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Claypaky B-Eye K20s on tour with Red Hot Chili Peppers
For the better part of a year the Red Hot Chili Peppers have played to fans worldwide with back-to-back festival and arena tours. Premier Global Production (PGP) in Nashville provided a large complement of Claypaky A.leda B-Eye K20 fixtures for the tours. PGP acquired the B-Eye K20s at the request of Scott Holthaus, lighting designer and show designer for the Red Hot Chili Peppers.
For the festival tour Holthaus deployed 44 units. “I put them radiating from the vertically-hung circle pods and 40-foot half-arc,” he explains. “For outside shows without any smoke or haze, it is important for the audience to see the source. Having overhead lighting is a mistake in that situation, so I made sure 90 percent of the show was upstage and pointed at the audience through the band.”
When the band began its world arena tour Holthaus increased the roster of B-Eye K20s to 64, 52 of them active. “They worked so well on the festival show that they are the main source for side and all floor lighting on the indoor show touring now,” he reports.
(Photos: Ralph Larmann)
Opeth on tour with Ayrton DreamPanel-Twins
Kicking off with twenty dates in America at the start of their world tour, Swedish band Opeth brought their show to Europe in November 2016, opting for a single show at Wembley Arena for their UK audience. Magnus Boyd has been lighting the band for the last eighteen months: “During the tour, we have done two special extended sets at Radio City and Belasco in LA before performing a third at Wembley Arena,” he says. “The final extended set was at the Sydney Opera House in February 2017.”
Boyd’s lighting and visual design featured 40 Ayrton DreamPanel-Twin fixtures rented from French company S-Group. The 40 units were rigged in four double columns as a backdrop to the band and form a focal point of the lighting set. “Almost every song in the set includes their use,” says Boyd.
“For the encore, all hell breaks loose with some abstract video, rotation and full use of the LED side of the DreamPanel-Twin. The content was created from a mix of video designers with artwork by Travis Smith animated by Scott Rudd, abstract artwork created by Pekka Stokke at LJOS AS, and some content created by myself with footage from Jonas Åkerlund.” High Wycombe based rental company Siyan Limited delivered Boyd’s Wembley and European lighting requirements.
(Photos: Tom Grant/Siyan Limited)
Aquantia and AptoVision unveil first SDVoE solution for pro-AV market
Aquantia Corp. has partnered with AptoVision to announce the industry’s first fully integrated single-chip solution for implementing Software-Defined Video over Ethernet (SDVoE) on 10GBASE-T infrastructure. The combination of Aquantia’s AQcite FPGA-programmable Multi-Gigabit Ethernet PHY with AptoVision’s BlueRiver technology provides the most power-, size-, and cost-efficient implementation of the new SDVoE standard, to leverage the ubiquity of Ethernet.
Elation Professional now offering Arkaos Pro products in Europe
Elation Professional announces that the company is now offering the complete Arkaos product line of software and media servers in several European countries and serve as the main value-added dealer of Arkaos Pro products in the UK. “We’ve had a strong and successful relationship with Elation in the U.S. for years and we are happy to be continuing the collaboration in Europe,” states Agnes Wojewoda, Managing Director at Arkaos s.a.
Palace equipped with Robe fixtures
London-based indie blues rock band Palace asked lighting designer Steve Bewley to light a recent showcase gig at the Electric in Brixton, London, for which he chose to use an all-Robe floor package which was supplied by Dragonfly Lighting.
Bewley chose eight Robe Spikies, eight LEDWash 300s and eight CycFX 8s, which were combined with elements of the Electric’s overhead house rig. His design also included projections from the FOH over the band and onto a backdrop which brought its own specific texturing treatment to the stage. He worked on this and the video content creation with Bronski (Chris Jablonski) of Tawbox.
With everything on one level - band, backline and the lights - Bewley created big fields of light and combined them with different Spikie beam looks and effects from the back. The LEDWash 300s were utilised for side light, so the audience caught glimpses of the band via smaller fields of light, contrasted with the larger pools of light. They were also used for silhouetting.
The CycFX 8s were right at the back of the stage, so using the zoom, Bewley could either bring them in as backlighting or use them to create effects as well as the more standard duties like washing the white cyc. Bewley also programmed and ran the lights for the show, and his own Green Hippo media server was used to run the video.
(Photos: Lindsay Cave)
Maestra London grows the team
London and Dubai based creative and technical event production and management specialist Maestra announces more new staff. The London operation starts 2017 with four new individuals joining Justin Hammond, Emma Perrin and the team based in their newly expanded premises in Woolwich, east London.
Kate Jarvis joins as a Senior Project Manager who will be exploring and pitching ideas as well as managing and co-ordinating projects. She studied film and production at Falmouth University in Cornwall, going on to work in that industry before specialising in production and design. For the last five years she’s worked as a senior project manager and event consultant for a UK event company where she ran private events, themed parties, exhibitions, brand activations and product launches.
Jamie Twyman comes on-board as a Production Designer. He’s been active in the events industry around London for 13 years. His experience in that time includes working as a technician.
Project Manager Henrietta Appiah was a communications & media studies student at Brunel University and has always been interested in film, photography and editing. However an internship as an events co-ordinator fired a passion for “all things events” which has been her professional career for the last 10 years, during which time she’s worked with several companies. This has included Unilever where she managed internal and external promotions and clients, running multiple events across multi-level communication platforms, from webcasts to a G8 event.
Georgie Archer takes on the role of Operations & Admin Assistant. After studying Creative Media at North West Kent College, she worked in a variety of jobs organising events.
Photo (left to right): Kate Jarvis, Jamie Twyman, Henrietta Appiah and Georgie Archer.
Anolis fixtures installed at Topgolf Las Vegas
Anolis ArcSource 96 Integral RGBW LED fixtures were specified by lighting designer Adam Gregory to light a series of ‘targets’ on the golf range at Topgolf Las Vegas, the brand’s new eight acre venue, located just behind the MGM Grand Hotel & Casino.
They are being used to illuminate the ten various-sized targets located on the range at distances of up to 300 feet from the tee line, and were installed by design/build integration specialist National Technology Associates (NTA), for whom Gregory - also based in Las Vegas - is head lighting designer.
A total of 128 ArcSource 96 Integrals were supplied by U.S distributor Robe North America for the project. Seventy-two of these, fitted with 25 degree lenses, are being used on the range targets. Each circular target is about 4 ft deep and the fixtures are mounted on the side closest to the building so the source is concealed from view. They are in a semi-circular arrangement to avoid direct sunlight when it’s shining in that direction.
The other 56 are grazing up sections of the net poles which encircle the entire range. The poles range from 125 to 175 ft in height, so the ArcSource Integrals are positioned in pairs at the bases and highlight up to the first joint - between 30 and 60 ft.
The lights were programmed via a GrandMA onPC by Mike Dimsey and Jay Branson from Two Pair Creative, with the information then transferred to an Alcorn McBride LightCue Pro controller that sits in the back room, which was programmed by Kevin Ruud, head of A/V Design and light cue programming for NTA.
This can be accessed remotely using an iPad triggering a Crestron central processor that then activates the LightCue Pro. A selection of special lightshows are programmed to the latest pop hits. The target lights also perform in a series of special lightshows that can be arranged on request.
The fixtures were specified by Adam Gregory in consultation with David Chesal, Anolis’ Business Development Manager Entertainment & Leisure. Additionally, Ian Forrow from Anolis in the UK provided detailed digital modelling of how the fixtures would work in position. On site, NTA production managers Nevin Edwards and Jeff Kollander took care of all areas of the installation and commissioning process.
Emco Wheaton announces the appointment of Stefan Dubbledeman who is taking on the role of Land Loading Systems Territory Manager for Western Europe. “Stefan will be responsible for supporting our trading partners and growing end-user awareness for our land loading arm business across the UK and Ireland, Benelux and Scandinavia,” says Darren Sabino, Global Commercial Director for Emco Wheaton.
A graduate of the Hague University with a Bachelor’s Degree in Mechanical Engineering, Dubbledeman has more than twelve years sales and engineering experience, including the past year with Emco Wheaton. Responsible for all Emco Wheaton products, he will report directly to Darren Sabino, Global Commercial Director for Land Loading Systems. Dubbledeman will also continue to support the Todo product line in Germany and report to Jim Hughes, Commercial Director for Dry Break on these activities.
Softube announces Console 1 Mk II
Softube announces Console 1 Mk II, an upgraded version of its hardware/software mixing system. The new software - also available to owners of the first-generation Console 1 - makes it possible to use Console 1 with selected UAD Powered Plug-Ins from Universal Audio.
There are now over 60 plug-ins that can be used from within the Console 1 system, including plug-ins based on units from Chandler Limited, Fairchild, Teletronix, Tube-Tech, Abbey Road Studios, and many more. The plug-ins are pre-mapped and selectable from the Console 1 software, so no MIDI mapping is necessary.
The hardware has the same build quality as the original units, with some minor layout changes such as more visible LED markers. All of these changes come in addition to the recently released software update, which added DAW control functions for Presonus Studio One and Cakewalk Sonar.
The new Console 1 Mk II units, and the software update with the UAD Powered Plug-Ins compatibility, will be available in spring 2017.
Claypaky lights illuminate Starlight Pop Opera at Chris Saunders Park
The FNB Starlight Pop Opera was hosted at the Chris Saunders Park, Umhlanga in KwaZulu Natal (South Africa) on 6 and 7 August 2016. Headliner Patrizio Buanne, along with local South African artists such as Arno Carstens, were accompanied by the KZN Philharmonic Orchestra.
For the fifth consecutive year, EPH Production supplied the technical while lighting designer Johan Ferreira from BF Production Services created tender moments on a GrandMA2 light. The lighting rig also included 24 Claypaky Sharpys which were used as beam and effects lighting on the stage with some of the Sharpy units positioned on speaker towers.
Cymatic Audio adds Dante compatibility to AudioLan option card
Cymatic Audio announces the addition of Dante compatibility to the AudioLan option card for the uTrack24 multitrack recorder, player and interface. Natively supporting Ravenna as well as the new AES67 standard, the AudioLan card enables to integrate uTrack24 into Ravenna environments as well as any other AES67-compliant networks.
Cymatic Audio continues to enhance connectivity options with the imminent release of a firmware update specifically targeting integration into AES67-compliant Dante networks and the management of its AES67-streams directly in the Dante connection manager.
AudioLan users can feed 24 channels from the audio network (be it Ravenna, Dante, QLAN, Axia, Livewire or any other AES67-compliant network) into uTrack24 when in recording mode or playback mode. All 24 tracks are available at any network destination and all via a single, off-the-shelf RJ45 network cable.
Penn Elcom supplies LED installation for MS Braemar
Penn Elcom, working closely with EW Production Services, has specified and supplied over 2500 Osram, Comus LED and Integral LED lighting fixtures and lamps plus around 250 metres of LED Flex as part of a fully retro-fittable LED lighting solution for a number of different areas aboard the Fred Olsen Cruise Lines ship, MS Braemar.
Eight areas - including the Neptune Lounge main entertainment space and adjacent Morning Light pub as well as the vessel’s engine room - have now been switched over from tungsten and fluorescent lights to cleaner, greener and more cost efficient lighting sources.
EW Production Services’ operations manager Paul Byrne has a long standing relationship with Penn whose Nigel Howse and Razvan Vasiliu co-ordinated the supply. The process started with a site survey that included a ROI schedule showing the payback period and the resultant savings to be made in electricity consumption.
The LED lights supplied by Penn are a mixture of Comus 2 ft and 4 ft tubes along with single or twin IP battens, Integral LED panels and Osram E27, E14, GU10 lamps plus LED Flex with the appropriate dimmable drivers. The Neptune Lounge on deck 5 at the front of the ship with its cabaret stage featuring live music dance and comedy performances is at the hub of the on-board entertainment schedule.
The general lighting in this area has been replaced with a selection of dimmable LED lamps installed in the ceiling and wall luminaires, with LED flex now highlighting the two circular ceiling coves, which replaced the old 2 ft fluorescent tubes.
E14 LED Candle bulbs now graze up the pillars, and being dimmable allows the new and added adaptability of being able to change the mood of the environment. The fluorescent tubes used in the Coral Lounge for ambient lighting have also been replaced with LED flex tape.
The deco lamps in this area have been replaced with E14 LED candle bulbs, and the lighting is now all dimmable. The pillar lights are fitted with E27 LED bulbs and the MR16s in the false celling were swapped out with equivalent GU10 LEDs, allowing the removal of all the pre-existing transformers. In the Morning Light pub, the 40w halogen candle lamps have been switched to Osram candle lamps, with GU10 LEDs in the ceiling.
More lights have been replaced in the main reception area and the Palms Café which has nearly 200 x LEDs. Penn’s team recommended Osram LED floods for the main engine room while Integral LED panels and Comus LED tubes (both 2 and 4 ft) have been fitted throughout the engine control room (ECR) and the management offices.
Outside, around 30 dimmable marine grade submersible GU10 housings were fabricated to hold GU10 lamps that are up-lighting glass panels on Decks 8 and 6. Sixteen warm white down-lighters in custom marine grade housings on Deck 6 highlight the outdoor Grill restaurant.
Powersoft announces that Karl Kahlau, one of the company’s most senior and experienced managers, relinquishes his post as Regional Sales Account Manager (EMEA and India) to head the new initiative as Executive Director for the Deva family of products. Kahlau, along with the Powersoft Deva team, will set out to reform the global sales and support organisation for the product.
Before joining Powersoft in 2013, for more than twelve years Kahlau was responsible for sales and marketing, as Export Sales Manager EMEA at Renkus-Heinz Inc. In his previous work he pioneered sales in Europe and Middle East on electronically steerable self-powered and networked loudspeakers systems. In recent years, together with the Powersoft team, he has built sales and support networks in regions such as Middle East, North Africa and most recently India.
Podcaster and documentarian Richard Grove uses Countryman B3 microphones
Describing himself as a Forensic Historian and Conceptual Artist, Richard Grove frames his research into artistic representations to educate his audience. As the co-owner of Tragedy and Hope Communications, he publishes articles, podcasts, videos, and documentary films relating to Cognitive Liberty and American History.
When capturing audio for his projects, which are viewed by individuals in over 186 countries, Grove uses the B3 Omnidirectional Lavalier microphone from Menlo Park, CA-based Countryman Associates. Over the past ten years, he has used the Countryman B3 XLR Lavalier microphones for all wired studio applications. “I’ve had a total of six over the past decade,” he says.
“I’ve found that the best performance comes from using XLR cables and not wireless mic packs. That way, I avoid the risk of wireless interference, I don’t have to keep an eye on the battery levels, and I can consistently focus on the interview and not the performance of the microphones. Presently, I capture the B3’s audio with a Tascam recorder. I also have dual backup systems, but I’ve never needed to use anything but the B3 audio.”
HSL busy with panto season
For the 2016/17 pantomime season HSL are supplying lights, LED fixtures and rigging including one Kinesys automation system to twenty different productions for panto producer QDos. Some statistics include nearly 2000 intelligent lighting fixtures and over 500 generics, 100 plus Kilometres of cabling and over 2000 custom gobos, all of which were shipped out of HSL’s HQ in Blackburn (UK) in an operation that has been overall project managed by Jordan Hanson working closely with Emma Nolan and John Slevin.
Individual shows have been project managed by Andy Chatburn, who handled four productions; Mark Shakeshaft who also co-ordinated four; Sean McGlone, who looked after seven and John Slevin, who ran the largest single show, ‘Aladdin’ at the SECC’s Clyde Auditorium in Glasgow starring Marti Pellow. Jordan Hanson himself also PM’d four productions. One of this years’ new venues was the London Palladium which featured ‘Cinderella’, lit by Ben Cracknel.
For this year’s featured panto, HSL headed south and visited Pete Watts’ scheme for ‘Robin Hood’ at Southampton’s Mayflower. HSL supplied 48 moving lights and lots of LED PARs which were used together with substantial numbers of generics from the house rig. Set design was by Ian Westbrook.
The Robe ColorSpot 1200E ATs were the core of the overhead lighting rig, spread out on the over-stage bars and used for the basic illumination of actors, set and stage as well as effects like gobo work on the floor, set texturing, etc. Positioned front-of-house were Robe Pointes, four on the stage left and right pros booms and eight on the advanced truss. Zoomed out with frost added, they also made washes and brighteners for the downstage area.
Robe 300E Spots on the advanced truss were used for random highlighting and key lighting, as well as for front fill and pointing into the audience. Four more in the slips boxes, two on the floor at the bottom of the pros booms and another two in the boxes for side-fills and audience work also all contributed to the walk-in state, projecting gobos around the walls of the auditorium.
More ColorSpot 1200E ATs rigged on the sides of the circle-bar augmented the audience/pre-set looks and were used to pick up a 40 inch mirror ball flown downstage, while another four deployed on the circle front primarily dressed the cloths and projected the ‘wanted’ posters for the walk-in. A single Martin MAC 3K in the middle of the dress circle was shuttered off to frame the cloths onstage, and used as an overall layer of soft-focussed texturing/colouring across the whole area. Philips SL 150 LED PARs from HSL were placed on the three side booms and used to dress the set, cross over onto the floor and provide shin-buster level light for the dance sequences, with the other two on the circle front.
HSL also supplied over 100 metres of new Egg Strobe Festoons which were integrated into various set pieces. Five Atomic strobes accompanied the thunder cracks every time the ‘Sheriff of Nottingham’ appeared, and seven Philips eStrip 10 LED battens along the front of the stage in the footlight position were there for audience blinding moments.
In addition to all these elements, Pete Watts utilized 206 house generic fixtures - a mix of different lensed Source Four profiles and fresnels, some PARs and 3-cell codas positioned around the rig. The show was programmed by George Russell, who also worked on the other two pantos lit by Watts this year in Aberdeen and Wolverhampton. Lighting was run on the Mayflower’s house ETC Gio console by their technician Claire Baker. ‘Robin Hood’ at the Mayflower was directed by Nick Winston, Aiden Jones was the Production LX and Pete Kramer the production manager.
Chichester Festival Theatre invests in MDG
Chichester Festival Theatre invested in two MDG ATMe haze generators and two MDG TheFan digital units, supplied by creative and technical solutions specialists, White Light. “The main driving factor behind our investment was the need for greater controllability than the on/off capability offered by our existing AtmosphereAPS units,” says CFT’s Head of Lighting and Technical Manager, Sam Garner-Gibbons.
“We have a purpose-built atmosphere generation system that sites the generators and fans above the rear of the audience and ducts CO2 gas through copper pipes to gas canister storage locations back of house. The units are placed front of house so the venue’s air handling system pulls the haze across the stage to create the optimum coverage. Because we are a very exposed venue, any fan noise and or excess haze output percolating around the upper audience level could be distracting to the audience.”
The two ATMe units are installed in Festival Theatre where they have been busy since day one. The 2016 season saw lighting designer Paule Constable employ them on the production of ‘Half A Sixpence’, while they were also used on the RSC double bill ‘Much Ado About Nothing’ and ‘Love’s Labour’s Lost’ lit by Oliver Fenwick, ‘An Enemy of the People’ lit by Mark Henderson, and ‘Ross’ lit by Paul Pyant - all of which featured haze heavily.
TheFans have been less busy. “Our original intention with TheFans was to provide back up in case we needed to direct the haze away from those problem areas around the upper audience levels,” explains Garner-Gibbons. “However, such is the level of controllability of the ATMe units, we have not needed to use TheFans in the back of the auditorium. Instead we have adopted them on stage where they are very portable and efficient in pushing around smoke effects. They did a great job in sending ‘smoke’ out of the crocodile’s mouth in this year’s Christmas show, ‘Peter Pan’.”
Photo (L-R): Laura Howells (Lighting Technician), Eden Thornton (Lighting Technician) and Graham Taylor (Deputy Head of Lighting) on the set of ‘Ross’.
Music appoints new Directors of Business Development
Music, manufacturer of professional audio products, has appointed Jason Bethune as Director of Business Development USA, and Stephan Grawe to the position of Director of Business Development EMEA. Bethune and Grawe will work directly with Van Williamson, who was most recently appointed as Music’s VP of Installed Sound.
Claypaky helps light ‘X-Factor Italy’
Claypaky was part of the lighting plot that characterized the 2016 edition of ‘X-Factor Italy’. Work on it started a good five months before the recordings. The lighting director Massimo Pascucci explains that ‘X-Factor Italy’ is not just a television show, but is also a "live event filmed with cameras, where the artists are free to roam the stage and even put on their shows in the corridors and theatre galleries.
“Other components typical of live events include the large number of LED walls that accompany the performances and the use of purpose-built scenery. The lighting equipment and filming covers every corner of the theatre, including a dolly hanging in the air which sweeps and ranges far and wide, from one side of the studio to the other.”
The lighting director and production designer worked closely throughout the whole week to set up a different show for every artist that performs: a kind of "show within the show" that repeats from the first to the last episode, even when there are very few competitors. Although there are less new talents, the number of performances does not decrease, and each one has different characteristics.
The Claypaky Scenius Profiles in the large lighting rig were the first Scenius units used in Italy TV-wise. “I mainly used them to mark out sections of the scene. The Profiles allowed me to change situations on the fly,” Pascucci comments. “The Scenius Profile also allowed me to create lighting effects, using the beam shaper at the minimum beam angle: a wide segment of bright light which moved along the cracks of the doors in the scene, opening and closing when needed thanks to the 'total curtain effect'.”
The Sharpys, instead, played an important role during the play-off, which is one of the most exciting moments of the show: “I made them interact with the big moving triangles on the stage, creating a 'break' effect to introduce suspense,” says Pascucci. Luca Tommassini is the artistic director of ‘X-Factor Italy’, and Marco de Nardi is the lighting operator and designer. Italian rental company AMG provided the Claypaky Scenius.
Elation equips Colegio Americano de Guatemala’s student theatre
Colegio Americano de Guatemala (The American School of Guatemala) is a private K-12 college preparatory school located in Guatemala City, Guatemala, and is one of the biggest schools in the country. The school includes a 500-capacity theatre that recently received a lighting upgrade of LED fixtures from Elation Professional.
Audio, video and lighting integration company Aviitec presented the school with a proposal for a new microphone, audio and automation system while stressing to them that a lighting upgrade was also needed. “I showed them Cirque du Soleil videos where you can really see that the lighting plays a major role in creating the mood,” Giovanni Merida of Aviitec explains. “The school gave us a budget number to work with that was enough to complete the first phase of a lighting install. I then contacted John Lopez at Elation to talk about the possibilities.”
Merida flew to Elation’s headquarter office in Los Angeles to discuss with Lopez the details of a lighting package that would fit the school’s budget. The result was a lighting installation consisting of Platinum Spot III LED moving heads, SixPar 300 LED par lights, and ACL Curtain full color LED battens. Merida worked with Lopez and Aviitec’s Julio Arenales on the lighting design, which was pre-visualized for the client using Elation-distributed Capture Atlas lighting design software.
The lighting package was installed in July 2016 by Aviitec and consists of 10 Platinum Spot III moving heads providing color and pattern from above the stage with additional fixtures located over the audience to project onto the stage and proscenium. Also located above the stage are 12 SixPar 300 with 5 fixtures located over the audience.
Filling out the design and positioned over the upstage curtain are 11 ACL Curtain batten luminaires, each with 14 individual 15 W RGBW LEDs. An Antari F1 Pro Touring Fazer is used for atmospheric fog and haze effects. The rig was programmed on and operates using Emulation lighting control software with a MidiCon lighting controller.
Colour Sound Experiment supplies lighting and video for Richard Ashcroft
UK lighting and video rental company Colour Sound Experiment supplied lighting and LED screen to two recent shows by singer songwriter Richard Ashcroft at Liverpool Arena and London’s O2 working with designer Jonny Gaskell whose working relationship with Ashcroft dates back to the heyday of The Verve.
Gaskell started with designing the video playback system. He suggested a large upstage LED screen for the playback material for which live camera director Julian Hogg re-edited some existing and classic Ashcroft music video footage and created some new content, which they decided to ‘repackage’ onscreen in a series of virtual ‘old TV set’ frames.
The 40 ft. wide by 20 ft. high screen was constructed from Colour Sound’s BT-6 HD LED product, with two 3.5 x 5.5 metre side screens added for Hogg’s IMAG mix, which was made up from BT-7. A Green Hippo Hippotizer v4 was used for storing all the playback footage appearing on the main screen. Hogg had four operated and four robo-cams at his disposal for the IMAG, with outputs from his mix sent via the Hippo to the main screen and - direct from his PPU - to the two side screens.
Once Gaskell and Hogg had formulated the video look, Gaskell looked at the lighting. Complementing the vintage TV look and adding another scenic element were four Briese focus 180 fixtures, a lighting tool for photographers which is a photo-umbrella complete with a tungsten lightsource. For the main stage lighting trusses he kept things simple - for practical as well as aesthetic reasons, with three straight trusses over the stage, front mid and back.
Added to that was a circular truss flown between the mid and back trusses which had a 1.2 metre diameter mirror ball tucked inside it that flew down for one of the final numbers of the set. Mirror balls, one of Gaskell’s signature effects, were integrated into the design as well.
Gaskell chose Robe’s BMFL Spots from Colour Sound’s rental inventory for his main profile units with eight on the front truss for key lighting. They were joined by eight LEDWash 600s, eight 2-lites and eight Claypaky Stormy LED strobes facing into the audience. He often used the 2-lites to follow Ashcroft’s vocals to enhance the audience interaction moments.
On the mid-truss were six BMFL Spots, six LEDWash 600s, six 2-lites, six Stormys and four LEDWash 1200s, the latter dedicated to highlighting the 24-piece Heritage Orchestra that was part of the shows as well. On the back truss the same four types of primary fixtures were rigged in quantities of eight.
On the floor were another eight each BMFL Spots. Of eight LEDWash 600s, two used like floor cans right under Ashcroft’s chin for a bit of moodiness, with the other six distributed upstage. There were also four LEDWash 1200s - two downstage left and right - to cross Ashcroft from low angles. One Zap Technologies 5K Biglite was rigged on the mid truss directly upstage of his microphone position. Another six 2-lites and six strobes were positioned around the backline at head height on tank-trap stands.
Gaskell operated the show from his own ChamSys control set up. He worked alongside associate LD Joe Beardsmore, who also looked after the Hippotizer during the show, and was joined by a crew from Colour Sound comprising Andy Melleney, Simon Robertson and Hadyn Williams on lights and Ed Blackwell who tech’d the LED and video.
(Photos: Louise Stickland/Filby Photography)
Robe fixtures for TV Azteca
Mexico-based TV Azteca has invested in Robe Pointe moving lights which were specified by Head of Lighting Miguel Osorno and Lighting Manager Manolo Toledo. The fixtures reside at TV Azteca’s main broadcast complex in Ajusco in the south of Mexico City which has seven studios and are used there and on another eleven studios at their other main site across the city in Tlalpan. TV Azteca broadcasts two networks - Azteca 7 and Azteca Trece - and ten cable channels covering a mix of programmes, including news, soaps, quiz shows, music, reality, etc.
Lighting for all the programmes utilizing the studios is designed and co-ordinated by Toledo and Osorno - the department is working 7 days a week - and there are outside broadcasts on top of that. The fixtures were delivered by Vari Internacional, Robe’s Mexican distributor.
Photo: Miguel Osorno on the left with Manolo Toledo.
GLP appoints new Canadian distributor
GLP Inc has increased its North American presence with the appointment of a new Canadian distributor: Montreal-based AVL Media Group will take on distribution with immediate effect. The company was founded by Steve Kosters, and is headed by MD Andrew Hope, who has 30 years’ experience in the world of live entertainment.
Tube UK supports ‘Made in Hull’ installations
Hull launched its year as the 2017 UK City of Culture with ‘Made in Hull’, a week of mixed media sound, lighting and visual installations telling the story of the city and its people over almost a century. Audio specialist Tube UK specified, rigged and fine-tuned audio systems for six separate interactive works around the city centre.
Tube, based in Manchester and London, was working closely with sound designer and composer Dan Jones who created content and curated each of the installations. Tube was chosen to undertake the work by Ground Control, ‘Made in Hull’s technical suppliers who were in turn appointed by Chris Clay, Technical & Operations Director at Hull UK City of Culture 2017.
Melvyn Coote, who founded the company fifteen years ago, worked with a crew of 12 sound engineers - seven for the week long run of shows and five more for the get-in which commenced 27th December and for the out on 9th of January.
The biggest ‘Made in Hull’ site was Queen Victoria Square in the historic heart of the city. The audience was surrounded by three different PA systems rigged on the three major buildings around the Square - Hull City Hall, Ferens Art Gallery and the Maritime Museum. A left and right speaker array was flown either side of each building on 9 metre high masts, each comprising four D&B V8s and a V-Sub per position. Central to each building were two B2s and two Y7Ps for fill.
This amounted to a 360 degree coverage supporting the three large format projection displays each telling the same story via video content created specifically for each building surface. In the surrounding streets leading to the square, three ‘distance’ PAs - each made up from a ground-stack of four Y8s and 1 Y-Sub - were located and fed with ‘distance’ effects.
All the PA structures and various infrastructure like cable bridges and picks were supplied by Star Events, and the area was also architecturally lit and was supplied by DBN Lighting, also from Manchester. Each aspect of these PAs was individually controlled so sound could be shifted around and spot effects applied via a Yamaha CL5 console run in unison with a Yamaha Rio 3224 rack to handle additional outputs.
Amplification was eight D&B D80s for the V arrays with five D12s driving the distance PAs. Apple Mac Minis running QLab’s multitrack audio were used for all the playback. Video content was designed by Hungarian animation director and video designer Zsolt Balogh, and the projection kit was delivered by Bluman Associates.
Zebedee’s Yard was the location of a pop-up football experience ‘105+dB’. Tube set up four PA arrays, one in each corner of the yard consisting of two Y7Ps and two Y-Subs on ground mounted poles, with another four Y10P fills and four Y-Subs per side. Each of the 12 points of sound were individually addressable and powered by D12 amps.
Moving on to The Deep, visitors entered a viewing platform on the opposite bank of the River Hull. From here they could enjoy a projection show and its accompanying soundtrack. The main PA was made up of D&B J series speakers. Two stacks of six J8s a side - were located outside The Deep, ground stacked on PA risers, both for stability and to optimise the long throw distance of approximately 120 metres across the estuary.
Adjacent to the viewing platform was a smaller near-field PA of four V12s, four V-Subs and two B2s also ground stacked in left and right arrays. Both near and far-field speaker stacks were driven by D80 amps and the sound track was run on a QLab system via a Yamaha QL1 console. The far-field PA was linked into the overall PA system and timecode control via wireless RF link. Tube and Ground Control also collaborated closely with environmental noise consultants Aria Acoustics for this work.
The Underpass was a northern club inspired environment beneath the Myton Bridge flyover created by the artist Jesse Kanda which required a quad PA system to re-produce the unusual juxtaposition of a sound track to accompany club/rave scenes playing on three projection screens. With a low roof, compact speaker arrays were needed, so they went with two Y8s and a Y12 per hang, flown off trusses installed by Star. In the centre of the ‘dancefloor’, a sub sculpture was created from 8 x D&B V-Subs run off D12 amps. Another QLab system for control was run through one of tube’s Yamaha QL5 consoles.
Scale Lane Staith is a small pedestrian street and a projection work was beamed onto one of the walls and five D&B E8 speakers together with five D&B E12 Subs were concealed behind a fence and foliage to deliver the sound track.
Over at Whitefriargate the shop windows came alive as tube supplied Apple MacBook Pro 13.3 machines for playback and Yamaha XP3500 amps to power a series of transducers which were fitted to the shop windows, turning them into speakers.
(Photos: Lindsay Cave/Loosplat)
Kinesys USA announces February Training Workshop and Open-House
Motion control systems manufacturer Kinesys again welcomes guests to its training facility in Atlanta, Georgia, with a combined Open Days/Training Workshop event running from February 21st to 24th, 2017. The emphasis is on both product awareness and providing fee-free training for those who want to increase their knowledge and understanding of automated rigging for the entertainment industry.
Subjects will include the operation and implementation of Kinesys automation products as well as the application of load cell systems for increased safety in multi-hoist lifting operations, and the invitation is open to designers, operators, rental suppliers and rigging service providers.
The training workshops will provide structured learning in the theory, programming and operation of Kinesys’ Vector software along with an introduction to the devices it can control. There will be both classroom and associated practical machinery operation sessions.
The Open-House days will also serve as an introduction to the range of Kinesys automation solutions including products like the Elevation1+ vari-speed chain hoist control, K2 motion control software, the DigiHoist motor control platform and the Libra load cell system.
Attendees will be able to get hands-on time with the products as well as learn about the company’s commitment to safety, quality and reliability. Classroom sessions will focus on Vector software training, while the ‘Open-House’ element of the overall event allows attendees a chance to see demonstrations, take part in basic system operation, chat with the Kinesys team and engineers and network with other professionals working in the field.
Allocated places on the Training Workshop will be limited. Kinesys will provide on-site catering and refreshments throughout the four day event as part of the package.
ProLED introduces new LED display
ProLED introduces a new front and back service indoor HD small pixel pitch LED display. Pixel pitch: 1.45 mm/1.5 mm/1.667 mm/1.8 mm/2.0 mm/2.5 mm. LED title size: 160 x 180 mm or 200 x 150 mm. Brightness: indoor 600-1200 nit. Refresh rate: 2000 Hz. Cabinet Size: 640 x 360 mm x 58 mm or 400 x 300 mm x 58 mm. Cabinet material: die-cast aluminium. Weight: 7.8 kg/panel or 4.2 kg/panel.