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RCF HDL 30 setzt Bee-Gees-Tribute-Show auf Magdeburger Seebühne in Szene
Beim Konzert der Bee-Gees-Tribute-Band Night Fever auf der Seebühne im Elbauenpark in Magdeburg hat Dalterio Eventtechnik das HDL-30-A-System des italienischen Herstellers RCF eingesetzt.
Dalterio-Inhaber Joachim D’Alterio und sein Team verwendeten 2 x 8 HDL-30-Module als Main-Array. Da sich die Bühne auf gleicher Höhe des Parketts befindet, wurden die 12 x Sub 9004 rechts und links neben der Bühne in einer Reihe angeordnet (Endfire) platziert.
Zur Beschallung eines Außenrangs ganz rechts der Bühne dienten 4 x HDL-30-Module, die rechts von der Bühne gestacked in diesen Bereich abstrahlten. Als Nearfills hingen 2 x TT22 in der Bühnentraverse.
Weitere 2 x TT22 sorgten als Outfill rechts und links der Bühne für die Klangverteilung. Zur Steuerung und Kontrolle des gesamten Systems wurde die RCF-eigene RDNet-Plattform eingesetzt.
(Fotos: Marcus Scheuermann)
Martin’s MLA completes seven years at British Summer Time
As the contract for the Hyde Park festival site comes up for renewal, all involved in the production of Barclaycard presents British Summer Time can reflect on seven years at a location that had previously been considered unworkable and unviable.
That promoters AEG Live have proven otherwise is due in no small part to the role of their technical contractors, including Capital Sound who deployed the Martin Audio MLA multicellular loudspeaker array technology.
Monitored by acoustics consultants Vanguardia, as it has been every year, MLA - using Martin Audio’s proprietary Display software - was equal to a wide range of performance over the two weekends - extending from Barbra Streisand, Celine Dion and Josh Groban at one extreme, and Bob Dylan and Neil Young at the other.
Capital Sound account manager Martin Connolly says that Barbra Streisand had given the system a good workout, and the vocal clarity both from her and Groban and Dion, had added a new dimension to the event as had Robbie Williams and Keane who brought British Summer Time to a close on the final Sunday.
The Great Oak main stage was equipped with two hangs of 16 x MLA and a single MLD Downfill per side, with 13 x MLA and an MLD Downfill for the sidehangs. The sub array consisted of 32 x MLX in the now familiar broadside cardioid design (21 front facing, 11 rear facing). With 12 MLA Compact serving as front fills all MLA components were running on the same network.
Out in the field, the main ten delay towers comprised seven MLA and a single MLD Downfill, supported by 12 MLX subs while delay positions 10 and 11 deployed eight MLA Compacts. One slight change this year was that delay position nine was bolstered with the addition of two further MLA elements in respect of the depth that the site now runs to, enveloping those at the rear of the field.
Martin Audio systems were also provided elsewhere. On the Barclaycard Stage (Stage 2), eight MLA Compacts were flown on each side with 14 x WS218X subs in a spaced and recessed cardioid configuration, with four Martin Audio DD12 providing front fill sound, while two MLA Compacts were provided as outfills on Stage Left.
The audio team comprised Al Woods (crew chief), Chris Whybrow (FOH engineer) and Toby Donovan (system engineer).
Shlomo Artzi on tour with Robe fixtures
Israeli singer Shlomo Artzi’s recent shows hit the road with an ongoing lighting design by Gadi Spivak who has worked for the artist for over twenty years. Spivak and his lighting associate Shlomit Lola Nehama chose to use 24 x Robe Spiider LED wash beams for a key element of his lighting rig.
The 24 fixtures were all hung on a semi-circular truss just downstage of a large 6 mm pitch video screen, which is usually around 16 metres wide and 5 metres tall and is also in a gentle arc shape.
The overall look of the show is ‘televisual’, with the screen, video content and IMAG mix prominent and present throughout the set. The Spiiders are used for washing the mid-stage area in front, where the band are positioned and for back lighting them and Shlomo Artzi. There is no setlist, and Gadi Spivak operates his GrandMA2 console completely ‘live’ each night, and the video department also follow this MO.
Spivak has used Robe in his work for some time. The LEDWash 600 was the first Robe fixture that caught his eye, so when the Spiider was launched he started using that regularly as well. There were also two Robe MegaPointes on the front truss for key lighting Artzi.
The lighting equipment for the tour was supplied by Simul. The playback video was operated by Oren Gabay and the live camera director was Yaron Shilon.
(Photos: Louise Stickland)
GLP X4 Bars und X4 Atom bei „Blues In The Night“-Musical im Einsatz
Das Musical „Blues In The Night“ hat im Londoner Kiln Theatre seine erste Wiederaufnahme seit dreißig Jahren erlebt. Das hotelbasierte Setdesign stammt von Robert Jones, Lichtdesigner Neil Austin erweckte die Geschichte mit Hilfe von LED-Lösungen von GLP zum Leben.
Austin war es auch, der ursprünglich eine theaterfreundlichere Variante der Impression X4 Bars von GLP in Gestalt einer RGBY-Bar vorschlug. Diese sollte wärmere Töne liefern und ist inzwischen als Custom-Option im GLP-Katalog verfügbar.
Austin mischte je zehn der kürzeren X4 Bar 10 RGBY mit den Standard-RGBW-Bars. „Wir verwendeten das warme RGBY für die Hinterleuchtung der Räume und das kalte [RGBW] für den zentralen Foyerbereich des Hotels, aber sie verschmelzen hervorragend miteinander“, erläutert er. Zudem kamen Impression-S350-Movinghead-LED-Profiler und sechs Stück der kompakten X4 Atom zum Einsatz.
Neil Austin wurde bei dieser Produktion von seinem Stammprogrammierer Dan Haggerty und Associate Lighting Designer Jamie Platt unterstützt. Die Lichttechnik wurde von White Light geliefert.
Chris Lisle accents angles at Lollapalooza with Chauvet
While already working on Lollapalooza’s main and second stages, lighting designer Chris Lisle was approached by the festival’s PM Brandon Sossamon about creating the rig for Perry’s Stage too.
As is typical of EDM stages, Perry’s was dominated by video. So, Lisle and his assistant LD Erik Parker began their design by layering video panels supplied by Go Vision, before filling the gaps in the Z truss configuration of those panels with lighting from Bandit Lites.
A key element that held everything together in this multi-level rig were 78 Chauvet Professional Colorado Solo Battens. “Much of our concept for the rig was based on Z-shaped trussing from Reed Rigging,” says Lisle.
Chris Lisle and his CLLD, LLC team stacked the Colorado Solo Battens in the Perry’s rig vertically to fill the space between the video panels. From these positions, the RGBAW linear fixtures lent a visual continuity to the panoramic video display that ran the width of the stage.
Justin Casey, who ran FOH for the CLLD, LLC team used the LED batten’s 12 individual sections to create pixel mapped chase sequences. So too did many of the visiting LDs. Some of the acts on Perry’s Stage used the Colorado Solo Batten as a mood-changing wash.
Astera fixtures used for ‘The Comedy of Error(z)’ at Basel Opera
Lighting designer Yaron Abulafia was asked by director and choreographer Richard Wherlock to light his new ballet work, ‘The Comedy of Error(z)’, staged at Basel Opera House (Theater Basel) in Switzerland.
Abulafia had the venue’s house lighting rig at his disposal which included 40 x Astera AX1 Pixel Tubes. Ahead of the production, he started researching the available kit and thinking about how to incorporate the AX1s into his design, which led to him also specify 24 x Astera AX3 Lightdrops which were purchased by the Opera House specifically for ‘The Comedy of Error(z)’.
The Astera magnetic undersides meant they could be clamped directly to a huge metal cage, forming part of an industrial looking scenic piece that was incorporated into designer Bruce French’s set. This structure also served some of the other productions that were playing concurrently in rep at the Opera through the same period.
Thirty-two AX1s were installed - magnetically - around the inside of the cages, which enabled Yaron Abulafia to get them into some positions that would not have been possible utilising conventional rigging methods.
The 24 AX3s were also run completely wirelessly, fixed to the upper stairs of the set, next to a wall/fence encircling the performance space, washing directly downwards creating vertical lines around the back wall of the stage. The AX1s and AX3s were programmed into the house EOS lighting console with all the other lights utilised, resulting in over 200 cues for the 90-minute performance.
(Photos: Lucia Hunziker)
Vio-System von dBTechnologies beschallt Sunrise Reggae & Ska Festival
Das Sunrise Reggae & Ska Festival, ein dreitägiges Open-Air-Festival im bayerischen Burtenbach, fand in diesem Jahr zum dreizehnten Mal statt und gehört mit mehr als 5.000 Besuchern zu den größten Reggae-Treffen in Deutschland.
Seit 2018 betreut der Veranstaltungsdienstleister Horst Enderer mit seinem Unternehmen Miet-PA das Festival. Für die Ausgabe in diesem Jahr erweiterte er die PA auf das Vio-L212-System von dBTechnologies.
Für die Beschallung der Hauptbühne installierte das Team um Enderer 2 x 8 Vio-L212-Module, geflogen, plus 16 x Vio S218 (8x in Reihe, jeweils zwei übereinander). Als Frontfill dienten 8 x Vio L210, die auf den Subs platziert waren.
Als Infill waren 2 x 2 Vio S118 und zwei L210 im Einsatz. Als Drumfill verwendete das Team 2 x Sub 18H und ein Ingenia IG3T. Für das Monitoring der Bands waren 8 x DVX DM12 und 6 x DVX DM15 auf der Bühne stationiert. Am FOH-Platz sorgte ein Ingenia IG3T für den Sound.
European Music Festival for Young People supported by Chauvet
The small municipality of Neerpelt, Belgium, hosted the 68th edition of the annual European Music Festival for Young People. The event showcased 100 children and youth ensembles with over 4,000 international performers.
Licht- & Geluidstechniek Renckens (LGR) supported this array of performances with a lighting design that featured 36 Chauvet Professional Épix Strip IP fixtures. “We’ve been designing the European Music Festival for Young People for thirty years now, and it’s always a highlight for us,” says LGR Director Jan Renckens.
The LGR team - which included lighting designers Tom Vogels and Michiel Vanderhenst, lighting programmer and operator Stijn Vanholzaets, system tech Stijn Sontrop, and chief rigger Daan Broux, as well as Jan Renckens - created a back wall for the stage using vertical ladder truss positioned every three meters with straight pipes horizontally attached between them.
The Épix Strip IPs were arranged in triangular patterns and attached to the pipes to create a look that was inconspicuous against the black truss background. Driven by two Épix Drive 2000 IPs, the pixel mapped fixtures endowed the festival with a diverse range of looks through their movement and colors.
Capital chooses Martin MLA for Kew The Music festival
The surroundings of the Royal Botanic Gardens in south-west London (better known as Kew Gardens) provided the location for the facility’s annual six-day music festival, titled Kew The Music.
For the past five years rental company Capital Sound and its loudspeaker partner Martin Audio have enjoyed a growing presence on the site. Working with promoter Stuart Galbraith from Kilimanjaro Live and production manager/LarMac Live director Ian Greenway, Capital Sound again fielded Martin Audio’s MLA for audiences of 8,000.
Capital flew 10 MLA Compact elements each side of the stage, with a ground stack of four MLA Compact infilling at stage right and stage left to serve the picnickers out on those flanks. Four Martin Audio DD12s across the stage provided nearfield coverage for those who wanted to get up close and personal with the broadside cardioid array, which comprised 14 x WS218X subwoofers.
Several delay points were set, the first mast off to house left comprising 10 x MLA Compact. Further down the park at 65 m from the mix position a second delay comprised of an MLA Mini stack/MSX sub combination, and 60 m beyond that was a further ground-stack of MLA Mini stack/MSX sub.
Once again, sound optimisation via Martin Audio’s Display software platform was in the hands of Chris Pyne, who doubled his duties between system tech and FOH tech. In addition to Pyne at FOH, the team he referred to included Tim Patterson (crew chief) and Nick Cook (monitor engineer).
TechLED and 4-Wall prepare ASDA head office for Leeds Pride weekend
To demonstrate its support for Leeds Pride ASDA’s head office in Leeds city centre came out once again in the movement’s traditional bright rainbow colours, with the help of TechLED and 4-wall.
4-Wall’s Ben Perrin specified SGM Q7 wide-angled LED flood fixtures to be distributed evenly under the eaves of the building perimeter. For the building entrance, the tighter beam angle of SGM P5 architectural LED wash lights area, highlighted the features of the entryway.
ASDA’s supportive pigmentation was in place for three nights, aglow from 9 pm to 4 am Friday to Sunday. ASDA has a 3000-strong workforce on site which means access to the building exterior via the car park is fully restricted until after 5 pm. Extensive pre-planning by TechLED and the 4-Wall team was key to an unproblematic set up by the installation team.
Within two hours, the lighting fixtures were secured to the building. Two Lumen Radio CRMX transmitters linked the wireless LEDs to a Whole Hog 4 positioned in an outside control cabin, completing a fully outdoor installation.
Chauvet DJ delivers white wedding at Knightor Winery
Cornwall’s Knightor Winery has become a popular location for wedding events and receptions. For one recent wedding reception, local production company DJ Services Cornwall were tasked with providing wedding guests with an entertainment experience to complement the surroundings of the venue.
Their solution involved a VW camper van-inspired DJ booth complete with eight Chauvet DJ Freedom Sticks and six white Intimidator Spot 255 IRC fixtures.
With the VW camper front building the centerpiece of the entire setup, DJ Services Cornwall’s Allan Cross positioned the array of Chauvet DJ Intimidator fixtures upon trussing towers behind the booth, with a further roster of Freedom Stick fixtures completing the lineup.
“Given the fact that our whole setup was white - from the VW camper to the speaker system we employed - the white Intimidators enabled us to continue with the white wedding aesthetic,“ says Cross.
Aventem engagiert sich beim WhatsGoal Sport Summit
Aventem hat den WhatsGoal Sport Summit am 4. Juli 2019 in Düsseldorf unterstützt. Der Veranstaltungsdienstleister fungierte als Sponsor und rüstete den Networking-Event im Düsseldorfer Stahlwerk mit Technikinstallationen in allen Gewerken aus. Weiterhin hatte Aventem im Vorfeld in Abstimmung mit dem Kunden das gesamte technische Set-up geplant.
Das Raumkonzept für den WhatsGoal Summit war dreigliedrig angelegt: Die Main Stage bot das Forum für Keynotes und Impulsvorträge; in der Magenta Sports Lounge drehte sich alles um e-Sports, hier gab es Gaming Stationen, Podiumsdiskussionen wurden abgehalten und Show-Matches veranstaltet; der dritte Bereich, der Beachclub, war dem Networking und der Hospitality vorbehalten.
Für die Techniker von Aventem galt es primär, drei Sektionen davon zu bespielen. Das Projektteam unter der Leitung von Andreas Ginsberg verkleidete die Bühne mit Aventem-Setbau-Modulen, beim Ton wurde hauptsächlich Equipment der deutschen Manufakturen D&B Audiotechnik und Fohhn eingesetzt.
Lichttechnisch hatte das Projektteam unter anderem Stufenlinsenschweinwerfer von Arri, Claypaky A.leda und Martin-MH-3-Beamlights in das Set-up eingebaut. Für die Steuerung wurde eine GrandMA2 light von MA Lighting verwendet.
Im Videobereich kam ein Panasonic-DLP-Projektor mit 20.000 Lumen Helligkeit auf einer Fullwhite-Leinwand 7,20 m x 4 m vor einem hinterleuchteten Hintergrund aus weißem Shirting mit den Maßen 15 m x 5 m zum Einsatz. Für das gesamte Screen-Management nutzte das Technik-Team das Barco-S3-4K-Junior-System.
(Fotos: Uwe Erensmann)
Emmanuel & Mijares on tour with Elation gear
On their latest tour across Mexico, Central America and the U.S., Latin pop singers Emmanuel & Mijares performed their songs beneath a large rig of Elation Professional fixtures with lighting design by Hector Valencia and Axel Rebollo.
The rig consisted of a variety of fixture types from Elation, including 40 Platinum FLX hybrid moving heads, 24 ACL 360 Matrix LED moving head panels, 18 Protron 3K Color strobes, 20 SixBar 1000 and 12 DTW Bar 1000 LED battens, and 8 DTW Blinder 700 IP lights. The design was completed using a backdrop of 792 AV2 LED video panels (198 m²) from Elation sister company ADJ.
The hybrid Platinum FLX moving heads functioned as the main beam and spot effect light, working from a long vertical line over stage, as well as from shorter left- and right-angled finger trusses. More Platinum FLX fixtures at a downstage floor position both sides of the stage provided additional mid-air beam effects. The overhead Platinum FLX were joined by Protron 3K Color strobes with additional strobes placed along an upstage backline.
Lining the downstage edge were DTW Bar 1000 and SixBar 1000 battens, providing both colored and white front light for the performers and set, while ACL 360 Matrix panels, positioned both high in the upstage rig and on the floor for sidelight, were used for various high intensity beam effects as well as eye candy. Downstage audience blinder effects came courtesy of DTW Blinder 700 IP lights.
Technical production and equipment for the show was provided by Producciones Premium LT, as well as AlmaShow Producciones. Producciones Premium LT also used two Arkaos Stage Server media servers on the show.
(Photos: Carlos Alvar)
Chauvet supports Grimbergen Experience Days
The Grimbergen Experience Days, a debut event for business partners of the Grimbergen Abbey and its brewery as well as for beer connoisseurs from around the world, featured a lighting design by Thomas Boets of LDP who was retained by Fast Forward.
Boets’ rig featured a collection of Chauvet Professional LED fixtures and video panels that included 60 Rogue R1 Wash, and 16 Colordash Batten-Quad fixtures as well as F4IP tiles supplied by Steven Lagaisse of SVL Rent.
Stefan Uyterhoeven of Mojuice was the content and show director for the event, which was completely wrapped with textile projections, and took place at Pheonixcourt (Fenikshof), the future site of the micro-brewery in the Belgian town of Grimbergen that will produce the beer.
Through his employment of 60 Rogue R1 Wash fixtures positioned from a number of different trussing positions, Boets was able to highlight the contours of the architectural space through the use of the fixture’s wash effects. Furthermore, through use of the lights’ red color output, he evoked a sense of fire and flames.
Boets also used the Rogue R1 Wash units to usher in a number of different supporting atmospheres for the evening’s varied program of events, which included a dinner, presentations and musical performances.
Quick color changes from the Rogue fixtures worked to alter moods and provide a counterpoint to the projections. This allowed Boets to create smooth changes in atmosphere without having to introduce new decorative elements to the venue. To accentuate the contours of the actual stage area, Boets utilized 16 Colordash Batten-Quad 12 fixtures, which he positioned above and to the sides of the stage.
The LED screen made of F4IP tiles was used as a teaser in the entrance hall of the location. Visitors to the main room sat in the middle of a 270° projection screen that displayed content showcasing historical events involving the monastery along with presentations and performances. The projection screens served as integral décor elements.
TVOne Coriomaster drives video walls at Tomorrowland
TVOne’s Coriomaster has been chosen by Prismax to drive more than 1000 square meters of video walls at the Tomorrowland dance music festival in Boom, Belgium. The units were supplied by Belgian reseller Intronics and will be used by Prismax at other large events as well.
Prismax has worked with Tomorrowland for several years and Coriomaster provided a video wall processor that allows switching between multiple outlets on a main stage which has up to six full HD outputs.
EM Acoustics selected for Marines on the Green event
The annual Marines on the Green memorial concert in the Kentish coastal town of Deal took on a special significance this year as it commemorated the 30th anniversary of the IRA bombing in Walmer barracks that killed 11 bandsmen.
Twelve thousand people attended the event which was also an opportunity to upgrade the sound system from EM Acoustics’ compact Halo-C line array to the recently released medium format Halo-B system.
System tech Dave Shepherd specified two ground stacks of four Halo-Bs on top of a single ST-215 sub per side for the main L/R system supplemented by two hangs of seven Halo-Bs and an MSE-218 sub on either side of the bandstand to cover the audience to the sides that stretched to over 120 m away.
The system was driven from two DQRacks, EM Acoustics’ touring rack comprising three high power DQ20D amplifiers plus a bespoke unit for signal/data/I/O and a mains power distribution/speaker output unit.
Andy Deacon, director of Zen Broadcast with over two decades of experience with the Royal Marines Band Service in recording and production, was one of the prinicipal coordinators of the event and also mixed the concert on the day.
GLP Impression S350/E350 geben ihr Broadway-Debüt
„Be More Chill“ ist ein Musical mit Originalmusik von Joe Iconis, basierend auf Ned Vizzinis gleichnamigen Roman aus dem Jahr 2004. Nach einer regionalen Theaterproduktion im Jahr 2015 und der Off-Broadway-Premiere 2018 debütierte das Musical nun mit einer Spielzeit im Lyceum Theatre am Broadway.
Seit der ursprünglichen Produktion liegt die Beleuchtung in den Händen von Tyler Micoleau. Im Lyceum Theatre setzte er hauptsächlich auf Lösungen von GLP. Ihr Broadway-Debüt feierten der Impression S350 und der Impression E350, die für „Be More Chill“ in Kombination mit dem JDC1, der Impression X4 Bar 20 und dem normalen Impression X4 eingesetzt wurden.
Aufgrund der kompakten Größe des Theaters befanden sich die Deckenpositionen sehr nah an den szenischen Portalen, die Verwendung von Seitenlichtleitern habe deshalb eine entscheidende Rolle für das Modellieren der Figuren auf der Spielfläche eingenommen, so Micoleau. Das Set-Design des Musicals, eine Überlagerung von szenischen Portalen in der Form von Smartphones, stammte von Beowulf Boritt.
Zu den zwölf Impression S350, die über der Bühne und am FoH hingen, kamen sieben E350 hinzu, die über der Band schwebten. Die drei szenischen Portale auf der Bühne boten die Möglichkeit, spezielle Effekte zu erproben. In die Portale waren 29 JDC1-Hybrid-Strobes eingebettet.
Die dreizehn Impression X4 wurden als Hintergrundbeleuchtung eingesetzt, erzeugten aber auch schnelle, enge Beams, um die Künstler hervorzuheben oder auch Mid-Air-Effekte zu erzeugen. Eine Handvoll wurden aus einer annähernd Box-Boom-Position eingesetzt, um die szenischen Portale in Verbindung mit den Videoprojektionen einzufärben.
Außerdem wurden 21 X4 Bar 20 auf drei Arten eingesetzt: Zum einen als Hintergrundbeleuchtung der gesamten Bühne; zum anderen vertikal aufgehängt als Seitenlicht, das sich auf- und abbewegen konnte; und schließlich an einer rechteckigen, geflogenenTraverse befestigt, wo die Bars als dynamisches visuelles Array - im Blick des Publikums - Single-Pixel-Chases und Tilteffekte realisierten.
(Fotos: Maria Baranova)
Kowalsky meg a Vega on tour with Chauvet fixtures
Gergo Kovács designed the lightshow for Hungarian band Kowalsky meg a Vega’s latest tour, utilizing a rig made up entirely of Chauvet Professional fixtures, supplied by Mobil Audio and Light Kft.
Kovács mixed light and shadows to connect audiences to the spirt of the band’s performance. Central to the execution of this lighting concept were his rig’s 10 Maverick MK2 Spot, 24 Colordash Par-Hex 12 and four Strike 4 fixtures, all of which were controlled by a ChamSys MagicQ MQ80 console.
Hung on two rows of mid-stage truss, with four units on one row and six on the other, the Maverick MK2 Spot fixtures played a variety of roles in Kovács’ design, being used for downlighting, specials and audience lighting.
Complementing the Maverick fixtures with an extended array of colored stage wash effects were the rig’s Colordash Par-Hex 12 fixtures, positioned from above stage trussing towards the front of the stage.
RCF-Audio-Tools beschallen Bergheimer Stadtfest
Die elfte Ausgabe des Stadtfestes „Summer in the City“ in Bergheim bot sechs Bühnen, die über die Stadt verteilt waren. Für den Sound sorgte Equipment von RCF, das auf allen Bühnen präsent war.
Das TTL 4-A-System feierte dabei seine Deutschland-Premiere. Als Technikdienstleister zeichnete erneut TSL Production verantwortlich, das von Anfang an „Summer in the City“ hauptverantwortlich betreut - in diesem Jahr zum elften Mal.
Die größte Eventlocation war abermals die Center Stage, auf der 16x HDL-30-A-Module als Main PA, 12x Sub 9006-AS, 2x TT 22-A als Nahfeld-Monitore, 6x TT 25 SMA und 1x TTS 15-A als Submonitor zum Einsatz kamen.
Weitere Bühnen im Stadtgebiet waren die World Music Stage mit 2x TTL 6-A und 2x Sub 8006-AS sowie 4x NX12 SMA. Die New Vibes Stage wurde mit 2x TTL4-A, 4x Sub 9004-AS und 6x NX12 SMA beschallt.
Auf der Your Voice BM Stage wurden 6x HDL 26-A, 4x Sub 9004-AS sowie 2x TT 22-A als Monitor-Wedges eingesetzt. Die Unplugged Stage war mit 2x TT 10-A, 2x TTS 15-A sowie 2x TT 22-A als Monitor-Wedges ausgestattet. Das nächste „Summer in the City“-Stadtfest in Bergheim soll am 6. Juni 2020 stattfinden.
(Fotos: Marcus Scheuermann)
Robe T1s light ‘Aus Licht’ performances
One hundred and forty Robe T1 Profile LED moving lights were specified by the Dutch National Opera and Ballet’s lighting department for three performances of ‘Aus Licht’ directed by Pierre Audi and staged in the Gashouder venue in Amsterdam as part of the 2019 Holland Festival.
The performances each took place over three consecutive days with a total of 15 hours of music per show. ‘Aus Licht’ was a collaboration between the Dutch National Opera, Holland Festival, Royal Conservatoire of The Hague and the Stockhausen Foundation, created in cooperation with the wardens of Stockhausen’s legacy. The music was presented in a mis-en-space by Pierre Audi in his role as creative director for the DNO and the Festival.
Production lighting and set designer Urs Schönebaum created a design and sent his plot to the Dutch National Opera’s lighting department where it was interpreted and realised by their head of stage, video and lighting, Pieter Huijgen, and lighting manager/chief LX Cor van den Brink.
The primary need was for a quiet light source – less than 33 dBs. They conducted a shootout which was ‘won’ by the T1 presented by Kuno van Velzen from Robe’s Benelux distributor, Controllux.
The fixtures were installed on 24 trusses rigged in the roof of the Gashouder, a circular chamber with an iron roof, once at the hub of Amsterdam's Westergasfabriek gasworks complex powering the city’s western suburbs. It has now been redeveloped as an arts, cultural and leisure area.
‘Aus Licht’ was performed from three different staging positions around the venue with the audience sitting in the centre, and the direction of the seats changed in the breaks and intervals. The fourth stage area was filled with LED screens that were also a vital part of the technical production.
The T1 fixtures covered the entire space and were utilised as profile spots, they were not seen moving at any stage of the performance which unfolded over 5 or 6 acts per day, requiring some intense lighting programming.
For ‘Aus Licht’, the T1s were sourced from more than one rental company, and lighting for the nine shows making up the three performances was programmed by Jasper Paternotte, Bart van Kooten, Michiel van den Heuvel and Sharon Huizinga.
(Photos: Ruth & Martin Walz/Dutch National Opera)
EVT Media bei James Wood Festival im Einsatz
EVT Media fungierte in diesem Jahr erneut als technischer Dienstleister für das James Wood Festival in Wetzlar. Das zweitägige Event fand am 15. und 16. Juni 2019 statt und lockte rund 4.000 Besucher an.
Auf der Hauptbühne kamen dabei Produkte von DJ Power zum Einsatz: Neben acht Spark-V1-Maschinen wurden vier DSK 4000, vier DSK 1500V (mit senkrechtem Nebelausstoß) sowie vier H-8 von DJ Power verwendet.
Darüber hinaus setzte EVT Bühnenpodeste von Global Truss ein. GT Stage Deck 750 wurden für die Podesterie der kompletten Bühne verwendet. Für das Amping der Lautsprecher griff EVT auf R809-Endstufen und für die Subwoofer auf R811-Verstärker von LAX zurück.
MSI uses VUE line array at San Diego Fair
When Meeting Services, Inc. (MSI) won the bid to provide audio services for the San Diego County Fair Grandstand Stage, Production Account Manager Birch Caffee immediately spotted an opportunity to take the VUE AL-12 Acoustic Linearity Line Array for a spin.
Running for a full five weeks from late May into July 4th weekend, the fair’s 27 shows featured a broad mix of artists and genres. For the fair, MSI joined forces with VUE rental partner Harmony Event Productions.
The main performance area of the Del Mar Fair Grounds was located on a race track, with the stage at ground level facing steep grandstand seating. A ten foot tall concrete retaining wall was located about 80-feet from downstage, between the track level and the first row of the grandstand seats. Depending on the show, the track level floor was either standing room or ground seating.
“The wall below the grandstands presented some real challenges with respect to the ground subs. And the grandstands themselves were tall, deep and multi-tiered,” explains Caffee. “I worked up a basic design using left and right AL-12 arrays, along with two flown AL-12SB subwoofer arrays. Flying the subs provided the LF control we were after and helped us to avoid the concrete wall.” An Ease model was used to verify MSI’s design.
The final design consisted of left and right AL-12 arrays comprised of 14 acoustic elements each. Low frequency was delivered by left and right flown subwoofer arrays containing eight AL-12 SB elements each. Additional low-frequency support came courtesy of ten HS-221 dual 21-inch ACM subwoofers positioned on risers directly below front of the stage. For near-fill, MSI deployed six H-208 dual 8-inch systems across the stage lip. A selection of HM-Class monitors was also used.
Rack-mount VUEDrive systems engines provided power, DSP and networking capabilities for the flown AL-12 and AL-12SB arrays, while on-board VUEDrive electronics did the same for the HS-221 subs and H-208 front fill systems. SystemVUE software allowed the setup and monitoring of the entire VUE ecosystem.
Pictured: Birch Caffee, MSI Production Account Manager.
Chauvet fixtures chosen for ‘Downtown! The Mod Musical’
For his lighting design of the Devonport Choral Society’s production of ‘Downtown! The Mod Musical’ at the Paranaple Arts Centre in Devonport, Australia, Michael Westcott of Show Systems Australia chose a collection of Chauvet Professional fixtures.
Key to his design were eight Maverick MK2 Spots, hung on two light bars. They provided a backdrop to the 1960s tale, in addition to adding punchy looks for the dance scenes. An additional four MK2 Spot fixtures were set on the ground, behind and between the gaps of large, free standing letters. These units were used to create aerial effects that added a dynamic element to the stage.
Colorado 2 Quad Zoom LED Wash Lights were located throughout the rig and were used to adorn backgrounds and scenic elements with psychedelic colors.
Robe T1s for ‘Les Misérables’ production in Warsaw
This summer, Cameron Mackintosh’s musical ‘Les Misérables’ (school edition) was staged by the Sródmiejski Teatr Muzyczny (Downtown Musical Theatre) at the Stanislaw Witkiewicz STUDIO Theatre in Warsaw, Poland.
The company - made up from school pupils aspiring to be acting/performance professionals - produces an annual musical which was lit by LD Michal Piskorski who has also lit the previous two such productions, ‘Footloose’ and ‘Spamalot’.
He worked closely with programmer Krzysztof Gantner from the show’s technical sponsor Prolight. The show was directed by Antoniusz Dietzius who also designed the set.
Six Robe T1 Profile moving lights were selected for the show, provided by Warsaw based lighting and technical sales specialist Prolight. Also, part of this ‘specials’ package were five Robe LEDBeam 150s and two Spiider LED wash beams.
Michal Piskorski also utilized the theatre’s house lighting rig which includes Robe DLX Spots, DLS Profiles and LEDWash600s plus a few other moving lights and generics.
It was the first time that Piskorski had used T1s. Three fixtures were positioned on the front truss and three on the second most upstage bar, so they were doing both key light and effects.
He used the rearT1s for ambience and scene-setting including gobo looks, while the front ones were for producing softened, abstracted gobo looks and ‘enhancing’ effects like smoke and flowing water.
Lighting had to create many scenic elements like windows, plus shape the architecture of buildings and interiors as well as recreating the streets of Paris, so the T1 shutters were used extensively.
The other Robe fixtures were distributed around the over-stage LX bars. The five LEDBeam 150s were positioned on LX Bars 1 and 2 over the downstage area; the DLX Spots and DLS Profiles were in the pros areas, and the LEDWash 600s upstage and mid-stage providing the main stage washes, supported by the two Spiiders either side.
Krzysztof Gantner programmed and ran the show on networked Avolites Quartz and Arena consoles.
(Photos: Louise Stickland)
Brighton’s Pride Pleasure Gardens equipped with Martin Audio WPC
For the fourth year running The Pride Pleasure Gardens on Brighton’s Old Steine recreated its own experience during Brighton & Hove Pride Festival Weekend. The Old Steine Gardens were transformed around two 1,000-capacity big tops for three days, with entertainment ranging from camp bingo and pop to cabaret, live performances, DJs and clubbing.
Working for Ian Baird’s production company, Whiskey Bravo Productions, were Brighton based sound and light company Penguin Media Hire, enjoying their first year at the festival. Headed by technical project manager Dylan Thompson, the company was tasked with creating a technical infrastructure, including sound (in the shape of Martin Audio PAs), lighting and temporary power for the site.
Assisting them on main stage was the scalable resolution of three ground-stacked Martin Audio Wavefront Precision Compact (WPC) enclosures, boosted by a pair of SX218 subwoofers on each side and a further pair of Blackline X8 as front fills.
Penguin ran the WPC in three-box resolution, but aware of the proximity of nearby residences, Dylan Thompson was able to programme the Martin Audio Display software to optimise the sound within the boundaries, without offsite leakage. “Because the PA was facing straight down the 20-metre deep tent which was open at the end, I programmed it to slope off immediately at the back.
Penguin Media Hire also equipped the second, DJ/big bar tent with four Martin Audio XD12 and four WS18X subs, with all loudspeakers powered by Martin Audio iKon iK42 amplifiers. The sound source could be piped between tents or run from independent sources. From Penguin Media Hire, assisting Dylan Thompson was Patrick Andrews, while Sonny Evans was on duty at FOH all weekend.