering Department, Markus Olma, Crew Chief.

the event to ensure that the various flamethrowers and other effects were correctly installed. All told, Pyrotec’s kit consumed around 17,000 litres of propane during the festival weekend.

As well as the skull, the company works closely with Stageco to ensure that Wacken’s pyrotechnic armoury is rigged in a timely manner. Weniger said: “For example, we have specially designed our flame projectors so they are adapted to Stageco’s building materials. This makes a quick rig with a crane possible, allowing us to install everything in a short space of time.”

He continued: “It is a heavy metal festival, which means everything must burn, flash and bang as much as possible! Like every year we had to do a lot of work with very little sleep, but it is always done in a way that seems like fun.”

Olma agreed: “It really is like a family here and crew all works together.

The two promoters each lunch in the same tent with all the other workers and that level of comfort makes life here easier for everybody. We have all the heads of departments in a meeting at 7am to talk about any issues, meaning we all know what to expect the next day. The production meeting every day is all departments - including the trash guys and traffic control guys - to give and advice they can and share their observations. We all have the same problems and we all know when the show starts - end of story.”

SEE YOU NEXT YEAR... RAIN OR SHINE Tickets for the 2017 edition went on sale before the last trucks rolled out of Wacken, with 50,000 being snapped up in 45 minutes and less than 10,000 available at the time of writing. Very soon, over 75,000 people from all over the world will have spent their hard-earned cash and pledged to return to a tiny village in northern Germany with little to no information about who will be on stage. That’s how important this festival is.

While the residents of Wacken and these fervent fans return to their daily lives, the crew are already preparing to make sure their faith in the festival is repaid - working over the next 12 months to ensure that this famous event remains just as powerful and inspiring, year after year. Long may it continue.

TPi Photos: Christine Elser, Pep Bonet www.wacken.com www.prg.com www.crystal-sound.de www.grandpa.de www.stageco.com www.cgs-licht-ton.de 80

THE STARS ARE ALIGNING…

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FESTIVAL FOCUS

WE ARE FSTVL CREATES ‘AIRFIELD OF DREAMS’ WITH MLA AND CAPITAL SOUND Specialists in delivering high octane sound for international EDM events, Capital Sound returned to the award-winning We Are FSTVL site at Damyns Hall Aerodrome in Upminster over May Bank Holiday, fielding its premier Martin Audio MLA system on the three main stages.

The production company last worked with promoter Reece Miller on the two-day event back in 2014, and with production values ramping up it was recalled by festival Production Director, Simon Barrington of Sibar Productions, with whom it has collaborated on Above & Beyond shows and 2015’s Wild Life Festival.

This year, with Fatboy Slim and Steve Angello headlining an all-star cast of international DJs (including Sven Vath, Richie Hawtin, Craig David and Armand van Helden), the upgraded stage enabled Capital to support a greater speaker payload and hence the additional MLA elements gave the so-called ‘Airfield of Dreams’ a real cutting edge.

“The improved 21m dome stage with custom PA wings enabled us to fulfill all objectives,” confirmed Capital Sound Account Manager Martin Connolly. “With a 1,200kg weight-loading we were able to install more boxes.”

The PA team, with Charlie Ellery as Crew Chief, took full advantage of being able to provide coverage for audiences up to 20,000 capacity without the use of delay towers on the Outdoor Main Stage (dubbed Ancient Realm), as well as Arena 1 and Arena 2, which as in previous years, operated under different names on the Saturday and Sunday.

Again working alongside acoustic consultants, Vanguardia, the additional Martin Audio muscle had enabled the sound production company to reach an SPL of 100dB(A) for Fatboy Slim and a minimum of 102dB(A) for Steve Angello on the main stage, despite the swirling winds.

Elsewhere, in one of the tents, this hit 104dB(A) - for MK - while at the same

time meeting the offsite limit capped at 65dB(A). One of MLA’s strongest features is the ability to use ‘electronic steering’ to reduce audio reflections and perimeter escape.

The main stage featured 10 MLA elements on each flank, at the bottom of which was a single MLD downfill. This was supplemented by 13 MLX subwoofers, some rear facing, in a broadside cardioid array. To ensure coverage consistency, Capital added four Martin Audio W8LCs either side of the PA wings as out and infills, and four W8LM Mini Line Arrays in the centre.

Of the two main tents, Arena 1 was equipped with eight MLA and an MLD downfill on each side, with 12 MLX subs, four W8LMs covering the front areas and a pair of W8LC providing outfills. As for the smaller Arena 2 Capital Sound provided seven MLA for each wing, with eight WS218X subs ground stacked and eight W8LM Mini Line Array elements.

Stated Barrington: “When it comes to sound design, good levels and clean sound are paramount in delivering the experience that people expect. MLA delivers on all fronts; because of the way the system is controlled and managed you have enormous flexibility in what you send down the site, which is a huge advantage. You can also control the offsite noise a lot better than with a number of other speakers.

“I take the opinion of experts like Capital and if I tell them I need to get more coverage in a certain area, with MLA they are immediately able to get it out there. Being able to achieve 104dB throughout for MK [in the MK Area 10 tent] with minimal bleed was superb.”

Additional Capital Sound personnel on duty included Joseph Pearce, as Main Stage MLA Tech, while Adam Dickson was MLA Tech on Arena 1 and Ben Turnbull MLA Tech on Arena 2.

TPi Photo: Paul Underhill www.wearefstvl.com www.martin-audio.com www.capital-sound.co.uk 84

ELECTRO MAGNETIC FESTIVAL

PR LIGHTING ‘BWS’ OPENS DOORS FOR FOCON AT EDM FESTIVAL Focon Showtechnic, the German distributors for PR Lighting, believe the Chinese manufacturer’s products have come of age following its successful outing at the recent Electro-Magnetic EDM festival in Völklingen, promoted by 4plus.

Crowds of up to 10,000 converge on the Völklinger Hütte, a world cultural heritage site where lighting is used heavily to transform the former steel plant into a colourful spectacle. This year Robin Schulz headlined an all-star line-up that also included Alle Farben, Chopstick & Johnjon, Moguai, Richie Hawtin, and many more.

Lighting designers were Lux & Fabula, and among the products playing a central role on main stage were 24 XR 440 BWS and four XR 330 BWS. These fixtures use patented technology to integrate three features (beam, wash and spot) into a single unit, with the latest beam technology travelling through an advanced optical path.

Focon became involved with the promoters for the first time this year, supplying the technical event provider Triacs GmbH with the PR solutions.

Focon Account Manager, Jens Ottenhus, explained: “Triacs were looking for a new moving light, which had a bright output, best performance and nice effects.” They had first seen the PR Lighting fixtures in action at Prolight+Sound in Frankfurt, and were immediately impressed.

At Electro-Magnetic, the BWS moving heads were positioned on the truss, side wings and stage floor to create a constant cross-fire of fast moving beams. Ottenhus said they had proved popular with many of the visiting LDs, who drew on the beam effect in particular, in keeping with the current trend.

“There were also favourable comments about effects such as the

overlaying prism, the nice CMY colour-mixing and the fact that they delivered a great performance comparable with other professional brands.”

Triacs was also impressed, underlying the justification of its investment.

“They are now putting these BWS moving heads into other events, in view of their multifunctional usage.

Ottenhus concluded: “In fact, I really believe that this festival will open new doors for PR Lighting in Germany.”

TPi http://electro-magnetic.de www.pr-lighting.com

85

BRÅVALLA FESTIVAL / OTTAWA BLUESFEST

BRÅVALLA FESTIVAL 2016

such as 30 flagpoles assured highly visible signage and cable protectors safeguarded the equipment and audience of the festival. With the help of four plumbers, fresh and waste water solutions including hot water supplies and handwash facilities were installed on the Bråvalla airfield for the food and beverage areas as well. eps scandinavia worked together with FKP Scorpio Sverige. With offices in Germany, Denmark, Poland, Italy, Switzerland, Australia, and North and South America, eps is one of the world’s leading providers of event infrastructure such as grandstands, stages, ground and turf protection systems, roads for heavy goods vehicles, security gates, furniture and mobile sanitary installations.

The company also handles project and CAD planning for major events as well as international touring business regarding infrastructure.

TPi www.eps.net www.bravallafestival.seg

Since the start in 2013, Bråvalla has been the biggest music festival in Sweden with some of the biggest and best bands playing. This year the festival ran from 30 June to 2 July on the outskirts of Norrköping, Sweden. The three-day event was supported by eps scandanavia.

This year’s headliners included Rammstein, Mumford & Sons, Volbeat and Tenacious D, all enjoyed by 53,000 music fans. eps scandanavia was hired for infrastructure and services behind the scenes. A team of six eps supervisors supported the delivery and installment of different eps barrier systems. GIGS Stage Barriers including GIGS Special Elements like GIGS Varios and GIGS Outcorners 90°, as well as Crowd-Control Barriers, Bike Racks and FORIS Security Gates were used to ensure safe and controlled access to this high-traffic event.

The heavy-duty ground protection system Remopla was installed to provide cover for sensitive surfaces. In addition to that, further site material

OTTAWA BLUESFEST

The Ottawa BluesFest is a world class event that showcases local, regional, national and international musicians and through its remit has grown to become one of the top 10 music festivals in the world according, to Billboard Magazine. As a multi-day festival that can run from nine to 12 days depending on the touring shcedules of the artists, the festival’s organisers face the challenge of constantly changing the lighting and video rigs as well as moving trusses and audio clusters.

This year, with one indoor stage and four outdoor stages, it was likely the wind conditions would have an impact on the event. Greg Myers, Lead Audio Systems Tech at Wall Sound, explained: “The weather can change and when wind speeds and directions come into play, it is vital we have a good understanding of the loads on each point and overall weight is very useful especially if we are near capacity of a motor, point or over all.” Scott Pollard, Technical Director of BluesFest added: “We wanted to implement the use of load cells to assist us in ensuring we are well within the limits of all of the equipment we are using; stage, trusses, motors and over all.”

For an outdoor festival it is invaluable to be able to monitor the loads as equipment moves as well as changes that may be caused by environmental factors. Having worked with BroadWeigh’s Canadian partner, Paradigm Rigging during the 2015 festival, Pollard contacted Managing Director, Michael Sorowka who recommended the BroadWeigh wireless system as the

perfect solution for such a demanding project. Sorowka explained: “Once Scott had run through the exact requirements, we were able to specify 20 cells and logging kit with laptop, BW-BSue and LOG100.

“The recent BroadWeigh system upgrade which sees the signal boosted to an 800m range proved extremely advantageous in these circumstances, giving seamless readings. The five/eight inch shackles(BW-S325) were also a bonus as we were able to clip right into a one tonne motor and the three/ four inch shackle(BW-S475) can clip directly into a two tonne motor meaning the install takes just seconds. The system was used on lighting, video and audio house points for the festival. With video and audio going up and down at least once a day, the cells were used on the City Stage which featured acts like Billy Idol, John Fogerty, Red Hot Chili Peppers, Duran Duran, Brad Paisley and many more.”

At least one of each type of screen, audio cluster and most LX trusses we measured. Myers added: “It was a big eye opener to see the drastic weight changes with just one bump on one motor on even a five or six motor lift.

“On the first day of the festival we were able to adjust the level on our main PA bumpers as they raised in the air in order to balance our load between its two points better. The team were also able to notice major differences between motor weights on trusses that had multiples of them.

In all cases we were able to correct imbalances, thanks to BroadWeigh, that we would never have noticed otherwise.”

TPi www.broadweigh.com www.ottawabluesfest.ca 86

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GREENFIELD FESTIVAL / HENLY ON THAMES FESTIVAL

CLAY PAKY ROCKS OUT ON GREENFIELD FESTIVAL Over 100 Clay Paky fixtures featured in Greenfield rock festival’s main and smaller stage rigs with Lighting Designer Nico Müller of technical supplier Go Audio choosing the fixtures for their “ideal balance of power consumption, output and weight.”

Set in the picturesque Swiss mountains, Greenfield 2016 saw an impressive line up of more than 40 international rock, punk and metalcore bands including Red Hot Chili Peppers, The Prodigy, Dropkick Murphys and Bullet For My Valentine (BFMV). More than 100,000 people from across Europe attended the four -day event.

Müller’s carefully-crafted rig plan for the main stage offered the visiting lighting designers 39 Alpha Wash 1200, 36 Mythos and 18 Stormy CC strobes to add maximum impact.

“I have been using Clay Paky fixtures for festivals and touring for the past seven years,” said Müller. “They’re popular, familiar fixtures which lighting designers are always pleased to find in the rig as it’s easy for them to prep their show files. Clay Paky fixtures are also very durable and easy to set up, which makes them especially ideal for the outdoor setting.”

Tom Campbell, Lighting Designer for BFMV who performed on the Thursday of the festival, agreed: “Clay Paky fixtures are extremely robust and well-built and can survive being pre-rigged in position.”

Campbell’s festival tour lighting design for BFMV is full of big classic rock looks, with the designer’s floor package including 10 Clay Paky A.leda B-EYE K20’s and eight Clay Paky Stormy CCs. Campbell is applying the B-EYE’s effects mode to create varying dynamic looks and add a different feel to the set.

“I use the vortex with the individual pixel control for a few songs as it adds great contrast,” he explained. “The B-EYE is great for the festival setting as its powerful output allows the subtle effects to shine through even in daylight!”

Müller’s rig design for Greenfield’s smaller stages comprised 18 A.leda B-EYE K10, 18 Mythos, 16 Alpha Spot 800 QWO and eight Stormy CCs.

“The Mythos hybrid fixture is great as it allows designers to use it as both a beam light or a hard edge fixture,” said Müller. “In fact, all the Clay Paky fixtures are very versatile, you can use the Stomy CC as an RGB strobe or RGB blinder and the Alpha Spot QWO has very nice gobos for a range of effects, plus a sharp beam with brilliant focus. The bright, fast B-EYE K10 was a very good option for smaller stages where we had to pay attention to weight.”

TPi Photo: The Fifth Estate Ltd www.claypaky.it www.greenfieldfestival.ch/en

SHOWFORCE CREW THE HENLEY ON THAMES FESTIVAL Showforce, an event crewing specialist, was delighted to be called upon by Henley Festival to help deliver their five-day black tie ‘boutique cultural experience’ at Henley-on-Thames this July.

The quintessentially British festival, set on the banks of the Thames, returned for its 34th outing, with a showcase spanning classical music, rock, pop, jazz, opera and folk. Headline acts Elton John, Elvis Costello and Will

Young all graced Henley’s famous floating stage. Show-stopping visual art and dance, comedy from leading performers and the finest cuisine ensure that the music is not the only thing that makes Henley unforgettable to an audience of 30,000 people, the unique festival experience concluded with a firework spectacular.

Showforce supplied 16 crew and plant operators to unload, install and set-up infrastructure and equipment for the event. The team were onsite for eight days supporting the festival. Their tasks involved erecting pedestrian barriers to cordon off designated areas and protect the festival goers, installing metal trackway for pedestrian access, setting up steeldeck, laying out and arranging folding seats, as well as instaling a variety of fencing including Heras fencing and netting.

The crew were also on hand to assist PRG XL Video in unloading flight cases and installing the lighting and audio visual equipment for the floating stage and getting it ready for sets from headline acts Elton John and Will Young.

Once the festival finished the crew began the derig of the event which included dismantling and loading equipment. One of the challenges was taking down a Spiegeltent, that had been used during the festival as a comedy club, the team had to ensure the large historic canvas and wood tent, decorated with mirrors was carefully dismantled and loaded safely off the site.

John Harris, Production Manager for Henley Festival, said: “The Showforce crew went above and beyond what was required. Throughout the build and derig of the Henley Festival, they were helpful, flexible, adaptable and got on with the multitude of tasks needed to be done in a friendly and jolly manner.”

TPi www.showforce.com, www.henley-festival.co.uk 88

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BARN ON THE FARM

COLOUR SOUND SHINES AT BARN ON THE FARM Colour Sound Experiment supplied lighting equipment to creative visual design specialist MIRRAD for three stages at the 2016 Barn on the Farm festival, staged in the pastoral setting of Over Farm, just outside Gloucester.

In addition to being a boutique experience, Barn on the Farm is forging a serious reputation as one of the main UK festival events for showcasing new and emerging talent and the brightest ‘ones-to-watch’ after show-stopping performances by artists like Ed Sheeran, Ben Howard, Bastille, Hozier and others all headlining past Barn on the Farm’s just ahead of major career leaps.

Organisers Josh Sanger and Matt Keene have kept it intimate with 2,000 tickets and three stages; cutting edge with the lively and energised band line ups; and friendly, encapsulating the true spirit of a festival community.

MIRRAD became involved for the first time last year via Bryan Leitch, supplying lighting design services crew and asking Colour Sound to come on board as the rental partner.

Colour Sound’s Haydn ‘H’ Cruickshank commented: “We are always happy to collaborate with MIRRAD as their work is so varied and interesting.

This event in particular is really special and we can all relate to its core values.”

The seventh Barn on the Farm was headlined by Oh Wonder and Jack Garrett and this year the Main Stage was ensconced in a brand new cattle shelter for the first time. This was built on the land in the intervening 12 months, providing a semi-permanent structure that can be used for the event with the bonus of proper weather protection.

Lighting challenges presented by the structure included the low weight loading of the circular roof and the restricted roof height, which the crew worked around - presenting inventive solutions to hang lighting over and around the sides of the stage.

The moving lights were 28 ProLights Diamond 7 LED washes dotted around trussing at the back and sides and on floor stands onstage, together with eight Robe MMX Spots providing the hard edge fixtures.

Eight Robe CycFX 8’s were positioned upstage at the back, skimming up some wooden slatting. which formed a backdrop and took lighting extremely well, bringing a hint of 3D to the stage area. Thompson likes the CycFX because their lensing and movement makes them a lot more useful than a standard LED batten, and having lighting on the back wall made a difference to the look and feel of the stage, even for those artists who played in daylight.

A total of 10 Active Sunstrip DMX LED Battens were attached to the

back truss pieces plus 2-lite molefays, and a single truss section rigged to a structural pole at the front facilitated positions for the ETC Source Four key lights.

An Avolites Sapphire from MIRRAD ran the main stage lighting, which was overseen by MIRRAD’s Jamie Thompson. He and the team also accommodated a couple of headliner guest LDs and their specials packages.

“Colour Sound helped enormously in providing a generous amount of kit for the available budget,” commented Thompson. “The event is gaining profile and as well as putting a lot of vision and thought into the artist booking. Organisers Josh and Matt are really keen to ensure their audiences and performers can benefit from the best production experiences.”

The event kicked off with ‘Intimate Friday’, opening just the smallest live space, The Wooden Barn Stage, which is exactly that with a small capacity and a characteristic ambience.

Performers play on the mezzanine floor of the Wooden Barn for Saturday and Sunday nights, but for the opening night programme of 10 bands (including secret headliners Bear’s Den) the stage was set up at ground level.

At the end of the night, the lighting rig - all six Chauvet Rogue R2 Spots, five 300W fresnels and eight Showtec Sunstrips of it - was carried upstairs and set up for the next day. It wasn’t the longest or biggest overnight festival re-rig, but 11 cage / squirrel lights were added for the Saturday and Sunday sessions for additional quirkiness, all amounting to a small but perfectly proportioned rig for the space. It served another animated line up squeezed into the rafters and enjoyed with much enthusiasm.

This stage was looked after by MIRRAD’s Kieran Gilmour who operated using an Avolites Quartz with a Titan Mobile wing. He followed a tungsten theme harmonious with the warmth of the wooden surroundings, emphasising the relaxed ambience.

In the next field next along - with ostriches on one side - was the Outdoor Stage, a compact space, that Thompson’s design ensured was filled with six R2 Spots on truss towers at the back, 12 SGM XC-5 strobes, six 6-lite molefays and six LED PARs, three per side, on the downstage corners for front light.

Lighting was programmed and run by MIRRAD’s Cat Bryan using the same Avolites Quartz / Titan wing set up as Gilmour’s in the Wooden Barn.

The MIRRAD team was completed by Mel Cornish, and the site lighting was finished off with several hundred metres of Colour Sound’s LED festoon draped all around, twinkling long into the night.

TPi www.coloursound.co.uk www.barnonthefarm.co.uk 90

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ELECTRIC DAISY CARNIVAL UK

ELECTRIC DAISY CARNIVAL The Milton Keynes Bowl was once again the venue for the Electric Daisy Carnival (EDC) this summer that attracted over 55,000 passionate EDM aficionados. For the fourth year running it was Britannia Row Productions that supplied all four stages: the main bowl arena with delays and also the three tent stages – the circuitGROUND, the cosmicMEADOW and the neonGARDEN. Each stage was rigged with an L-Acoustics loudspeaker system, predominantly K1’s on the main stage with K2’s being the main component at the circuitGROUND, the cosmicMEADOW and the neonGARDEN. For Project Manager Lez Dwight and his crew, this year’s game-changer proved to be the presence of the new L-Acoustics KS28 Subs and LA12X amplifiers that graced the main stage. Officially unveiled and delivered for use in May, this was a significant enough opportunity for L-Acoustics application engineer, Dan Orton to visit the site on both days to evaluate their performance. “My role at EDC was to represent L-Acoustics at this early stage of the KS28 and LA12X release. Britannia Row have been using our products for years and their systems engineers just did what they normally do but gained the added performance from the new platform.”

That added performance certainly didn’t go unnoticed. “I have never heard sub bass like this,” reported Dwight. “Smooth even coverage wherever you were in the bowl. The amount of air these new subs move is staggering. Super low lows and musical to boot. L-Acoustics have certainly scored a winner here.”

Orton agreed: “The KS28 has increased output performance by three dB and reduced weight by 15% compared to its predecessors but that isn’t the whole picture. The performance gains for the KS28 don’t

just come from the enclosure, a new electronics package is needed to reach that goal. The LA12X which has 12kW of power, thanks to its smart DSP-controlled Switch Mode Power Supply (SMPS) with Power Factor Correction. Boasting up to 3,300W per channel, it is capable of operating from 100 to 240 volts while offering the highest tolerance to unstable mains. Universal SMPS ensures the platform can be taken around the globe while boosted DSP resources with AVB means the amp is futureready.”

The nature of the EDM genre means that the sound was predominantly playback from DJs; just the headliners bought their own FOH engineers.

Wayne ‘Rabbit’ Sergeant was mixing for Avicii: “As always, Britannia Row did an outstanding job; their crew are some of the best in the business and nothing is ever too much trouble F0H or on stage. As for the new KS28’s, they’re phenomenal! I’ve used L-Acoustics ever since it arrived on the market with the VDOSC system but there were details in the mix I had never heard before - in a good way! I love them. There’s so much head room, which is always the best solution. Everything you threw at them was handled effortlessly and efficiently and, in the bowl, good coverage can be a challenge especially with the bottom end. It was a pleasure.”

A veteran of the challenges thrown up at most festivals, Dwight was impressed with what his crew achieved over the event: “I’m immensely proud of our crew; covering all stages we put on forty acts within a 12-hour period. No matter what sort of show it is or what type of music is involved or what kind of performers are on the stage, our crew are always on the top of their game. A bit like those news KS28’s I guess.”

TPi Photo: Lez Dwight www.britanniarow.com http://uk.electricdaisycarnival.com 92

BLOODSTOCK / NUREMBURG CLASSIC FESTIVAL

A STRONG RELATIONSHIP WITH THE BLOODSTOCK FAMILY They’re one big happy family at Bloodstock Open Air and Showsec has forged a strong relationship, which makes it a much-loved part of that close-knit group.

The crowd management and event security specialist has been praised for the mouldable, customer-focussed approach that has contributed to the success of the UK’s largest dedicated heavy metal festival, staged in the Derbyshire countryside.

Founded and organised by the Gregory family, Bloodstock Open Air attracts almost 15,000 heavy metal fans to the grounds of Catton Hall where the roaring success of this year’s line-up featured headline acts Twisted Sister, Mastodon and Slayer over the three days.

The festival is enjoyed as much by Showsec’s team as it is by the audience, such is the atmosphere that has been generated by the biggest independent event of its kind.

“Bloodstock is like a big family gathering each year and Showsec have certainly added to that great sense of togetherness,” said Adam Gregory, one of the festival directors.

“Front-of-house contact can define your event because it transmits the feel, the atmosphere. Showsec work well with what we are trying to achieve in terms of the customer experience and that helps to enhance a real family vibe right across the whole event.

“What makes them stand out from the crowd is their mouldable approach. We can engage with Showsec at all management levels, we’re listened to and they deliver.”

Bloodstock is now well established on the heavy metal scene and Showsec has been instrumental in developing its special atmosphere for the past seven years. Fellow director Rachael Greenfield added: “The relationship has grown much stronger in the time that we have engaged Showsec’s services for the festival.

“They understand our family brilliantly, and the familiar faces which we see within their team make a big difference in terms of building trust with all parties.

“The fans feel like they are coming to see their friends once a year and

I know that many would include members of the Showsec staff among them.”

That was clearly evident too from the numerous messages which were posted on Social Media after Bloodstock had once again lived up to expectations. “Just nothing but praise for the Bloodstock security,” wrote Stewart Lucas on the festival’s Facebook page. “There are no power trips or egos, they just do their jobs with utter professionality and total respect for us paying punters.” Alex Fynney stated: “The best security ever. Good seeing familiar faces each year.” While Jo Dark added: “Great work. They are so friendly.”

Many of the Showsec staff on duty at Catton Park have worked there on a number of occasions, some of them regularly travelling across from Wales.

“We all look forward to Bloodstock each year,” said Joe Milner, Showsec’s Area Manager for the East Midlands. “It isn’t just a festival, it’s a community of people who enjoy listening to their favourite music and the other attractions of this event.

“We’ve all worked together for some time now and the strength of that relationship is reflected in the festival experience we deliver for the thousands of metal fans who are so loyal to the event and look forward to their time at Catton Park.”

TPi www.bloodstock.uk.com www.showsec.co.uk

NEXO’S STM LINE ARRAYS ‘ENCHANT’ NUREMBERG CLASSIC FESTIVAL German rental company In Phase Event has deployed NEXO’s STM Series modular line array system for the ‘Enchanted’ classical event in Nuremberg, using other NEXO product families (GEO S and M6) to extend coverage over a 280m audience area for 60,000 people.

The Classic Open-Air Music Festival in Nuremberg, Germany, is one of the biggest of its kind in Europe. The series of free outdoor concerts, organised by the city, features the Nuremberg state orchestras on stage in the Luitpoldhain park. As a mark of respect to the tragic events in Munich this summer, two July dates were cancelled, but an enthusiastic crowd of 60,000 gathered for the next scheduled concert, with the Nuremberg Symphony Orchestra conducted by Alexander Shelley and featuring organ soloist Cameron Carpenter.

In Phase Event is one of the primary rental suppliers of NEXO systems in Germany. CEO Ernst Sieber and his team chose the STM modular line array for the main PA for the large Luitpoldhain park venue, augmenting the system with a variety of other NEXO loudspeaker types for the delay lines.

On both sides of the stage, each of the main hangs used 16 STM M28 compact ‘omni’ modules, flown underneath three STM M46 main modules and eight RS18 subbass cabinets were ground-stacked centrally in cardio mode.

A total of 13 delay towers were required to cover the audience area: six towers contained 10 GEO S8 cabinets, five were equipped with nine GEO M6 modules plus one RS15 sub running in cardio mode, and two contained five STM M28 cabinets with one RS18 sub also in cardioid mode.

All PA was running on optical fibre over a Dante network, fully controlled

by NEXO/Yamaha amps and consoles, alongside AuviTran’s AVS Monitor.

Yamaha digital desks were used, with experienced classical engineer

Florian Denzler on a CL5 at FOH, and system technician Sven Kallenbach handling audio distribution via a CL1.

System specialist David Hochstenbach from NEXO’s Engineering Support Team was on hand to help set up the system, and was himself impressed by the superb results from the HF coupling between STM M46 and M28 modules over the long throw! “By the end of our tuning day, the sound was clear and pure; it felt like a gigantic hi-fi! It was a great pleasure to work with such a positive crew as the In Phase team, who loved the phase coherence of our systems as much as the super-fast rigging of the hardware.”

TPi http://nexo-sa.com/en

94

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BOTTLEROCK

VUE AUDIOTECHNIK DEBUTS THE AL-12 AND HS-221 SUB COMBO AT BOTTLEROCK Bay Area based Delicate Productions provided full production including staging, lighting, video, and audio on all five stages of this year’s BottleRock Festival. For the fourth year edition of the Napa, California based food, wine and music festival; Delicate Productions deployed the brand new VUE Audiotechnik al-12 system for its inaugural run on the Miner Family Winery Stage. This first public outing saw a 20-box main system supported by 16 brand new double 21-inch, self-powered ACM subwoofers, supplying unmatched sound for the fans of such performers as the legendary Buddy Guy, the high energy world-beat-metal band Diego’s Umbrella, New York’s soulful Pimps of Joytime, and Australia’s sharp edged indie rockers Atlas Genius.

Delicate Productions FOH Engineer for the Miner Family Winery stage Sebastien Poux’s first impression of the al-12’s was solid: “They pack a punch! There’s plenty of power out of the box, which basically lead to a lot of headroom on my master fader.” This should not be surprising as each of the al-12 drivers was designed from the ground up for higher efficiency increased power handling and reduced power compression.

Every individual component development project in the al-12 has carefully weighed the design trade-offs, optimising parameters for maximum output capability and heat dissipation, frequency response linearity, duty-cycle reliability, and minimum size and weight. Pimps of Joytime FOH Engineer, Stephen Asafano was also pleased: “I was particularly impressed with low-mid response of the boxes, lots of warmth and punch, without feeling boxy or muddy. I never felt like I was fighting with the system to get a desired result.”

VUEs brand new 12-inch ‘Acoustic Linearity’ al-12 system.

16 hs-221 subs were placed in a cardioid pattern on the ground along the stage, bringing the low-end coverage down to 25Hz and providing powerful, dynamic low-end. The user-selectable low-pass filters for the hs-221 Sub can be adjusted in the SystemVUE software for any venue setting, with the hs-221 default being set at 70Hz. It is remarkable that the hs-221 subs are only slightly larger than most dual 18-inch subwoofers, thanks to VUE’s ACM technology, which combines both band-pass and vented alignments into a single, compact footprint providing more output and definition. These subs provide an impressive 143dB peak SPL in free field and 149db peak SPL in a half space environment.

Edwards has given his stamp of approval: “VUE’s Chief Designer Michael Adams and VUE have outdone themselves with the al-12 system and the new 21-inch hs-221 sub. The system has all of the features that any touring engineer would expect.” Edwards continued: “The fly hardware and dolly carts are self explanatory and easy to deploy, which is integral for a touring system. The audio quality is easily in the top five systems.”

Additional front fill was provided by four single al-8’s spread out on top of the hs-221 subs. Sound on-stage was also an all VUE offering with hm112’s and hm-212’s stage monitors extending the VUE sound for the artists, and hs-28’s with two hs-12’s placed atop per side as side fills.

“The combo of the dual-21 subs with the al-12’s was really nice - the al12 gives you all the range and power you need. Looking forward to hearing them again! Concludes Poux. “Thanks so much for building such a kick ass rig, I feel fortunate to have worked on it during its inaugural weekend in Napa” added Afasano.

Jacob Choplin (Delicate Productions) and William “Snoopy” Fuquay (WFA Audio) manning the VIP systems control underneath the skyboxes structure, An additional VUE i-Class loudspeaker was brought down to provide the team the sound feed.

The festival’s main stage, the Jam Cellars stage, featured a three-storey high VIP area with 17 premium private skyboxes on the first level, and an open bar / restaurant, with a seating area featuring five video screens on the second open-air level reserved for platinum pass holders. Each skybox

was sold at a premium price to corporate clients, and was furbished with its own bar, living room and viewing area. Time-aligned VUE h-8 loudspeakers extended the main PA sound into the partially covered premium boxes to provide first-class sound. One larger VIP-box had two VUE h-8 loudspeakers, while the other 16 VIP boxes had one each.

Fuquay was in charge of the h-8 with Dante setup for the VIP section and ran the sound with Delicate Productions’ 20-year-old networking guru Choplin. Both the sound and video were delivered with zero time discrepancy thanks to Dante networking platform. The h-8s were so transparent and true to the stage sound, that one in the VIP boxes could not tell where the sound was coming from, the real difference was audible only when the VUE h-8’s were turned off.

“We used Dante to send the show feed 1000ft from a DME Rack at FOH through a Cisco FSP 10 port switch down Tech-10 military grade fibre running to the stage then crossing over to house left, and then literally through the brush and tree-line to Skybox control located under the first level of the VIP Skyboxes structure. We used the same Switch at skybox control via laptop and Dante Controller to feed one Cisco 10 port switch. The 10 Port at control fed two Cisco 20 port switches each switch supporting nine of the VUE h-8 self-powered speakers. We decided to feed each speaker directly from the switches, as jumping through the h-8 might have some latency issues. We also elected to do so since it would also be easier to trouble shoot, but we had no trouble whatsoever - the system was rock solid,” explained Fuquay.

SystemVUE Software was used to control volume and delay times: “No EQ was used as the h-8’s are brilliant out of the box, thanks to Michael Adams”, VUE’s Chief Designer - or ‘The Tone Doctor’, as Fuquay refers to him. 18 separate delay times were set down the line, with the only odd area being the last and furthest VIP box because the delay array out in the field sneaked in a bit, but the signal was still fully usable. “You would be looking for my body if I asked the guys to move the delay array back another 20 feet,” laughed Fuquay.

TPi Photo: Steve Jennings www.vueaudio.com www.bottlerocknapavalley.com 96

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FOREST LIVE FESTIVAL

SERIOUS STAGES AWARDED THREE YEAR CONTRACT WITH FOREST LIVE

Established in 2001, Forest Live is an independent concert series promoted by the Forestry Commission. Hosted within seven nationwide forest locations, which include Westonbirt Arboretum, Thetford Forest, Dalby Forest and Mansfield Sherwood Pines Forest Park. This year’s line-up has seen performances from Rudimental, Kaiser Chiefs, James Bay and Guy Garvey.

For the 2016 shows, Serious Stages supplied two 16 metres Supernovas to accommodate simultaneous performances at different locations throughout the summer. Serious also installed steps, access ramps, handrails and two flanking single PA masts, as well as a double-decker FOH tower to accommodate the sound and lighting engineers and followspots.

DB Event Services produced the shows for the Forestry Commission.

Managing Director David Barrow comments: “I have worked with Serious Stages since 1998 and I am delighted they have once again won the staging tender for Forest Live for the next five years. They have now worked on the Forest Live shows alongside my team since 2000, and are a big part of our forest family.

“The Forest Live series started out with just four sites and a 40,000 sales capacity across eight shows, and has now grown to seven sites and

a 126,000 capacity, achieving over 93% sales this year with the proceeds being reinvested into the forests. Our deadlines are incredibly tight and seeing as the first thing we need is the stage, I am extremely grateful that Serious understand our needs. They have been great moving forwards with us, from being pro-active on the introduction of CDM regulations to their team always being helpful and thorough. I would find our series strange without Serious Stages, so long may our relationship continue.”

Steven Corfield, Managing Director at Serious Stages, added: “The locations throughout Forest Live are stunning outdoor venues and we look forward to these events every year. We work alongside DB Event Services and the Forestry Commission to install temporary infrastructure whilst preserving the sensitive natural environments where these events are held.

“Our team understands the challenges of putting on a show in remote locations and we have a great understanding of Forest Live, having worked on this event since its inception. We’re proud to have been awarded a further three year contract to supply this brilliant concert series which David and the Forestry Commission have built up into a highly successful concert series, and we look forward to extending our relationship with them through the coming years.”

TPi www.forestry.gov.uk www.stages.co.uk 98

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CLOCKING OFF

The Production Park team rasied almost £1,000 for charity.

TACKLING TOUGH MUDDER Not for the faint hearted.

On Saturday 6 August, 34 Production Park employees tackled the rejuvenated, almost as if I could do it all over again!” notorious Tough Mudder obstacle course to raise funds for The Prince of Sam Wilkinson of Cato Music, now part of the Production Park network, Wales Hospice. The hospice is based in Pontefract, local to Production said: “The day was great fun. All of the obstacles had their own unique Park, and supports nearly 1,000 people every year. They provide challenge, but my favourite was Muddy Banks, mainly because Bullet lost palliative care and support for patients with life-limiting illnesses, free of his shoe but also because this was the muddiest obstacle. There were charge, around the clock, 365 days a year. banks with large mud-filled puddles in between that came up to your Tough Mudder was a daunting experience for the Production Park team. chest. Those few people that were trying to stay clean had no choice but to The event is a five-mile mud and obstacle course designed to ‘drag you embrace the mud at this point.” out of your comfort zone’. “It’s a challenge that emphasises teamwork and The team have raised just over £900 for the hospice so far. If you would camaraderie,” said LS-Live Studio Manager, Bullet. “My main aim on the day like to help Production Park break the £1,000 mark, head to their JustGiving was to get to the finish-line, but the day itself wasn’t as intimidating as we page to make a donation. first suspected because we all worked so well together “My knees, ankles and elbows were all cut,” said as a team.

Scott Matthews, Studio Coordinator at LS-Live. “The “There was one part of the course where I had a next day, every muscle in my body ached; muscles ‘sticky’ moment. I jumped in to a muddy pool and half that I didn’t even know I had. But it was all worth it. As of my leg got stuck in the mud. I had to wriggle my leg much as it was a personal challenge, the main reason out and lost my left trainer in the process. I had to lose we were there was to raise money for people that my trainer to save my leg!” really needed it and that felt good.”

Production Park Creative, Sarah Womack, said: Bullet concluded: “It was genuinely a really great “If there is one obstacle that I wouldn’t do again, it’s day out that was rewarding too. I can’t recommend it www.justgiving.com/ the Birth Canal. I managed to get stuck under a large enough, everyone should give it a go at some point in fundraising/ tube of water with no room to move and a group of their life!”

Production-Park people had to form a human chain to pull me out. I TPi was overjoyed when I had finished the course, I felt http://productionpark.co.uk

DONATE HERE 100

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ROAD DIARIES

MAT DAVIE Keyboard Tech, The Prodigy

while other roadies shout ‘hurry up!’ and ‘what box do you want?’.

Then it’s off to the dressing room to pack away the stereo and to see the lovely Kat Hopkins who looks after the band and their wardrobe.

At 3am everything is packed into the truck and we can enjoy a few well-earned beers on the tour bus before we turn in at 5am. The bunks on board are a little bit shorter than I am, except for the two slightly longer ones, which are reserved for me and Guitar Tech Paul ‘Nobby’ Russell.

Unfortuanalty, they are also next to the noisy front lounge upstairs where the all night ska parties occasionally happen! Swings-and-roundabouts...

It’s a long way from Burgas to Ohrid in Macedonia (800km to be exact) so for once we get some sleep. While we arrived well-rested and on time, the truck had blown a tyre and is delayed by four hours. Our Production Manager, Tyrone Brunton, decides we should go to the hotel as the truck is now stuck at the border.

I had never been to Ohrid before, and visiting new places is one of the greatest bonuses of this job, so I was keen to have a look around. The town is next to a lake so we find out some crucial info: it’s only €30 per hour for 12 people to hire a boat - and we can bring our own booze and music!

Still no truck at 6pm but doors have been moved back to 8pm. The Prodigy crew are concerned. But everyone is still in good spirits and the local crew are like coiled springs, raring to push flight cases. Through the dust we see the truck approaching and it’s all hands on deck as we unload as quickly as possible. I set up Liam Howlett’s [the band’s producer] laptops, synths and gadgets while my backline buddies, Nobby and James ‘JB’ Brennan set up and tune the guitars and drums. If there was a backline category at the TPi Awards, then I would vote for them.

Normally it takes us about three hours to go from full truck to line check, and today we did it in half the time. Once we have set up, fixed it, tweaked it, amplified and tested it, we have five minutes until doors open.

Usually there is something that needs fixing as some of the older synths need regular repairs just from being bumped around in the truck, and they are played hard, so the keys often break. Today, everything is working; there’s nothing to fix except JB’s laptop. Over dinner we talk about plans for our day off; the boozy boat trip. Suddenly the crowd are cheering, the anticipation builds, and the intro starts. Time to do it all over again...

Mat Davie

It’s midnight at a festival in Bulgaria, the band are walking on stage, all the lights are flashing and the music is deafening. They are two hours late as there had been a fault with their plane from London, luckily they found a new flight and arrived just in time. The crowd were unaware that they nearly didn’t make it, as the other bands and DJs had been put on later. I’ve worked at a few festivals that have been cancelled, usually due to bad weather, and I just feel bad for the kids who miss out on their favourite bands. It was a relief that the gig happened and that everything worked as it should.

I always stand stage left near the monitor desk, which is skilfully manned by Tom Maddocks. Our crowds usually go mental during the gig, whereas we calmly concentrate on watching and listening to the band while hoping nothing breaks!

When it’s all over not all of the fans leave with many looking for some souvenir from the show. I pass the set lists to a security guy in the pit, who looks confused but understands when the fans start ripping them out of his hands. I turn off the various laptops and synths, pack them away and push my cases into the truck to help our new truck driver. The flight cases never fit perfectly, so it’s like playing a game of 3D Tetris with really heavy boxes

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business begins here

Every January, the industry gathers in California to get the business year started.

And with a new focus on professional live and touring sound, plus dedicated live sound and pro audio seminars, there’s more business to be done than ever before.

To learn more and to register for badges visit: namm.org/thenammshow/2017

JANUARY 19–22, 2017 • ANAHEIM CONVENTION CENTER • ANAHEIM, CALIFORNIA • NAMM.ORG/THENAMMSHOW

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8/25/16 2:06 PM

GEAR HEADS

INTRODUCING ELATION PROFESSIONAL’S NEW PLATINUM HFX Earlier in the year Elation Professional announced the latest addition to its award winning hybrid fixture family, the Platinum HFX. TPi’s Stew Hume spoke to Elation’s Sales Director, Eric Loader to discuss the latest release from the company.

The Platinum hybrid fixture range is one of Elation Professional’s latest edition to it’s fixture range. Both the Platinum SBX and the FLX have the ability to offer LDs a three in one package fulfiling the role as a beam, spot or wash luminaire. Both fixtures have gained the interest of the industry as a whole with the Platinum FLX winning the Award for Innovation at the 2015 PLASA Awards. Building on the success of the hybrid range, Elation has now brought out the third instalment to the family, the Platinum HFX. The newest addition is a compact version of the hybrid family, designed for a wide variety of professional stage and special event applications.

TPi caught up with Sales Director, Eric Loader to talk through the new fixture. Discussing the development of the HFX, he said: “It took us about 12 months to get the product to market after launching our Platinum SBX. The SBX was loved by many LDs but it was a bit too large for some of our rental customers. However, when Philips launched the new 280W MSD Platinum 14R lamp we knew we could make a smaller package solution without compromising too much output and performance. The lamp arc gap of the 14R is very small and similar to the 5R which has been the standard for beam / spot fixtures for years. But with nearly two times the output of the 5R (in

beam mode) and the smaller package design allowed us to design a more compact fixture and with a longer lamp life of 2,000 hours made it ideal for install or production.”

Loader also explained how the HFX filled a necessary gap in the market.

“The HFX takes the optics and mechanical technology from our Platinum Beam Extreme and Platinum SBX fixtures and combines them into a mid-sized fixture which is ideal for medium to large scale events. The HFX acronym stands for ‘hybrid effects’, which we think we have produced here with this fixture offering true spot, beam and wash functionality with an extremely flat field when in spot mode. The fixture also has the ability to layer multiple prisms along with a unique four colour dichroic filter, means the fixture can produce some amazing effects.” A variety of useful graphics are housed in two gobo wheels, one with eight rotating, interchangeable gobos and the other with 12 static-stamped gobos. Beam multiplication for a host of effects can be achieved with the included eight-facet, 10-facet and infinity linear rotating prisms. A wash frost filter is also included. On top of that the Platinum HFX also houses a high-speed strobe, mechanical iris and an electronic dimmer.

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6TH OCTOBER 2016 - PRODUCTION PARK, WAKEFIELD

Production Futures is a forum for the future of our industry.

The day combines real recruitment opportunities, the best in industry training and education along with the Breakthrough Talent TPi Awards, making it the ultimate destination for the next generation of industry talent.

The future of our industry needs you.

To get involved go to www.productionfutures.co.uk

ELATION PROFESSIONAL PLATINUM HFX

Opposite: Elation Professional’s new Platinum HFX. Below: The HFX has been designed for a wide variety of professional stage and special events applications; Elation’s Sales Director, Eric Loader.

Elation Professional first announced the HFX earlier this year and got a chance to show it off to the industry at this year’s InfoComm in Las Vegas.

Loader went on to describe the response the Elation team received at the show. “Feedback has been tremendous and the fixture has quickly become one of our top sellers. The rental customers love the added features we put in and the compact design. We’ve also had LDs express their amazement with the output and performance of the fixture.”

Following the successful launch of the product the only question was where the HFX was likely to appear in the coming months. “We are sure these fixtures will make their way on to many upcoming tours, festivals

and installations this fall. Lighting Designers and rental companies alike are starting to take a closer look at Elation and with other top brands now offering similar solutions - it’s clear Elation is on the right track!”

Loader concluded by giving an insight into the company’s future plans: “Without giving too much away, this third fixture is the final piece of the Platinum series. That being said, we are working on a new solution which will fill a different industry need that is sure to get a lot of the market’s attention later this year. Stay tuned!”

TPi www.elationlighting.com

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INDUSTRY APPOINTMENTS

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INDUSTRY APPOINTMENTS

Philips Lighting has announced the appointment of a new head of its Vari-Lite entertainment lighting business. Colin Kavanagh, a current Philips Executive, will be relocating to Dallas, Texas, as he takes on the new role of Head of Entertainment Lighting.

Kavanagh will be tasked with growing Philips Lighting’s presence in the entertainment sector - specifically with lighting for theatres, festivals, experiential retail outlets, theme parks, arts venues, exhibition spaces, leisure venues, holiday destinations and the nightclub industry.

With a background in design for excellence (DfX), concurrent product development (CPD), lean manufacturing and voice of the customer (VoC), Kavanagh brings extensive commercial and technical experience to his new role.

“I am developing a sector-specific strategy that will greatly enhance how the Entertainment team works and take the business to the next level,” he explained. “At Philips Lighting, we have an unparalleled degree of innovation, passion and technical expertise. My job is to put this at the forefront of everything we do, coupled with the VoC approach to best serve our customers.

“Most companies are product focussed and don’t take the time to really understand how customers experience their company, their customer’s strategy, objectives and needs. Our VoC programme will foster mutual success and commercial growth.”

Kavanagh joined Philips in 2013 as SVP of Procurement Engineering, based at Philips Lighting’s Amsterdam office in the Netherlands. Prior to this role, Kavanagh worked in California as Senior Vice-President of Operations at Topcon Positioning Systems.

Mark Cunningham has been announced as the newest member of the drp team, taking on the role of Event Producer.

With an eclectic background including experience in the sport, charity,

retail and corporate sectors, Cunningham has worked with clients such as Oxfam, Microsoft, Sky and G4S in locations across Europe, Asia, North and South America and Africa.

Cunningham commented: “It is a great opportunity to be a part of such an influential and highly skilled company as drp. I am excited for the upcoming year and embarking on new challenges and projects within the agency.”

PR Live has expanded its team with three new additions in the form of Dave Gillett, Karl Travers and Rhys Williams.

Gillett has been named Head of Technical at the south London-based event technical production and rental specialist, with Travers and Williams joining as Senior Project Managers.

PR Live founder and MD Ian Coull commented: “I’m delighted to welcome Dave, Karl and Rhys to PR Live, and we all look forward to the hectic pace continuing for the rest of the year. It’s great to attract three people of this calibre to join our excellent and highly committed team who all share our core values, ideas and personality.”

Gillett has a decade of industry experience, having worked for lighting and events companies across the UK as a Lighting and Video Engineer. As an experienced media-server programmer and user, he will head up the implementation of PR Live’s new investment in d3 Technologies’ products.

Travers brings 20 years of live event industry experience to PR Live involving multiple show formats and design at a number of levels including technical, operational, production, business development and creative.

Fellow Senior Project Manager Williams joins with 15 years of experience in the industry.

They will be overseeing projects from the initial brief through to the post-event reviews and will manage event crews, installations and technical elements.

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www.interfacio.com • +44 208 986 5002

INDUSTRY APPOINTMENTS

Opposite: Colin Kavanagh, new head of Philips Lighting Vari-Lite; Mark Cunningham, the newest member of the drp team; Bandit Lites’ Shay Simpson; PR Live latest additions, Senior Production Managers Karl Travers and Rhys Williams along with Senior Project Manager and David Gullett, Head of Technical.

“Moving to any new company or project is very invigorating and I enjoy working with new team members and systems,” said Travers. “PR Live is at an exciting stage in its development and going from strength to strength, so it’s a great place to be.”

In order to give better support to its sales network, DTS has appointed Antonio Parise as Area Sales Manager.

Parise has gained an extensive sales experience working for many years in the lighting industry in the same position. He already knows many international distributors and is well respected by all industry professionals for his integrity and reliability.

“DTS is in a positive trend due to the big success of the new products, and the reputation of our brand in the professional market is steadily growing; that’s why we need some help to give our sales network the support they deserve. So we are really glad to welcome this passionate and motivated new colleague. Antonio is the perfect match to maintain and further boost this success,” said Paolo Albani, Sales and Marketing Director.

Following the recent formation of SLX, the hire and events brand of Stage Electrics Partnership has appointed John Wallace as Managing Director.

Wallace will be based at the all-new head office in Bristol leading a team of dedicated professionals, servicing a wide range of customers within the theatre, broadcast and event markets. He joined the entertainment world over 25 years ago at the Northcott Theatre where he completed the prestigious apprenticeship scheme under the tutelage of Maurice Marshal.

Wallace started at Stage Electrics, working in its hire warehouse, during the summer of 1990 in Exeter and within a year moved to Bristol and joined the events department, where he spent many years working with Europe’s major production companies delivering state of the art events.

The new SLX brand has been inspired by the expertise and experience of 35 years in the industry. Focussing all its energy on its core business of hire and events, the talented and professional team continues to provide solutions to its theatre, broadcast and event customers under this new, fresh brand.

Commented Wallace: “I am looking forward to the next part of our journey and it is a huge honour to be able to do it with the brilliant team at SLX. We are all very excited about our new brand and determined that our passion and enthusiasm will benefit all our wonderful customers.”

Bandit Lites has added to its corporate headquarters with the hiring of Kathy Tanner and promotion of Shay Simpson. As Senior Payroll Administrator, Tanner will be handling every aspect of payroll and payroll reporting for all of Bandit Lites’ offices. She comes with over a decade of experience, having managed payroll for multiple companies at Eddy & Eddy CPAs and Lattimore, Black, Morgan & Cain.

“I am extremely excited to become a member of the Bandit team and work with such a talented and accomplished group of people,” said Tanner.

Simpson, who has been promoted to Controller, will be in charge of Bandit Lites’ entire accounting operations. “The promotion to Controller for Bandit Lites is an incredible opportunity, and for that I am humbly grateful,” she said. “I understand with this position comes great responsibility, but I am excited for the challenges to come.”

Bandit Lites Chair, Michael Strickland, commented: “Shay has been amazing here at Bandit, and her promotion to Controller was an obvious choice. Her knowledge, ability and dedication will help Bandit as we move rapidly forward.”

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

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Full Time Senior AV Warehouse Technician Matrix has grown phenomenally in the past two years and has invested heavily in new cutting edge AV technology, including video and sound equipment. An experienced AV Warehouse Technician is being sought to oversee and manage the in / out flow of AV equipment in the Warehouse.

We’re recruiting!

Sterling Event Group are one of the North West’s leading and fastest growing technical production and rental companies.

Supplying high quality audio, lighting, video, staging and rigging solutions to the live events industry from our base by Manchester Airport.

The role will include the following • Assisting the prep of kit in and out for shows • Planning and organizing work in the warehouse to

improve productivity and efficiency • Oversee warehouse policies for Health & Safety • PAT testing of all Matrix equipment • Ensuring all service, repair and maintenance

requirements of equipment is carried out • Utilising the Warehouse Management System to

process the orders efficiently • Using stock control systems to make sure

equipment is available at the correct time • Oversee planning, logistics and booking of sub

As part of our growth plans with have excellent opportunities for talented people to join our team on both a full time and freelance basis.

hires, transport and consumables

The ideal candidate must have a strong knowledge of the AV industry. This would be a great role for an AV tech that wants to come off the road but remain in the industry. This is a challenging full time role based in Hook. It has plenty of scope for further development and career enhancement to become the Warehouse Manager.

If you would like to be considered please send your CV to Richard@sterlingeventgroup.co.uk and specify if you are looking for full time or freelance work.

Lucy Mitchell

www.sterlingeventgroup.co.uk | +44 (0) 161 436 4444

lucy@matrix-events.co.uk Tel: 01256 760188

109

Matt Phillips

matt@matrix-events.co.uk www.matrix-events.co.uk

PSA: THE BIGGER PICTURE

Event Safety Alliance are due to announce at least two additional classroom deliveries of the organisation’s core safety training days in the coming months; Events Safety Allliance Founder and Chairman Jim Digby.

EVENT SAFETY FOR ALL It’s been a while since we updated you on the activities of the Event Safety Alliance.

They’ve been busy is the short answer but we thought it best to have their wordsmith, Jacob Worek, give a little more detail about how the Event Safety Alliance is taking shape.

From the earliest days of the organisation, these four words, You are the ESA, have guided the actions of the Event Safety Alliance. Whether it’s the development of resources, training opportunities, or advocacy, the ESA is committed to ensuring all outcomes are relevant and accessible to everyone within the live event industry. In this spirit, the ESA has launched the Event Safety For All initiative; a broad series of changes to core programmes designed to make active participation in the Alliance accessible to everyone.

“The strength of the Event Safety Alliance has always been in its supporters,” stated ESA founder and Chairman Jim Digby. “Shifting the paradigm of safety over the long term is a herculean task that requires the involvement of everyone within the industry. In launching the Event Safety For All initiative, we hope to remove many barriers to participation in ESA programmes, particularly for freelancers and those just starting out in their careers.”

Changes have been made to four key ESA programmes / deliverables: Membership; the Event Safety Summit; the Event Safety Guide; and Event Safety Access Training.

maintain a membership programme that provides real value and ‘pays for itself’ quickly. By lowering the annual dues, we hope to encourage more folks to consider becoming an active member, and make it easier for them to maximise the benefits.”

This change applies to both new and existing members. Current ESA members in good standing will have their renewal date extended to compensate for this price reduction. To join the Event Safety Alliance, please visit http://eventsafetyalliance.org.

EVENT SAFETY SUMMIT Changes have also been made to the pricing structure for the 2016 Event Safety Summit. From now until 18th November, registration to the live event industry’s first safety-specific conference will cost $1,250 USD for members, and $1,500 USD for non-members (down from $1,750 USD).

Attendees who have previously registered at a higher rate will be contacted individually to arrange reimbursement for the difference in price.

“As with the changes to membership, the motivation for lowering the price of the Event Safety Summit is to encourage participation by folks who would otherwise not be able to attend,” explained Digby. “Thanks to the tremendous support of Rock Lititz, we’re able to handle a greater number of attendees than in years past, so it only makes sense to take advantage of the opportunity.”

Developed around the theme E Pluribus Unum (out of many, one), the 2016 Event Safety Summit focuses on the ways event professionals are indisputably reliant on each other, our collective working environment, and our guests. The event will examine our individual and shared

MEMBERSHIP To encourage individuals to join the Event Safety Alliance, membership dues to the organisation have been substantially reduced. Beginning immediately, membership to the ESA will cost $75 USD annually, down from $180 USD annually. Current membership benefits will remain unchanged.

“The strongest benefit of membership in the Event Safety Alliance is eligibility for event discounts,” stated Digby. “Our desire has long been to 110

PSA: THE BIGGER PICTURE

responsibilities as event professionals, and provide actionable ideas for improving interdisciplinary collaboration and communication, strengthening bonds, and sustaining safety as a priority within our industry. This year’s Event Safety Summit will introduce attendees to a new slate of subject matter experts, and welcome a few previous presenters back to build on concepts shared during past events. Special attention has been placed on creating a balanced, inclusive programme that is relevant to everyone working in live events, regardless of their industry segment or discipline. Current topics run the gamut from safety programme development, to structural engineering, to emergency communications, to violence prevention and the aftereffects of the attacks in Paris and Orlando.

Additional information and registration details for the Event Safety Summit can be found at http://eventsafetysummit.com.

Event Safety Guide into one or more ANSI standards (American National Standards Institute; www.ansi.org). The documents that result from this process would be widely accepted, national standards for many aspects of live event operations and planning, increasing the value of the information to the industry. Detailed information on this process and on applying to a Working Group can be found at the ESA’s website: http://eventsafetyalliance. org.

EVENT SAFETY ACCESS TRAINING Event Safety Alliance is nearing announcement of at least two additional classroom deliveries of the organisation’s core safety training programme Event Safety Access. Sessions are tentatively scheduled for this autumn in Nevada, Florida, and Pennsylvania. Additionally, ESA is excited to announce the development of a 24/7 online delivery option for Event Safety Access, expected to launch in the first quarter of 2017.

“Since we launched Event Safety Access in January 2016, interest in the programme has been extraordinary,” stated Digby. “There’s a strong desire within the industry for relevant and accessible training opportunities. By offering additional classroom deliveries of ESAT and developing an online training option, we hope to fulfill the needs of anyone who desires to ensure the safety of themselves and their co-workers.”

ESA members in good standing are eligible for discounted registration for both in-person and online Event Safety Access training. More information on Event Safety Access training and to sign up for our waiting list, please visit http://eventsafetyaccess.com.

“The unwavering support of our members and sponsors has been crucial to the development of the Guide, ESAT, and Event Safety Summit,” said Digby. “We hope that these programme changes will help to ensure that the results of this support are accessible to those who will benefit the most.”

TPi www.psa.org.uk

EVENT SAFETY GUIDE The Event Safety for All initiative also includes several changes involving the Event Safety Guide. First, the purchase price of the current version of the Guide has been reduced by at least 50%. Hard copies of the Guide will now retail for $24.95 on the ESA website (down from $49.95), while ebook versions will list for $4.99 on Amazon, iTunes, and other online ebook providers. Additionally, the ESA will be releasing the official French translation of the Event Safety Guide. Ebook versions for this translation will also retail for $4.99 at most online providers.

“We want to ensure that the Event Safety Guide is widely utilised,” stated Digby. “Dropping the price of the Guide to the lowest feasible level makes it easily accessible to all who desire it, in a format and language that they are comfortable with.”

The most significant change involves the next edition of The Event Safety Guide. In an exciting development, Event Safety Alliance will be collaborating with the Entertainment Services and Technology Association’s (ESTA) Technical Standard Programme to establish a new Event Safety Working Group that will work to transition the current

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BACK CHAT

SARA GLEADHALL Backstage Academy

What does your role with Backstage Academy currently involve?

“My role at BA includes developing relationships with companies, professionals and educational organisations that operate within the creative, technical and backstage industry. I support the students taking their first steps in the industry and helping to match skillsets with relevant employment opportunities. I also look after our short course and bespoke course programmes, student recruitment, and speak at various colleges and educational events.”

Production Futures is a new venture for our industry, and will be held at Production Park, home of Backstage Academy. What are you hoping to offer the next generation of live production students?

“Production Futures is an opportunity for students to really grasp the value of the industry and the varied career paths it has to offer. Graduates and individuals new to the Industry or looking for a change in direction will be able to network, take part in workshops and experience a preproduction rehearsal. It’s an exciting concept and I’m very much looking forward to seeing the event take shape. I have found career advice for the creative industry is lacking within most schools and colleges, and I’m very aware of the need for a relevant platform that can help match great people with good jobs.”

What sparked your interest in the live production industry?

“In 1998 I studied Music Industry Management, which involved running my own events and booking talent, progressing onto an internship at Virgin Records where I supported the press team for various promo activities including live shows.

I’ve always been fascinated by the production elements rather than the actual performance itself. It’s a very distant memory now but the first show I ever got to see from a full production aspect was when a course tutor arranged for us to see Ugly Kid Joe - that’s where it all began for me.”

What have been some memorable achievements over the last few years?

“To have the relevance and employability of Backstage Academy students acknowledged by some of the major players in the industry with opportunities growing year on year is hugely rewarding. Helping BA students open the door to great careers and projects is something I am extremely proud of.”

When not helping to educate, what would TPi readers find you doing?

“After recently taking part in Tough Mudder, which was both one of the hardest but at the same time most rewarding things I have ever done, I have been inspired to join CrossFit. I still love attending events and catching up with both my industry favourites and ‘normal friends’ whenever I can.”

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