production news

Crest Scales the Ramparts at the Citadel Music Festival in Berlin

Set to become one of the biggest music festivals in Berlin, the Citadel Music Festival is due to welcome well over 100,000 visitors throughout the course of the summer. Over 30 concerts from artists as diverse as Diana Krall and Motorhead will be taking place from 29 May - 1 September against the spectacular backdrop of the old Renaissance fortress on the banks of the Havel river. Full service production company, Complete Audio Berlin, is supplying all the sound and lighting equipment for the duration of the festival including a powerful Crest-driven Martin Audio PA system.

According to Complete Audio Berlin's general manager, André Rauhut, while the Spandau Citadel is undoubtedly one of the most beautiful outdoor locations in Berlin, it is also one of the most technically and logistically challenging. "The first issue was getting all of our gear onto the site - we couldn't truck it directly to the stage as we normally would as the only access is via a rather narrow drawbridge!" explained Rauhut. "Once on site, our brief was to provide sound coverage for a 55m x 85m area, bearing in mind that we could be looking at a standing audience of over 10,000 for a gig like Motorhead or Scooter, or just a fraction of that for fully seated events such as classical music or opera. The biggest challenge was providing a system that could handle everything from Rage Against the Machine one night to Gregorian chants the next, and sound good throughout."

To that end, Rauhut decided to field his Martin Audio Wavefront W8LC line array system powered by thirty-one Crest Audio Pro 8200 and ten Pro 9200 amplifiers with system processing from XTA. A further eight Crest Audio Pro 8200 power the stage monitor system. "It's a system in which I have complete confidence," affirms Rauhut. "It's an extremely versatile combination, and it sounds great in any situation. I've had Crest amplifiers on the system for four years, and the Pro200 Series has proved itself to be one of the most powerful and dynamic amplifier packages you can buy. They certainly bring the best out of the PA, and I think it's fair to say that these amps deliver performance way beyond what it says on the spec sheet. It's usually the other way round, but not in Crest's case! We've had (and still have) many different amplifier brands in the warehouse, but Crest remains our favorite. We have a new Martin Audio W8L Longbow system arriving in July, and Crest will be powering that too. I'm looking forward to that!"

Stage Electrics Set their Sights on Edinburgh

The Edinburgh Festival is fast approaching. By 8 August visitors will be migrating from all over the globe to participate in this year's spectacular festival. And Stage Electrics is no exception! The Stage Electrics' dedicated ‘Edinburgh Support Team' will be moving up to Edinburgh from 21 July for the duration of the festival to be on hand to provide a rapid response to all technical needs that may arise.

This year Stage Electrics will have a 24hr helpline available which gives anyone the ability to reach one of their technicians anytime day or night.

The team will be permanently stationed in Edinburgh for the duration of the festival, alongside a dedicated support vehicle available to ensure any spare equipment needed reaches clients immediately.  All equipment will be ready for immediate despatch.

In picture: The Stage Electrics team.

Supervision Takes digiLED to the Euro 2008 Championships

Pioneering French screen rental company, Supervision, who in 2009 will celebrate 25 years of delivering large mobile LED screens to events across Europe, was the main UEFA contractor for Euro 2008 - another headliner to add to its extensive list of high profile sporting events.

As the demand for screens for use in public arenas was so high, Supervision ordered 2 digiLED d11N screens to add to its LED tour inventory. Supervision chose the digiLED screens for their quality images, ease of installation and above all the digiLED's ability to meet tight deadlines. The team had just 57 days to design, manufacture and deliver the screens in time for the first game of the tournament.

The two giant 49.52m2 digiLED d11N screens were installed in the Fan Zones at Basel's Kasernenplatz and Münsterplatz. The Kasernenplatz screen was built into a structure positioned at the side of a stage, whilst the one in Münsterplatz was centre hung above the stage.

Each day's programme started at 1.30pm, with live entertainment, bands and promotional sponsor videos being shown on the screens. DJs revved up the crowds before the football started and then kept the fans entertained during and after the matches.

The Supervision team used the digiPRO HD processors to resize and optimise the content for the screens.

The screens are the first digiLED products that Supervision has purchased and they started working immediately they were delivered to the venues, so on-site training was conducted by digiLED technicians who were also available for technical support and advice throughout the Championships.

The high resolution digiLED d11N screens each measured an impressive 49.25m2, 9.32m high x 5.28m wide. With an 11mm effective, 22mm physical pixel pitch, the screens provided an effective resolution of 848 x 480 pixels.

"We were delighted with the quality and impact of the digiLED screens," says Supervision's Hernan Poblete. "The digiLED team has more than met our expectations in supplying, delivering and installing the two giant screens in time for UEFA 2008."

"Supervision have a fantastic pedigree in major sporting events," says displayLED CEO Graham Burgess. "For such a prestigious LED operator to buy digiLED is a hug accolade for our brand."

Hawthorn Supply MoonWalk Events for 7th Year Running

For the seventh year running Hawthorns have supplied Walk the Walk's MoonWalk and SunWalk power walk challenges in aid of Breast Cancer charities.

As usual, as well as supplying the London MoonWalk held in Hyde Park, Hawthorns have also supplied the Edinburgh MoonWalk and the Bristol SunWalk.  However this year they will also be supplying the very first Newcastle SunWalk due to be held on 7^th September.

For the two MoonWalks and over 27,000 ‘MoonWalkers', Hawthorns provided lighting, sound, staging, rigging and power distribution which was installed into De Boer's massive ‘pink palace', a 150m x 60m Galaxy structure.

Three artics of lighting, sound, rigging, power distro and site services made their way to Hyde Park for the main structure and nine smaller ancillary marquees.  Hawthorns used six main generators and over 10 miles of cable to supply the marquees, 280 toilets and numerous catering wagons with power.

Hawthorns also introduced their new LED message display system at the start and finish gates, which can display real time messages and a clock.  These LED message display systems are ideal for display information and for crowd control at live events and so were perfect for Walk the Walk's events.

Hawthorns MD, Martin Hawthorn commented: "This is a charitable cause very close to my heart and I am delighted that Hawthorns continue to both support and supply these events as the walks grow in size and new locations are added."

www.hawthorns.uk.com

HSL Goes To The Opera

HSL is supplying stage lighting - including 16 new Robe ColorWash 750 AT Tungsten moving light fixtures purchased specially for this event - together with a stage sound system, site-wide lighting and electrics, comms, power distribution and full public address and announcement audio - to the Royal Borough of Kensington & Chelsea's 2008 Opera Holland Park season.

For the first time in six years of HSL supplying the event, the moving light elements of the rig have been expanded substantially, including the ColorWash 750 AT Tungstens together with eight Robe ColorWash 1200E ATs rigged on the box truss and two ColorSpot 1200E ATs rigged on the first advanced bar in the auditorium.

London Borough of Kensington & Chelsea's operations Manager Michael Harth says:  "HSL always offer us a very competitive and comprehensive package covering all technical aspects of the productions. The service and support that also accompanies this is really excellent and it's good to be working with them again this season."

The completely sold out event features six full scale productions which are performed in rep, two at a time over a 10-week period with music by the City Of London Sinfonia. Opera Holland Park 2008 is being staged in the famous London park's new 1028 capacity high tensile structure arena.

The 2008 line up is includes Il Trovatore, La Fille du Regiment, The Magic Flute, Tosca, La Gioconda and Iolanta.

Three lighting designers - Simon Corder (La Gioconda/Iolanta), Colin Grenfell (Il Trovatore/La Fille du Regiment) and Peter Mumford (Tosca/The Magic Flute) - were brought onboard each to design two shows, and Grenfell and Corder had substantial design input and worked alongside HSL's onsite project manager Jim Ewart and Sean McGlone in the Blackburn office, to develop a flexible working "house" rig to deal with everyone's technical and creative needs.

Over the stage, HSL has flown a Litec Libera box truss grid suspended on eight motors, its outer dimensions measuring approximately 19 by 8.5 metres. Onto this is rigged all the over-stage lighting, which also includes over 100 conventionals - a selection of PARs, profiles and Fresnels.

They also installed three FOH trusses traversing the tented roof above the auditorium which are utilised for additional advanced lighting positions, house lighting and sound.

The major criteria for any lighting rig in these circumstances is to be as flexible and dynamic as possible, having to deal with such a diversity of performances, all with radically different looks, ambiences and locations.

With the larger moving light rig, and specifically the Tungstens in residence this year has made a huge difference in this context, really expanding everyone's creative options as well as making focusing sessions and changeovers more expedient and efficient. Using the two ColorSpots on the first advanced bar also gives flexible movable spot positions.

The stage lighting rig is run from a WholeHog  II console, and looked after by chief LX Pete Wright and Jonas Fuglseth for the run of shows. All dimming supplied by HSL is Avolites. It's the first time Wright has used Robe fixtures, and he comments that he's been impressed generally with their performance and particularly with their reliability.

Around the site, approximately 100 lights are installed to illuminate the trees, gardens and picnic areas, plus the entrances and foyers, toilets and pathways, and JTE PixelPARs are being used to highlight some of the foliage.

HSL has also supplied a sound system to take care of the relatively straightforward production audio requirements - amounting to some sound effects and a minimal amount of instrument mic'ing. They specified a mix of Community and Nexo speakers, which are installed across the auditorium trusses and grid.

These facilities can be utilised if environmental conditions get tough (e.g. heavy rain, wind, etc), However, the operas are all sung without amplification and the orchestra performs acoustically, so having an audio system in the house is very much a back-up plan.

The Yamaha M2500 sound desk does run all the site announcements and the public address system and so has a vital role in the big picture. It's fully battery backed up to meet the licensing requirements, and all the equipment is also on UPSs. Sound is run through a limiter to keep the levels below 80dB. HSL is also supplying a variety of mics and a wedge foldback system for piano rehearsals.

HSL's Sean McGlone says: "Being involved with top quality productions like Opera Holland Park is great for us - apart from being a prestigious event in its own right, quality production values are right up there on their agenda."

HSL sends a full crew to site for the four-week build period - one week shorter than last year - including a qualified electrician for the get-in and build period.

In picture: a scene from Tosca.

Procon Adds Barco True Black LED Display to its Rental Fleet

Barco has announced that European Rental Partner Procon is the latest in a line of Rental Partners selecting Barco's 6mm black LED display, the NX-6. With an increasing number of successful references, the NX series is rapidly becoming the indoor LED standard in the industry.

Over the past two decades, Procon, an international technical full service provider for the media, entertainment and event industry, has assembled one of the most advanced and comprehensive equipment pools in the world. They have extensive experience, excellent technical expertise and an outstanding list of references.

Procon continues to take the lead in this fast converging world of video and lighting by investing in a full range of Events products comprising a selection of lighting, projection, creative LED and video products. Together with an order of NX-6 true black LED displays, Procon ordered a significant quantity of MiTRIX modules, DX-700 video processors and XLM HD30 high brightness digital projectors. Also included in the order were 25 Showguns and 25 Showpix, both products from the recently acquired lighting specialist High End Systems.

"At Procon, we have made it our mission to offer our clients the most advanced products on the market today," says Morten Carlsson, CEO of Procon. "We are delighted to add the NX-6 together with all the other Barco equipment to our product portfolio and are looking forward to using them in our upcoming productions."

The NX-6 is the perfect choice for high-quality, high resolution indoor presentations. Using a revolutionary black LED combined with the use of black silicon resin instead of white epoxy, the 6mm NX-6 delivers the deepest black levels of any LED product on the market. With a brightness output of 2000 Nit and market-leading light trap shaders, the NX-6 achieves a stunning contrast ratio of 4200:1.

Moreover, for ease of setup and serviceability, the NX-6 is unsurpassed. Built on a lightweight carbon fiber Mag-frame instead of the traditional steel structure, the tiles can be used in standard displays or split apart to form creative presentations. Each module is easily accessible for service.

Andrew Healey, global marketing manager for Barco's Events business states: "The impression of sharpness and color depth is now not only a factor of resolution, but also of contrast and black levels which are vastly improved by the Black LED. We are also seeing customers investing in the NX family because of its seamlessness and creativity options."

Other rental partners who have recently selected the NX series of LED displays for their rental fleets include Micro Rent S.A (Spain), Avega (Spain) and Kowa (Japan).

HK Audio at Glastonbury Festival

England's Glastonbury Festival is unquestionably Europe's biggest festival. In fact, there is no event like it anywhere the world, not only because of the some 150,000 visitors who make the pilgrimage to the event. What makes this gathering unique is its countless stages big and small, outdoors and in tents. The three-day festival, which took place in late June, featured some 500 bands, artists, and DJs representing every conceivable style and genre, among them acts such as Jay-Z, The Verve, Franz Ferdinand, Joan Baez, Leonard Cohen, and Massive Attack.

The John Peel Stage is one of the main attractions at Glastonbury Festival. Named in honor of the late great radio DJ and talent scout par excellence John Peel, who had passed away in 2004, this venue affords gifted bands the opportunity to strut their stuff in front of a large audience. Forty-three bands took to the John Peel Stage in 2008, including The Cribs, Friendly Fires, Patrick Watson, and The Futureheads.

The John Peel Stage's monitor tech, Mike Taylor from Emarty, used HK Audio stage monitoring products for the first time in 2008. Fourteen CT 115 ConTour Series high-/midrange units, biamped with DSM 2060 controllers and LABgruppen FP 10000 power amps, served as front monitors. Two CT 112 enclosures and four CTA 118 units provided the drum-fill, and one ConTour Array with two 2 CTA 208 and CTA 118 enclosures made up the side-fill system.

Commenting on the performance, Mike Taylor said: "I've been an HK Audio user for quite some time. Because the cabinets that we used last year didn't work out so well, this year I used the CT 115 from HK Audio, which satisfied all the demands, and performed and sounded excellent. With 43 bands and 20 minutes each changeover time for the entire stage, you need monitors that handle this kind of action. I was tremendously satisfied with the CT 115 units. The ConTour Array side-fill was so accurate it felt like being in a studio. And the CTA 118 and CT 112 combos for the drummers were a real hit! The low end came in big and bold, and the high-end was so super-clean that every drummer left the stage after the gig with a smiling face. The Wedges really rocked." Commenting on the EQing, Mike Taylor says: "At very festival you encounter minor problems, usually in the guise of a band's own audio engineer who doesn't know the system and insists on tweaking it to his taste. This year, not once did I have to re-EQ, and that's quite remarkable when dealing with 43 bands in three days."

iLive Manages Welsh Festival

Cheshire hire company, The Audio Group, recently employed Allen & Heath's iLive digital system to manage a festival for M.A.D Sound and Lighting near Aberystwyth, Wales.

Comprising an iDR10 mix rack and iLive-80 control surface, the system managed FOH audio for the two-day event at Pafiliwnbont in Pontrhydfendigaid, which featured 10 top Welsh bands including Huw Chiswel, Sibrydion and Radio Luxemburg.

Audio Group's director, Paul Adamson, said: "We have been looking to purchase a digital audio system for some time and iLive's audio quality and features make it very appealing. With everything on board, we don't need to carry big outboard racks of EQ and FX processing."

The iLive system was complemented by a Logic Systems VA Line Array at FOH and Logic LM20 monitors, with amplification from MC2.

"The event manager was anxious at the thought of a digital console at FOH. He asked ‘where's your multicore?', and walked away scratching his head when I explained we had already flown the two pieces of CAT5 required off the truss!" commented freelance sound engineer, James Jewry, who was driving iLive throughout the festival. "We reached sound checks in no time and as I hadn't used the iLive before on location I was surprised at what was to follow; the audio is rich and detailed, all the onboard FX simulations are superb, and the features and flexibility of the system really impressed me. As soon as you select a channel everything is in front of you, unlike other digital desks where you have to navigate a little to find what you need. We especially liked the mute buttons, which are like Allen & Heath's analogue boards.

"If you're thinking of buying a digital board and you dismiss iLive, to put it bluntly you're either deaf or stupid. "It doesn't sound like a digital board should, it just sounds awesome. Enough said," concluded Jewry.

Chroma-Q Color Blocks for Kaiser Chiefs at Elland Road Homecoming Gig

Kaiser Chiefs' lighting designer Richard Larkum and rental company Prism Lighting used over 300 Chroma-Q Color Block DB4 LED fixtures to create a unique effects lighting look for the band's recent special homecoming concert at Elland Road football stadium in Yorkshire.

The gig secured the band's place in history, making them the first hometown band to perform at the city's home football ground, and was their biggest UK show to date, featuring an audience of 37,000 fans. It was also part of a huge tour of shows and festivals across Europe this summer for the band, including headlining or main supporting slots at the Isle of Wight Festival, V Festival, T in the Park and Oxegen.

The Chroma-Q Color Block DB4 provided show Lighting Designer Richard Larkum's first venture into LEDs for the debut Kaiser Chiefs tour in 2005, and he's been using them ever since on his rig for the band, with the number growing on each successive tour as the budget and venues have got bigger.

The Color Block has also been a main workhorse fixture in the rental stock inventory of Prism Lighting, who introduced Richard to the DB4 for the band's debut tour and have been supplying the lighting ever since.

For the last Kaiser Chiefs tour, Richard came up with the idea of custom lighting ‘pods' consisting of square frames holding either strobes or Molephay strips. To enhance the concept, he decided to ring the frame with LEDs to give a square light beam, and had only one fixture in mind that could create the desired look he wanted.

He commented: "The concept was basically built around knowledge of the (Color Block) DB4, the DB4s being the most versatile LED unit on the market. The size and shape of the fixture was very important - rectangular, big LED pixels, uniform rows. I didn't want a fixture with the pixels spread out randomly. The uniformity also helps with the colour mixing - because they were forward facing, I needed the colour mixing to blend evenly on the eye."

The pods were designed by Richard and Prism Lighting and manufactured by Tomcat, and are hung from a mother grid at various heights, angles and depths. Each pod features 22 Color Blocks providing a square light beam of very bold looks, outlining them using various colours and chasing them as whole entities, with various dimmer effects through them.

For the Elland Road homecoming show, which also marked a turning point in the band's career as they move up to a stadium-level band, the group wanted to put on something extra special to commemorate the event and thank their fans. It was therefore decided to up the production ante for this gig by adding a further 84 Color Blocks on top of usual rig's 220 units, to provide truss warmers in the stage legs and create an even bigger look for the unique show.

Prism Lighting project manager Mark Roberts had no hesitation in making the investment in another 100 Color Blocks for the event, commenting: "They were bought for the Kaiser Chiefs tour primarily, but we'll easily be able to promote them onto other jobs afterwards. As well as being great for rock ‘n' roll tours, they also make ideal uplighters for the large amount of corporate work we do."

A.C. Lighting is the worldwide distributor for the Chroma-Q Color Block.

photo copyright Louise Stickland.

www.aclighting.com

Stage Technologies Add Equipment for ENO's Candide

English National Opera has added automated scenic effects to its new production, Candide, using a  Stage Technologies' rental system. Candide is a co-production with the Théâtre du Châtelet, Paris, and Teatro alla Scala, Milan, and is now at the London Coliseum for a limited season.

Stage Technologies worked with English National Opera in 2003 to install a permanent, emergency stop infrastructure into the entire stage house. The design allows equipment required for temporary productions or permanent additional control to be connected into the house system with ease. This offers huge advantages for venues when a new production has special requirements over and above the automation capability already installed. ENO's staging of Candide uses four BigTow rental winches, installed into the Coliseum's grid to automate a large scenic cloth and a scenic piece showing the balustrade of the Titanic. MaxisMX control equipment, rented for this production only, was interfaced with the ENO's permanent system on the fly floor, so that the winches could be operated from the venue's existing Nomad control desk.

Richard Willcox, Stage Technologies' rental services project manager, commented: "It is so quick and easy to add additional axes to a venue's automation system with our rental equipment. When a new show is being installed, winches can be put in place and the control desk programmed within a matter of hours; with minimal disturbance to the production's rehearsal schedule. The system for Candide was installed, commissioned and tested by the rental department during two over-night sessions, also offering support to ENO's operators during the technical rehearsals. When the show has finished and the equipment is no longer needed, it can be simply returned to Stage Technologies, leaving the venue with no long term financial or maintenance commitments."

www.stagetech.com

Oh What A Night for Catalyst

Bristol based video, AV and digital content production specialists R2 Digital Productions Ltd purchased a high specification Catalyst digital media server from Projected Image Digital (PID) and three Sanyo projectors for the current Random Concerts touring production of "Oh What A Night".

R2 Digital Productions Ltd, headed by Colin Rozee, are the tour's technical coordinators. At the end of 2007, producer Stuart Littlewood was keen to replace some of the physical set with video and give the show - which has been on the road for 11 years - a bit of a contemporary twist.

He spoke to Rozee who advised that large projections would be a way to achieve this, by which time lighting designer Nigel Catmur had already come up with initial ideas for a projected set design containing 51 different sized projection windows mounted onto three large onstage flats

Catmur had used Catalyst on many previous projects and was very keen to do so again, and his knowledge and experience with Catalyst encouraged Rozee to decide on the purchase. It is the first time that Rozee had used the system, but he decided to buy this and the three projectors due to the protracted length of the tour.

Approaching PID, Rozee explained what he wanted to do. They came back with a top spec machine, complete with solid-state drives and a Matrox graphics adaptor that enables the distribution of images across three screens. "We asked PID to build us the most powerful machine available at that time," says Rozee, as they could already envision the need to be able to use up to 14 layers at the outset. This also gave Catmur all the creative scope he needed.

Catmur called in Sam McLaren to work as associate LD and Catalyst programmer. They and Rozee worked closely together, with Rozee producing all the show's video content.

Rozee shot some video footage specially for the show which was then treated in Catalyst, and also made use of its onboard library material plus clips produced using assorted other software including Illustrator, PhotoShop, After Effects, Particle Illusion, Final Cut Pro and Motion.

The content clips - all stored on the Catalyst's hard drives, depict several different locations in the script, and large chunks of it are driven by the narrative. There's a selection of indoor and outdoor scenes and images, and the projections spectacularly build atmosphere and anticipation throughout the performance, leaving the stage clear to be optimized for all the dance action.

The images are mapped exactly to the set windows using the Catalyst's masking tools, which are also used to eliminate projector ‘ghosting' during the blackouts.

Over 60% of the video and LX cues are triggered by timecode from the audio track which is run into the WholeHog II console, operated on tour by LX crew Dan Tiley and Rob Anderton. Some audio cues are also running off the Catalyst.

Rozee admits that Catalyst has been an eye-opener: "It's an amazing and highly flexible creative tool - and fast - so very quick to use. It's also a stable platform and there is no way we could have done what we have on the show without it."

PID supplied the fully integrated Catalyst system fully flightcased.

On PID, Rozee says: "Dealing with them has been brilliant! David March and Nev Bull have given us top support and their knowledge and experience has been invaluable."

Dan Tiley comments: "The system has been absolutely rock solid on tour and the line-up at each different venue is incredibly quick considering the complexity of the set. It's so much quicker, simpler and better than having to do it with the projectors!"

Oh What A Night's current UK leg has been on the road 23 weeks. It continues until the end of July when the final shows are in Austria.

www.pi-digital.co.uk

Milos MR2 Roof for Scanlaser at MaskinExpo

A Milos MR2 roofing system was utilised by designer Peter Samzelius of Peter Samzelius AB as the main stand superstructure for Swedish machine control solutions provider Scanlaser at the recent massive MaskinExpo.

The exhibition was staged at Barkarby Airfield in Stockholm and included a huge demo site for working presentations of heavy plant machinery.

Scanlaser is one of Samzelius's key clients and he has designed all their exhibition stands for some time. He has also used Milos products for the last five years - ever since he became aware of the range of trussing products and services, and their ability to deliver very quickly and efficiently.

The Scanlaser stand space at MaskinExpo measured 25 by 30 metres, with the MR2 system measuring 15 by 13 metres for the main tent and 12 by 13 metres for the black tent. It was purchased specially for the show by Samzelius and will eventually be owned by Scanlaser. He comments: "I've wanted to purchase an MR2 roof for several years, and this new Scanlaser stand project presented the perfect opportunity."

The basic design concepts were for the stand to look elegant and aesthetically pleasing, to be weatherproof and to stand out from the myriad of ‘white tent' stands that are so common at this type of expo.

The clean metal lines of the MR2 certainly looked the part and achieved the desired results.

The Milos MR2 roof system is specifically designed to cover up to 120 square metres of stage/space and has become popular in the event and concert industry. It is also ideal for large exhibition stands such as this, but Samzelius is one of the first people to use an entire roof system in this way.

The MR2 has a sloping roof that is integrated into a rectangular base, and MR1 tower legs that can lift its roof up to 9.3 metres in height. The frame and roof beams are made from tough M390L Quatro trussing components, and the sloping M290B trio beams are fixed in place with special CON attachments to the frame and roof.

Samzelius continues to use Milos for their constantly evolving and dynamic range of products which is perfect for his stand design projects, as well as for the "Excellent service and support". He is currently building many other projects using Milos equipment, in locations like Trondheim and Haugesund in Norway and Helsinki, Finland.

Martin to Light Beijing Summer Olympic Games

On August 8th, as China celebrates its emergence onto the world stage by hosting the Opening Ceremonies of the 2008 Summer Olympic Games at Beijing National Stadium, that stage will be lit by over 1,100 automated luminaires from Martin Professional.

The workhorse of the massive automated lighting system, set to be the largest single automated lighting system ever assembled for a single event, and the largest Martin rig ever, is Martin's MAC 2000 Wash and new MAC 2000 Wash XB moving head luminaires.

Martin will be the largest automated lighting manufacturer represented at the Beijing Olympic Ceremonies with more Martin MAC 2000 Wash luminaires in use than any other single fixture in the lighting system. Most of the MAC luminaires will be rigged in the roof of the stadium with several hundred lining an upper balcony. Lighting design is by Chinese LD Sha Xiaolan with main lighting supply by China Central Television (CCTV). Lighting sub-suppliers include Chinese company Beiao, among others. Lighting personnel began initial installation of the fixtures already in March with programming inside the stadium to take place in June.

The Martin fixtures will remain in place for the Beijing Games' Closing Ceremonies on August 24th and subsequent Paralympic Games to be held from September 6-17.  An additional 800 Martin fixtures will be used for an Opening Ceremony at an alternate site in Tsingtao (Qingdao), home to sailing events.

Christian Engsted, Martin Professional CEO, commented: "We are honored to again play an integral role in the staging of the world's most prestigious sporting event. The MAC 2000 Wash's extremely high output and long throw capability coupled with its proven reliability make it ideal for such a large scale event. Martin's position as an industry leader with an extensive global reach allows us to deliver in these record breaking quantities while our support network provides 100% on-site backing throughout the course of the event."

With 80,000 spectators in attendance for the Opening Ceremony at Beijing National Stadium, the event is widely expected to attract the largest sports television audience of all time.

i-Pix Goes Green for Glasto

I-Pix working with Greenpeace, supplied their BB4 and Satellite fixtures to Greenpeace's ‘Greenfields' site at the 2008 Glastonbury Festival, after being approached by the organisation who wanted their area to be as eco-friendly as possible.

The Satellites and BB4s were used to illuminate a large skate ramp complex at the centre of the Greenfields area, the end section of this also doubled as a band stage area showcasing a series of up-and-coming talent.

The Greenfields area lighting and AV was co-ordinated by Niall Whybrow of Potters Bars based PP AV, and this year i-Pix provided an ideal green solution.

"Anything that reduces the amount of energy consumed is good," says Bob Wilson, events coordinator for Greenpeace UK: "What i-Pix are doing is very interesting,"  and he adds that they had been keen to work with the Manchester-based specialist LED fixture manufacturer since Live Earth last year. He says he also hopes that the Stages at Glastonbury will start exploring more low-energy options as appropriate fixtures become available.

The skate ramp was illuminated with four BB4s, rigged at the highest point and washing along its length. In the evenings, a projection screen was rigged at the back of the ramp forming a backdrop for the stage, and the light levels in this area were boosted with two more Satellites and two BB4s, which Whybrow describes as "Awesome fixtures".

The BB4s draw just half an amp at full power, so they are also exceptionally expedient on power consumption for the light output.

The other four Satellites were used to wash the front of the "Eco House" a show home featuring green living products, solutions and ideas, including low energy lighting, solar panels, regenerated cardboard wall insulation, special windows, etc.

I-Pix' new BB7s and more BB4s were used by LD Jasper Johns of Colour Sound Experiment on The Glade stage. The four BB7s were rigged on the trussing structure over the dancefloor and used for blasting the audience with colour and beams. He also used four BB4s to backlight bands appearing on the stage below.

Over in the West Dance tent, the dynamic duo of Jas Bullah and Stuart "Woody" Wood rocked with four BB7s and four BB4s with lighting equipment also supplied by Colour Sound. Live performers in here included Zion Train, James Zabelia, The Grid, Dave Seamen, System 7 and many more.

LD Jonny Gaskell incorporated 24 BB4s into his specials package for Sunday night Other Stage headliners, Groove Armada, while Chris Bushell used 32 Satellites on Amy Winehouse's Saturday night Pyramid stage appearance, eight units each down-lighting four chandeliers.

Studio Berar Invests in Prolyte LT Roof for Exit Festival

The Exit festival, which will be held from July 10th till 13th in Novi Sad, Serbia, has become one of the largest and most popular festivals on the European continent. Over 200.000 visitors are expected for this festival, which is located near the historic Petrovaradin Fortress, built high on the banks of the River Danube and offering a stunning view of Novi Sad.

The Exit festival came into being in the year 2000, and has gained in reputation ever since. In 2007 Exit was awarded the prestigious UK Festival Award for the best festival in Europe for 2007, as voted for by festival-goers from all over the world.

Studio Berar, responsible for the technical organisation for the festival, selected Prolyte to provide a huge roof system for the main stage for the event. Prolyte is already well known in the region, thanks to the enthusiastic support of Prolyte distributor PSP.

Novi Sad-based sound, video and light engineering and rental company Studio Berar has recently acquired worldwide recognition thanks to the Europe In Belgrade concert, where the company was contracted to provide full sound and lighting services.

Studio Berar made it quite clear why Prolyte was selected to provide the roof system. "Their unrivalled support and the specific qualities of the LT roof system, with respect to loading capabilities, flexibility and proven resistance to high wind forces, make it an outstanding system," he said.

Prolyte engineer Ivo Mulder was flown in to provide training and assistance during set up of the system. The LT roof system, which will act as main stage during the festival, has measurements of 25 m width and 15 depth. The clearance is over 14 m high, leaving enough height for an impressive set of lighting and sound. A total of 8CT towers support the complete roof construction. Studio Berar has also bought two  complete side wing sets, which will not be used during the festival.

The main stage will have an impressive line up, with artists like Sex Pistols, Paul Weller, Ministry, NERD and Manu Chao.

In picture: festival crew and technicians after the set up and training of the roof system; Ivo Mulder upon arrival at the festival location, checking all materials.

www.prolyte.com

RSS V-Mixer Attends First Glastonbury

Roland Systems Group (RSG) teamed up with South West Audio to put the first RSS M-400 Digital Consoles in front of a Glastonbury festival stage. RSG's Peter Heath and Martin Thomas joined the crew working on the BBC Introducing Stage, which had M-400 desks at both front-of-house and monitor positions, connected by the RSS Digital Snakes which could also be found on the Park Stage.

 "All the bands on the BBC Introducing Stage are unsigned so they tend not to have their own engineers," explains Mark Bott, system designer and head sound engineer for South West Audio. "This gave us the ideal testing ground for Roland's new M-400 digital console; essentially we had a festival situation with hardly any guest engineers."

Teamed with the Cat5E configurable Digital Snakes, the M-400 represents a formidable festival package - super-compact, lightweight, with excellent sound quality and a highly intuitive user interface. Making its UK festival debut, it was under pressure to deliver: the BBC Introducing Stage, a showcase for up-and-coming artists nominated by BBC new music shows across the country, hosted more than 30 bands this year. Performances were carried live on a continuous webcast, and headliners The Wombats enjoyed a special live slot on Radio 1. All bands were being recorded for future broadcast.

"The M-400 was really quick to set up, and we all felt that its worksurface was very intuitive and easy to use," continues Mark Bott. "In the context of its cost, you simply cannot go wrong.  For the BBC stage, it was perfect and we really enjoyed using it, especially features like being able to offer 2-channel recording onto a USB stick.  In other festival environments, with numerous guest engineers, there may be the usual issues of familiarity but these will be solved with time and with training, as with any new digital console."

South West Audio, which was providing PA support for three Glastonbury stages and supplying kit to quite a few more, welcomed the savings in manpower and time that came with Roland's lightweight CAT5e Digital Snakes. "All our engineers have commented on how clean and clear the signal was."

For the open-air Park Stage, featuring a diverse list of performers including Pete Doherty, Cerys Matthews, Dizzee Rascal and Brazilian electro-rock sensation CSS, the Snakes had to be buried. With the front-of-house mix position some 40 metres from the stage, South West Audio used both the S-1608 and S-4000 versions of the digital multicore to run 48 channels of audio, including returns and comms lines, with a split to the monitor console, plus a full redundant system.

"At the BBC Introducing Stage, we had to fly the multicore and that was really simple," says Mark Bott. "At the Park Stage, our only options were to use cable ramps which would have had consequences for the budget, or to bury it. With the Digital Snakes, you vastly reduce the risks of an accident, such as someone putting a spade through the multicore, and it costs so little that we can just leave it buried after the event!  And by running one extra cable, we can have full redundancy which gives us the confidence that the system is going to run, no matter what."

The systems were accompanied into the Glastonbury fields by Peter Heath and Martin Thomas from RSG, who worked with South West Audio for the duration of the festival, helping to bury their digital multicores as well as mix the showcase bands. "We've seen the desk working flawlessly without any issues being raised over input or output capability," says Peter Heath. "About six visiting engineers used it, and reported that they found the M-400 interface to be very intuitive, logical and easy to work with, and that they thought it sounded excellent.  Both the M-400 and the Digital Snakes have lent themselves perfectly to this application."

Blinding Light Flies the Flag for BA

Reading based creative lighting specialists Blinding Light designed and supplied lighting and crew for the British Airways Flying Club 60^th Anniversary Dinner at Wycombe Air Park, High Wycombe, Buckinghamshire (AKA Booker Airfield).

British Airways Flying Club is one of the oldest flying clubs in Britain. It was originally formed in 1948 by employees of the then British European Airways (BEA) and British Overseas Aircraft Corporation (BOAC) with ex-RAF Tiger Moths, and named the Airways Aero Club.

The dinner for 900 guests was staged in one of the airfield's large hangars, which presented some major challenges for lighting, explained Blinding Light's Paddy Stacey who designed the system for the event. "We had to make the hangar look intimate and feel cozy with carefully thought through and understated lighting - a tall order in such a massive - and basically utilitarian - space designed for aircraft storage!"

Blinding Light supplied a centre line of trussing running down the hangar, which was flown from the roof on 12 points and made up from Blinding Light's new Litec Q40 trussing. This was also used to suspend a 1 metre mirror ball above the dancefloor, and was rigged with lighting for a small stage featuring the after dinner band and entertainment.

Twelve Martin Professional MAC 700 Profile and 12 MAC 700 Wash moving lights were the core of the design, spaced equidistantly along the trussing, interspersed with bars of PARs and some ETC Source Four profiles.

Source Four profiles and PARs were also utilized to up light an airplane centrepiece - complete with the BA Flying Club's new livery - on a revolve - and a selection of classic cars which were installed in the room as eye-candy for the occasion. Smoke and cracked oil were used to produce a subtle atmospheric haze that enhanced the beams and helped increase the intimacy of the space, aiding the space reduction objectives. The general lighting look for dinner was a very slow moving dappled effect created by breakup gobos shooting in all directions across the room, overlaid onto a deep blue PAR wash.

All lighting was run off an Avolites Pearl 2004 console, programmed and operated by Dan Huxley. He worked with one other Blinding Light crew member for the show, plus four more for the get in and out.

Power came off a generator feed, and Blinding Light also supplied power distribution for the AV and sound equipment as well as for their own lighting kit, and co-ordinated all the production trucking and logistics.

Azerbaijan Brings 'Legends' to Belgrade with grandMA

Following on the heels of the spectacular live show ‘Land of Fire 2008', which was broadcast in February, Azerbaijan took their wildly popular finalist duo, Elnur & Samir (Elnur Huseynov and Samir Javadzade) to Belgrade to compete for the top spot in the Eurovision Song Contest.

In an unprecedented promotion, Azerbaijan hosted a free live concert, ‘Legends and Sensations of Eurovision' in the grounds of the historical Kalemegdan Nebojsina Kula Fortress in downtown Belgrade, to a record-breaking crowd of over 20,000. In addition to the finalists Elnur & Samir, the show featured popular acts from recent Eurovision shows including Ruslana, Dana International, Marija Serifovic, Zeljko Joksimovic and others. Robert Kelber was lighting designer working alongside operator Tobias Åberg.

Three grandMA full-size and two MA NSPs controlled the lighting on the massive outdoor stage, which included, amongst others, 94 Martin moving lights, six Space Cannons and an arsenal of conventionals as well as some LED-screens. Lighting project manager Ola Melzig commented: "The grandMA was the first choice of desk for both the operator and designer for this show - it provided the flexibility, versatility, and safety to make this show the success it became."

The ‘Legends and Sensations of Eurovision' concert combined the efforts of an experienced international crew. The production was realised by RTS and produced by Euro Media from the Ukraine. Sky Music of Belgrade, managed by Milenko Skaric, delivered a turn-key solution to the production that included stage, lighting, video, sound and crew. Procon supplied the lighting consoles, followspots and some of the moving lights.

photo: Joan Lyman

Martin Raves at Gatecrasher

Martin Professional's new compact 150W luminare, the smartMAC, recently proved it could punch well above its weight at one of the UK's prestigious dance festivals, Gatecrasher, in the Dirty Disco and Turbo tent. Supporting lighting rental supplier Colour Sound Experiment and LD Simon Barrington were 12 smartMAC's, four LC 2140 LED Panels run by Maxedia Pro media server, four MAC 575 Krypton's, and the new Roadie Compact high powered smoke, haze and CO2 effect machine.

Lighting operator for the tent, Chris Sirey, comments: "The smartMAC's are a nice little unit...very bright and aesthetically they look good. I also found the LC Panels were most impressive with good colour saturation and brightness, ideal pixel pitch, and nice effects for corporate work as well as rock n roll."

Controlling the LC panels with a simple DVI input over fibre optic cable was Martin Pro's Maxedia Pro system. Chris continues: "This was very intuitive and easy to pick up with good standard content."

Simon Barrington designed the panels as individual hangs on the back truss with equi-distant spacing and addressed with gaps in-between the panels using the simple dip-switches to achieve a wide aspect ratio over the four panels. "The transparency of the LC panels looks very appealing and rigging lights behind to shine through is an effect I hope to be able to use in the future." Four smartMACS were rigged on the front truss as well as the MAC 575 Krypton's, with the remainder on the floor punching up onto the tent roof (approx 20m) projecting their exceptionally sharp glass gobos.

Despite the atrocious weather conditions the Martin kit lasted all weekend without any hitches, a testament to their proven reliability and rugged build quality. Haydn Cruickshank, owner of Colour Sound experiment, had nothing but praise for the Martin kit: "Martin kit continually proves that it's got what it takes no matter what the application; it ticked all the boxes for what we wanted to do. Gatecrasher once again proved a huge success for all concerned and we look forward to this partnership continuing on future events."

www.martin.com

Optocore at Glastonbury 2008

Optocore devices were used again for the digital returns system on the Pyramid Stage at Glastonbury this year, sending multiple AES channels to stage processors and distributing them, as well as transporting the RS485 control signal.

Andy Huffer of Optocore's UK distributor, HD Pro Audio, explained the setup: "At FOH, the AES outputs from the Digidesign Profile console were sent to the Optocore DD32E device, with all digital devices locked to an external wordclock.  The DD32E also received an RS485 input from an XTA DP226 processor located at FOH.

"These signals (both AES and RS485) were then sent to the Optocore DD32 device located on stage, and distributed.  The AES signals were patched to multiple outputs via the Optocore internal matrix, allowing the same signal to be sent to multiple XTA DP226 processors where necessary - as in the case of the main PA hangs, where one input signal was "zoned" via several DP226s.  The RS485 signal was also sent from the DD32 device to the first DP226 in the RS485 chain on stage. Custom XLR panels were used to allow for easy patching of all amplifier and processor racks with 4 way AES multicore cables."

Huffer concludes: "The main advantages of using Optocore for this application were the easy transport and distribution of multiple AES signals, an area traditionally full of cable and wordclock issues, plus the solid transportation of RS485 control data, which can prove unreliable over long distances and multiple connections."

The complete system for the Pyramid Stage was supplied by Wimbledon-based RG Jones Sound Engineering and system design was by Simon Honywill, who commented afterwards: "The system was absolutely rock solid throughout. Andy's co-operation and ability was total as ever and the nasty place that is the Pyramid Stage multicore trap was significantly less crowded.  I was determined to maintain the signal in the digital domain from mic input to loudspeaker processor output, and this was an elegant solution."

In Picture: Glastonbury Pyramid Stage

iLive Monitors Swiss Celtic Festival

Switzerland's 7th annual ‘Dance with the Wolf' festival recently took place in Corbeyrier with Allen & Heath's iLive digital system managing monitor mixing.

The two-day festival is a celebration of everything Celtic, with Celtic food, folk tales, dance and most importantly, music. The event hosted eight bands over the two days - from Ireland, Brittany and Wales.

"I have managed monitors for the festival for several years and decided to use A&H's digital system this year," explains Roland Dupertuis, from Allen & Heath's Swiss distributor, Decibel SA.

Comprising an iDR10 stage rack and iLive-144 control surface, iLive managed a range of musicians playing a diverse range of instruments from electric guitars and bass, to harps, mandolins, bagpipes and accordions.

"All the musicians praised the sound quality on stage, and the scene recall is very fast so in two minutes the desk is ready for the next set, and there's no laborious manual set up that you get with analogue mixers. I had forgotten to update the configuration settings for one of the bands prior to the show but the system is so intuitive I was able to correct the problem during the short change over period. The preamp is also excellent, so I only use the hi-pass filter for 90% of the time," concludes Dupertuis.

In picture: the iLive system managing monitors during the ‘Dance with the Wolf' festival in Corbeyrier.

TESS's New Software Reinforces Safety at Glastonbury

The Event Safety Shop was once again be a partner in producing a safe and successful Glastonbury Festival. Despite some early rain, the weather proved generally kind and the show was a sell-out success.

Health and Safety is at the forefront of festival planning, and this year saw important legislative developments - notably the Control of Noise at Work Regulations and the smoking ban; both of which affected the Festival for the first time. TESS worked closely with licensee Melvin Benn to develop policy and deliver practical controls to meet the needs of both pieces of legislation.  Independent monitoring proved the measures were an outstanding success.

This year, TESS, used a new computerised file sharing system to improve the exchange of health and safety information between the Festival, contractors and service providers. The huge amount of documentation generated by the event - and the need to scrutinise safety information, insurances and so on means the easy sharing and retrieval of documents is crucial.

Well over 90 percent of the paperwork for Glastonbury Festival was handled electronically through TESS's new FTP server. Not only did this make the sharing of information quick and effective, but it meant it was easier than ever for contractors to upload risk assessments, method statements and insurance certificates. A system of password protected access levels means various users can interrogate the growing database of documentation and review or download what they need.

Tim Roberts, TESS director and Glastonbury Festival health and safety coordinator commented: "TESS is delighted to be a part of the highest profile music event in Europe, and one that brings a number of particularly complex challenges. Glastonbury has set a benchmark for dealing with noise exposure to stage crews and others - and by actively promoting awareness and proactive measures we have moved a significant way ahead in achieving both legal compliance and a safe place for our crew and artistes to work.

"Our new FTP system has allowed us to avoid drowning in paperwork and maintain a focus on the real-world measures that are needed to keep this fantastic show moving ahead."

Meyer Sound and Montreux Jazz Festival Reunite for a World Celebration of Music

While there is no shortage of music festivals throughout the busy summer season, few can match Switzerland's Montreux Jazz Festival for its rich history, musical diversity and inimitable atmosphere. Many of the world's most renowned musicians have been known to schedule their summer itineraries with an eye toward spending at least a day or two in Montreux. From July 4 through 19 near the shores of Lake Geneva, such luminaries as Quincy Jones, Sheryl Crow, Joe Jackson, Gilberto Gil, Katie Melua and hundreds of others will fill the stages at this annual celebration of music.

Certainly one of the factors cited by so many performers is the Festival's consistently stellar sound. For 22 years, official sound provider Meyer Sound has been an intrinsic part of the Montreux Jazz Festival's sound, bringing a veritable battalion of systems large and small to cover each of its many venues. Montreux has also seen the debut of some of Meyer Sound's most acclaimed products, including MILO, MICA and M'elodie line array loudspeakers, as well as the MJF-212A stage monitor that was named after the Festival.

This year marks the Montreux debut of Meyer Sound's new UPQ-1P wide coverage loudspeaker. UPQ-1P will serve infill duties for the powerful MILO and 700-HP subwoofer system at the Festival's flagship Auditorium Stravinski, where MJF-212A stage monitors will support performers including Gnarls Barkley and Alicia Keys.

Yael Naïm and João Bosco will be performing through a MICA and 700-HP system at Miles Davis Hall, while the M'elodie systems at the late-night Studio 41 and Montreux Jazz Café will keep the beat pumping until sunup. The MICA system at Music in the Park will deliver bands and ensemble groups for the crowds relaxing on the lawn. Meyer Sound's Galileo^TM loudspeaker management system provides complex system DSP and control throughout the Festival.

Swiss-based Skynight and LPS have been enlisted to supply the audio equipment, coordinated by Niveau 2 Mediasystems SA. The systems are designed by Martin Reich of TonstudiosZ Audioconsulting and the audio requirements are handled by Sound Coordinator, Pierre-André Aebischer and Eddy Broquet; while Audio Services Pascal Menghini provides technical support.

"We have worked with Meyer Sound for more than 20 years and needless to say, we have had much success with its equipment," says Aebischer. "The sound regulations in Switzerland are quite strict, and we have to constantly pay close attention to our levels. The Meyer arrays are very focused, and using the Galileo DSP allows us to achieve a very consistent and even coverage."

Founded by head organiser Claude Nobs, the Montreux Jazz Festival presents artists of every imaginable music style, with last year's attendance estimated at 220,000 people. One of the highlights of this year's festival will be Quincy Jones's tribute concert, at which 20 artists will gather at Auditorium Stravinski to celebrate his 75th anniversary.

Dutch Musical Award Winners Feature Alcons Pro-Ribbon Line Array Systems

The live-televised 2008 Dutch Musical Awards Gala included the award for the best musicals of 2008. The first two award-winning musicals feature an Alcons sound system. As expected, ‘Ciske de Rat, the musical' broke all records with no less than seven awards, out of 13 nominations. This musical is not only the most-successful Dutch musical, but also the largest touring musical as well. The show is on tour with an Alcons LR14 system, BF302 subs and ALC amplified controllers.

Runner-up in a total number of awards was Les Miserables, with four awards.  This is performed in Rotterdam's Nieuwe Luxor theatre, with a large number of Alcons LR16's, SR9's, subs and ALC's. During the Gala, previews of new productions were performed as an ‘appetizer' for the coming theater season.

As last year, the Awards Gala itself was also amplified through an Alcons pro-ribbon sound system. This year, designer Jeroen ten Brinke decided to opt for seven arrays of eight LR16 pro-ribbon compact line-arrays each. Being a live-broadcasted event, sightline disruption (for sake of best sound projection) was out of the question, so multiple arrays had to be flown, with a steep tilt downwards.

The complete system was supplied by Focus advanced event technologies of Amsterdam.

www.alconsaudio.com

Kylie Has Europe on its Feet with Meyer Sound MILO

Australian pop diva Kylie Minogue has launched a three-month European tour ‘KYLIEX2008', bringing a killer new band, spectacular costumes by Jean Paul Gaultier, and state-of-the-art staging, multimedia, lighting and sound.

UK-based Capital Sound has once again designed and supplied a powerful Meyer Sound rig for Minogue's tour, based around left and right hangs of 14 MILO and two MILO 120 line array loudspeakers each. For some of the larger arenas, such as Manchester's Evening News Arena and London's O2, two additional side arrays of 12 MICA^TM line array loudspeakers augment the system.

Low end is covered by a combination of six flown 600-HP subwoofers per side, along with eight 700-HP subwoofers per side on the ground. "Chris Pyne (FOH engineer) wanted a powerful but present low end, with both power and attack. Therefore we suggested the 600-HP and 700-HP together as an ideal combination to achieve that," explains Paul Timmins, Capital Sound's project manager.

Because the massive production utilizes the entire stage as a visual backdrop, a center hang of six M'elodie line array loudspeakers is used instead of frontfill loudspeakers. More M'elodies are placed on the ground to balance the imaging.

"With the M'elodies' great output and focus, we've been able to cover the front rows with only six cabinets," says Timmins. "We're able to do so without interfering with sightlines." Three more M'elodies per side are used for outfills. A Galileo loudspeaker management system with three Galileo 616 units handles system drive and DSP.

A long-time Meyer Sound user, Pyne is exceptionally pleased with the MILO rig: "The MILO really offers the right mix of power and articulation. I've always been a fan of Meyer Sound's self-powered design; it's a space saver as well as an efficient and reliable package," Pyne states. "On this tour, we've got a lot of back-to-back shows. We are able to pre-rig the arrays and distribute cables, and transport them four-high on caster frames; it dramatically reduces setup time and makes it safer and more efficient for the crew."

Following Minogue's 2002 ‘Fever' tour and 2007 ‘Homecoming' tour with Meyer Sound MILO family loudspeaker systems, the current ‘KYLIEX2008' tour is making stops in major European cities including Stockholm, Helsinki, St Petersburg, Glasgow, London, Manchester and Riga.

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