Production News Headlines
Robe is Hardwired for Metallica
Worldwide – Thrash heavy metal megastars and heroes Metallica are in the middle of a world tour following the release of their number one album “Hardwired … to Self-Destruct” at the end of 2016, featuring a stunning and provocative in-the-round production design by Dan Braun for the arena section, with highly creative lighting by Rob Koenig and 72 Robe BMFL WashBeams from Premier Global Production as the main lighting fixtures on the rig.
Rob has worked with the band for around nine years, and in that time, they have performed several in-the-round tours. It’s a format they prefer for getting physically and psychologically closer to their fans.
For this one, which started with a stadium section and is currently playing arenas, Dan’s idea was based around 52 one-metre square video cubes suspended above the stage, 36 of which are on steel cables and a custom motion controlled hoist system developed by TAIT and the other 16 are in fixed positions.
Apart from presenting a distinctive and very precise aesthetic, this set architecture has really defined Rob’s lighting positions for the indoor legs of the tour.
As per Dan’s request, there is no ‘traditional’ trussing on the show, instead all the BMFL WashBeams are attached to and associated with a video cube.
A combination of the TAIT Navigator and grandMA2 control systems and virtual markers in the MA 3D visualiser are being used to process and physically pinpoint the lighting positions. A Disguise (formally known as d3) video server also receives positional information from the Navigator to map the video exactly to the four-faceted moving cubes.
Of the 72 BMFL WashBeams, 52 are mounted to the bottom of the cube framing structures. The other 20 are rigged on two long cable bridge trusses along the dasher line of the arena and used as follow spots on the four band members.
They are linked to a Spotrack remote followspotting system, with the operators standing near the FOH platform doing the pan and tilt and actual following, while Rob has control over all the other parameters of the BMFL follow spots via his grandMA console.
Rob needed 20 overhead followspots – five per band member – and using BMFL WashBeams in this scenario is an excellent solution. It’s more practical, economical and safer than having 20 operators in the roof each night amid tons of pyro! Additionally, it provides excellent continuity.
Rob first used BMFL WashBeams on the 2016 Guns ‘n’ Roses tour for which he worked as lighting director and programmer with Phil Ealy, and was absolutely “blown away” with how many different permutations and options there were with these powerful fixtures for coloring and texturing the stage and the artists.
“It’s the best high-powered hybrid fixture on the market right now,” he stated.
The BMFL WashBeams are the primary lights of the Metallica design and are used in every song except one.
It’s not a massive lighting rig for an arena tour, mindful to keep the structural integrity of the video cube design in mind. However, they give plenty of latitude for imaginatively lighting the band on the 44ft. square stage below.
There are some other lights on the rig: 32 hybrid moving fixtures on top of stacks of Meyer VLFC subs in the corners of the arenas, and a selection of different strobes: 44 LED wash / strobes flown for audience light, plus 16 strobes and ten flood/blinder/strobes on the stage floor. Other than these, it’s all down to the BMFL WashBeams. While the show is video driven, Rob relishes the challenge of using the ‘negative space’ for weaving in his lighting looks and moments.
There is a lot of communication between lighting and video on the tour and Rob is in constant contact with the band’s content creator Marcus Lyall of KPX Video and Andrea Cuius of Nocte Studio from London as well as video director on the road, Gene McAuliffe.
He thinks that fixture counts are generally getting bigger on tour and admits he was a little nervous about lighting this one with around 140. The minimalist approach has also paid off.
“This show has been one of the more uniquely collaborative shows I have ever worked on, very challenging and very rewarding for all of us,” he commented.
The biggest task is making so few fixtures go such an incredibly long way, which is required in order to give each song in a fast-paced, full-assault set with a different look and feel.
Talking more generally about Robe, Rob thinks the brand is at the top of its game at the moment: “From the more specialised fixtures to signature luminaires like the BMFL, Robe has developed a series of lights that are reliable, robust and ideal for touring.”
He admits that he initially thought the BMFL series might be a little too ‘refined’ for the kind of heavy metal chaos characteristic of a Metallica show. However, when the BMFL WashBeam was launched: “It smashed that wall – it’s great for all genres – metal, pop, dance, or for television work. It’s just highly flexible.”
He added wryly: “We actually beat the crap out of them on the stadium leg of the tour which had no roof and they all survived admirably.”
Rob runs lighting for the shows himself using a grandMA2 console. He worked closely with programmer Joe Cabrera who helped ensure the infrastructure was set up for the Navigator, MA and disguise control systems to all talk to one other in addition to programming lighting, while second lighting programmer Troy Eckerman also collaborated with Rob in refining the complexity of the lighting cues.
At the start of the fall European leg, they underwent a few days of production rehearsals in Malmo, Sweden, ahead of the first gig in Copenhagen’s Royal Arena.
Premier Global Production, based in Nashville, Tennessee, is the tour’s worldwide lighting vendor, where the account is looked after by Anthony “Geddy” Kordyjaka and James Vollhoffer.
photos: Ralph Larmann
23rd March 2018
Matt Jones Runs Tanzanite Light Show with ChamSys MagicQ MQ500
USA – Among the unique qualities that make Tanzanite a much-sought after gem is its remarkable colouration, which changes from blue to violet to burgundy, depending on its crystal orientation. It is altogether fitting, then, that this stone lent its name to the “Tanzanite Stage” at the recent Gem and Jam Festival, which was held at the Pima County Fairgrounds. Aside from the procession of jam band stars that appeared there from 25th - 28th January, the stage served up an array of beams and washes in ever-changing colours, thanks to a multi-faceted lighting rig that Matt Jones drove with a new ChamSys MagicQ MQ500 Stadium console.
“Some of the artists brought their own LDs, but we handled the majority of acts with the MQ500,” said Jones. “We had a diverse range of bands like Endoplasmic, Railroad Earth, Truth Cartel, Masego, and Breaking Biscuits (a side project by Break The Silence and Disco Biscuits), to name a few. There were 77 fixtures on our rig, and we ran them a lot of different ways, using seven different universes via Art-Net. Our goal was to give every band its own look and avoid repeating ourselves over the course of the festival. I busked the entire time and yes, the MQ500 was great for busking.”
Jones programmed the show on his MagicQ MQ80 with LightCoverse, then transferred his work to the MagicQ MQ500 Stadium. “I have been a longtime ChamSys user, and this was my first time working on the MQ500,” he said. “I absolutely loved having the second screen on the MQ500. It gave me more real estate to put things on. So, I could have my groups/layout on one screen and my palettes on the other. This made accessing individual fixtures much easier, which is great for busking.”
Given the importance of busking at a festival like Gem and Jam, Jones placed a priority on the convenient layout of his console. “When you are in the middle of it, you want everything within easy reach,” he said. “There were just a lot of thoughtful features in this desk. The addition of more faders, as well as the new set of execute buttons above the playbacks, were tremendous. Having the new execute button grid in the middle of the desk was a great idea. It was a great place to drop all my positions.”
“The on-board visualiser was also cool,” continued Jones. “But what was the most powerful aspect of it was by having the fixtures' real-world XYZ coordinates in the desk, it enabled me to utilise the Plot View for easily making groups and focusing on lines and to points. Having this on the desk is awesome, and really speeds up programming (or busking).”
For Jones, the user-friendliness of the new console was driven home to him by how quickly it was picked up by his L2, lighting crew chief Kendra Richards of Brown Note Productions. “I can’t say enough about the quality of gear, and professionalism of the Brown Note crew,” Jones said. “Kendra had never worked on a ChamSys before, but the console was so user-friendly, she picked it up quickly, and I felt comfortable enough to let her share in some of the festival operating.”
The convenient features of his console left Jones with more time to spend on creating a show that reflected the many moods of the music on stage. “With all these jam bands performing, the music took off in many different directions,” he said. “I’m happy to report that our light followed every step of the way.”
23rd March 2018
Avolites' Titan Exalts Extraordinary Effects at Poland's Exodus Conference
Poland – The Christian Exodus Festival took place at Gdańsk's 15,000-capacity Ergo Arena in February, featuring inspirational effects lighting controlled by an Avolites Sapphire Touch console, supplied by Prolight.
LD Tom Jones created vibrant and uplifting lighting for the four-day conference and festival, which featured talks as well as live performances. To achieve his challenging and ambitious design, Jones programmed and controlled the lighting for all events using the Sapphire Touch, powered by Avolites' effects-focused Titan 10.1 interface.
"Despite some elements of the show being programmed using cue lists such as the opener and some guest artists, most control was made on the fly as worship is a dynamic environment," says Jones. "Thankfully, the Sapphire Touch has an intuitive layout, which makes busking extremely fast and simple. Motorised faders and on-screen labelling save a lot of time when needing to jump from page to page."
Aimed mainly at young people, Exodus prides itself on being a modern and atmospheric experience for attendees. The theme of this year's Exodus was 'Forward', focusing on 'putting trust in God and his plan for us'. Reflecting this theme, the festival organisers designed the initial lighting and video content before collaborating with Jones to finalise the show design.
"We attempted to translate the theme of the festival as much as possible with the use of video walls surrounded by effects lighting," says Jones. "There were many challenges, such as the variety of stage performers and the different feels required for a sermon or for live music, for instance. Titan on the Sapphire Touch offers great features for controlling so many different looks. My main saviour was Key Frame Shapes, which made it possible to create radically different looks for each channel in seconds."
Over the four days, Exodus featured lectures, workshops and meetings addressing current topics such as personal development, business and sexuality. A number of artists performed, including Sarsa, Buslav, EXIT Band, Michał Król, Aleksandra Hulecka, Dawid Leszczyński and Michał Rassek.
"This was my second year working as LD for Exodus and in the spirit of such large shows, things did not always go to script or running order! Songs are added, changed and extended. This, and the language barrier, made for a very lively show! The Sapphire Touch, loaded with Titan 10.1 is a powerful console and allowed me to mix things up and seamlessly switch between busking and pre-programmed content. I always love working on Avolites desks."
"I'd like to say a massive thank you to the Avolites team who helped to arrange the console at such short notice," adds Jones. "They were extremely helpful and handled the pressure with patience and professionalism."
23rd March 2018
Elite Multimedia expands design solutions with Elation and Claypaky
USA – With the 2018 concert touring and live event production season now in full swing, production provider Elite Multimedia is expanding its rental inventory even further. Featuring an addition of Elation Professional Artiste DaVinci, Platinum Seven Wash, Rayzor 360Z, DTW Blinder 350 IP and 700 IP fixtures, along with a new shipment of Claypaky Scenius Unico luminaires, all the innovative design solutions are now available through the Nashville headquarters of the production partner.
“We have been very fortunate at Elite Multimedia to be experiencing a sustained growth in our rental operations for both concert touring and other live event production designs,” said Jason Jenkins, Elite Multimedia director of operations. “To keep pace with this growth, we are very excited to be bringing in additional inventory from both Elation Professional and Claypaky that will provide our clients with an even greater depth of creative possibilities.”
Using a 270W Cool White LED engine, the Elation Professional Artiste DaVinci delivers over 12,000 total lumens with an ultra-wide 6-48° zoom, full CMY colour mixing, linear CTO colour correction, seven dichroic colours, and both rotating glass and static metal gobos. The Platinum Seven Wash is a high-power seven-colour wash luminaire, featuring (19) 25W multi-chip LEDs including red, green, blue, white, amber, cyan and UV, along with a fast 5-50° beam angle zoom range. A compact beam and effect luminaire, the Rayzor 360Z features an 8-77° motorised zoom, full 360° pan and tilt rotation, pixel control, adjustable colour temperature, an electronic strobe, dimmer, and selectable dimming curve effects for the three 60W Osram RGBW LEDs. The IP65 rated DTW Blinder 350 IP and 700 IP feature two (350 IP) and four (700 IP) high-powered 175W 2-in-1 Warm White/Amber COB LEDs, a wide beam angle, full colour temperature control, independent dim-to-warm channel control, and an easily attachable 15° narrow beam filter.
The Claypaky Scenius Unico utilises a 1400W Osram lamp, to produce beautiful spot effects, with six rotating gobos, a rotating prism, an animation wheel, and a precise framing system. Also an excellent wash light, the Scenius Unico features a system of varying diffusion filters, plus it can produce a powerful and narrow beam of concentrated light, with a minimum beam angle of only five degrees.
23rd March 2018
PMX Joins Adamson Network with Significant E-Series Investment
The Philippines – PMX has cemented its status as one of the Philippines’ top production technologies suppliers with a significant investment in an E-Series loudspeaker system from Adamson Systems Engineering. Adamson’s exclusive Filipino distributor, Stage Craft International, consulted on system choice, made the sale, and provided PMX staff with extensive training in January 2018.
“As we’ve grown to take on larger tours and festivals, we’ve had to expand our inventory accordingly. Adamson’s E-Series boasts the sound quality that allows us to differentiate from the competition and rider acceptance we need in a large-format loudspeaker solution,” comments PMX Owner Ferdi Garcia. “The Adamson product has been very well received by the K-pop community, which has a strong following in the Philippines. We’re looking forward to offering our customers this premium product for all kinds of applications.”
PMX’s new E-Series package includes 18 E15 three-way, true line source enclosures and eight complementing E219 subwoofers, with Stage Craft able to provide additional cabinets for more expansive systems. Coinciding with the purchase, Stage Craft invited PMX staff to its Mandaluyong City headquarters to undergo Adamson’s globally standardised applied certification training conducted by David Dohrmann, Adamson’s technical director for the APAC region, and Ayumi Hanano, APAC education and support co-ordinator.
“We very much appreciate the support we’ve already received from Stage Craft and Adamson,” adds Garcia. “Having so much experience and audio expertise behind us made us even more confident that we made the right decision joining the Adamson Network and becoming an E-Series partner.”
Over the years, PMX has evolved from specialising in basic lighting systems to supplying sophisticated audio, lighting, video, and staging systems for live and corporate events of all sizes. As such, the company has supplied turnkey solutions for the likes of Tiesto, Avicii, Steve Aoki, and many other top international artists while also earning a reputation for multimedia system design and integration for a wide range of venues.
“We’ve had a tremendous response to Adamson in the Philippines since taking on the line last year, and PMX took advantage of a major opportunity with their recent investment,” comments Elizer Ylanan, Stage Craft’s technical sales engineer. “We’re looking forward to supporting them as they continue to grow their profile and supply audio solutions for major clients and events throughout the country.”
In picture: Adamson applied certification trainees, including technicians from PMX, at Stage Craft International HQ.
22nd March 2018
HSL Walks Between Worlds with Simple Minds
UK – HSL is on the road as lighting suppliers again with Scottish rockers Simple Minds and their long time lighting designer Stephen Pollard who has created another innovative look for the band’s acclaimed new “Walk Between Worlds” album.
Released in February as part of a celebration of an incredible 40 year career, the album is a blend of the introspective yet optimistic elements of their music with some huge electronic and stadium rock moments that kept them on the ‘alternative’ side of cool. The performance features the entire new album, bookended by a careful selection of Simple Minds early material and classics.
This was a showcase tour for the new album. As such, the show paused for two question and answer sessions between Jim Kerr, guitarist Charlie Burchill and journalist / radio presenter Billy Sloan. The question and answer sessions included chatting about the new album and how the band’s music has changed and evolved over the years.
Visually for this tour, Jim wanted a dramatic change from what had come before for, Stephen explained a different way to presenting a show that combined a popular pick of hits whilst showcasing the powerful work from the new album, rather looking at the past at this stage of their career, the emphasis was on the future.
HSL has been the band’s lighting supplier since 2011, when Stephen first met MD Simon Stuart at HSL’s Blackburn UK headquarters, and has taken his business there ever since.
“They always do a fantastic job and are a pleasure to work with,” he affirmed. The account is project managed at HSL by Andy Chatburn.
This first leg of the tour played to a selection of intimate venues around the UK and Europe. As a proving ground, the new material consistently went down well every night with the fans singing every word of the new songs even though the album had only been out a few days.
One of the very noticeable and recent changes within the band is founding members Jim Kerr and Charlie Burchill have been joined by an exceptionally strong female line-up featuring drum/percussionist Cherisse Osei, keyboard player and backing vocalist Catherine Ad and long time backing singer, and sometimes lead vocalist, Sarah Brown. Together, with bassist Ged Grimes and multi-instrumentalist Gordy Goudie they make up one of the most formidable Simple Minds line-ups ever.
“Jim really wanted to keep the impetus we achieved with the last acoustic tour going with these new additions to the band,” explained Stephen. Also with this, he wanted a new visual approach.
Stephen’s Simple Minds shows in the past have a reputation for being beamy, blindingly bright to dark and moody, but this time the brief was to do something radical and new, so he did!
The visual essence started with a new hybrid lighting fixture invented by Stephen combining URC’s GoldPix 77 (an LED warm-white halogen look-alike 7x7 pixel-mappable panel) with eight Martin Sceptron VDO 10s mounted on the front. These were then rigged on custom stands.
This gave the combination of two very different mappable light sources through which he could potentially play video as well as programming traditional lights, one outputting in the tungsten CT range and the Sceptrons in full colour and cooler, crisper whites. They were dubbed the 'Sceptopix', and five were used on this leg of the tour at different heights positioned around the stage, giving full tungsten and daylight effects as well as dynamic blocks of video driven output.
HSL’s Andy Chatburn engineered and fabricated all the Sceptopix fixtures. Andy commented: “Stephen usually comes up with something off-beat and wacky, and we really love challenges like this and making his ideas into tourable solutions.”
All the lighting specials for this section of the tour had to be floor mounted and quickly and easily deployable, and these were combined with a very straightforward promoter-supplied two truss rig specified by Stephen, comprising seven spots and six wash moving lights in the front and eight washes and seven spots on the back.
Upstage, the design included two rows of Martin LC2140 plussemi-transparent2m x 1mLED video panels. The LC2140 panels were concertinaed in seven two-way jointed sections in order to be free standing and behind these, Perspex mirrors were fitted to reflect the lighting, video, the band and for the audience to see themselves.
Lighting pointed into the mirrors and strobes in particular produced some crazy, funky looks that brought a completely new spatial dimension to the stage. It also made the entire video surface appear larger than it actually was in a neat bit of visual illusion.
Twelve Martin Axiom hybrid moving lights were mounted in stands positioned at different heights upstage, and 14 Mac Aura XB were positioned around the floor and set risers.
The riser edges were also mirrored but the fronts remained open as to allow a see-through path to the video screen at the back. At times with the smoke and atmosphere, drummer Cherisse Osei appeared to be floating.
Stephen created all the tour’s video content working in conjunction with programmer Matt Brown. Much of it was inspired by the ‘Walk Between Worlds’ album artwork, graphical, bold and colourful in content, run through a Catalyst media server where it was animated, treated and affected. This was triggered via Stephen’s grandMA full size console.
Ryan Soave joined Matt as the second HSL crew-person technician, with Stephen commenting that were both: “Fantastic people, highly skilled and great to work with.”
He continued, saying: “I really love the way HSL come up with good practical solutions and help me stretch the budget and the creative options as far as possible.” He is really looking forward to taking this basic design concept and growing and expanding it as the album cycle unfolds. Currently they are planning the campaign – their 17th studio work – over the next two to three years.
Stephen has worked with Simple Minds for an incredible 38 years: “Most definitely the longest relationship I’ve ever had,” he quips. Over that time he is still coming up with plenty of new, fresh and imaginative visual ideas and concepts.
He comments that it has been an incredible journey not just personally with the band, but seeing how the technology has evolved and changed in that time and how that has consequentially enabled different and continually exhilarating approaches to each touring campaign.
photos: Lindsay Cave
22nd March 2018
All Time Low Spring into 2018
UK – The current tour by All Time Low is indicative of the frenetic pace this band sustains. Barely had they left rehearsals than the run of five gigs through the UK had ended and they’re off across the Atlantic for some North American dates that takes them through to the end of June. Once again, LD Jeff Maker has designed a high impact show with the back of the stage being dominated by a fractured, post-industrial looking LED screen supplied by Video Design.
“I’ve worked with Video Design on and off for the last couple of years”, said production manager Tom Clifford-Loynes. “This short UK tour, all back-to-backs, has been typical of the service they provide. Great equipment and first-class crew; we’ve had absolutely no issues with any of the hardware. The crew have been wonderful as usual, don’t forget the screen is quite a big piece of real-estate yet here we are two hours into loading in on the fourth show, it’s 11:30am and the backline is just being set up before we all break for lunch.”
The screen is used for a mix of content and IMAG, Video Design also providing the three camera PPU. “The content is produced by Oliver Hutchinson,” continued Clifford-Loynes, “He has a done a really good job. Between content, the excellent camera images, and the physical impact of the screen shape, they really bring the wow factor to the show. The audience absolutely love it. A good package neatly executed.”
photos: Josh Halling
22nd March 2018
Kelsea Ballerini Performs with Bandit Lites
USA – Grammy nominated singer-songwriter Kelsea Ballerini has taken to the road on The Unapologetically Tour with a lighting package designed by Sooner Routhier and provided by Bandit Lites. With her single Legends topping the charts in February, Ballerini now can boast four No. 1 songs, more than any other female artist since 2015.
The touring rig consists of Bandit Lites supplied Phillips Nitro 510-C, Elation ACL 360i, Robe Pointes, Color Kinetics Color Blaze 72, two grandMA 2 lite consoles, with fixtures on set carts along with a collection of floor additions.
“We are using each venue’s flown rig, which can be unpredictable, so our touring gear really needed to work hard throughout each song,” said Michelle Saintey, the tour’s board operator. “We’ve got some Robe Pointes on either side of the stage that provide a textured stage wash throughout most of the show, freeing up the fixtures on the set carts for a lot of visual effects.”
Routhier fashioned an audacious and dynamic production dominated by the striking heart piece centre stage along with precisely placed mirrors.
“We’ve gotten to have a lot of fun playing with Robe Pointes reflecting off the mirror, which allows us to create some really interesting effects and nice, fat beams,” said Saintey.
Programming for the production was provided by Andre Petrus, who Saintey credits with a very organised console set up, allowing her to quickly step up to the desk and immediately run a show.
“All views are set up to follow along with the show, and it’s all very intuitive,” she said. “I don’t think I’ve actually changed his setup other than adding a few executors for days with par can rigs.”
With the timecode giving the show its nice, polished look along with video content being triggered from the console, Saintey can focus on calling followspots and keeping an eye out for any issues during the show.
One issue that Bandit’s team aided in solving was the lack of a dedicated video technician, with Bandit Lites technician Ryan Waldron stepping up to the plate.
“Ryan has been pulling double duty as our combined lighting and video technician,” said Saintey, “and he has done a stellar job of quickly learning the gear and making sure any issues are quickly resolved.”
“From the moment I saw the rehearsals for Kelsea Ballerini’s production, I knew it was an incredibly special tour,” said Bandit’s business development officer, Brent Barrett. “[production manager] Chris Diener and [tour manager] Dustin De Rosier are both consummate professionals and I look forward to any endeavour with them and this team.”
Providing consistent, on the road care is an aspect of the Bandit standard that the entire team at Bandit Lites strives towards, whether its gear or crew related.
“Bandit has been great about supporting this tour and supporting me as Kelsea’s LD,” finished Saintey. “Any time we’ve needed something, I’ve been able to hit up Brent Barrett or project manager Don Lockridge and we immediately have what we need.”
22nd March 2018
Procolor Mexico Invest Massively in PR15 Roof Systems
Mexico – Production and Rental company Procolor, based in Guadalajara, Mexico, has recently made a massive investment in staging and rigging equipment from Eurotruss. Procolor by purchasing two complete roof systems, the PR15 24x15m with an impressive trim height of 16m from the ground and an impressive load bearing capacity. Next to the PR15 with all options as full scaffolding stage, side houses, side wings and an integrated back storage Procolor invested in two FOH 6x3m multiple stores, over 200m crowd barriers and a few hundred metres of Pre Rig Truss (PRT).
For 30 years Procolor, one of the most well known production and rental companies in Mexico and Latin America, is the number one in lighting, sound and video but wanted to expand its inventory with truss, stages and rigging to have total 360 control over tours and the loyal client base of international top artists.
After searching for the most economic and efficient system, Javier Barba, owner of Procolor, realised that he needed to bring in a truss brand that not only delivers a roof system but offers the long term support with high level of expertise and competence.
“Already from the first meeting I recognised that Eurotruss represented by Luis Duque from the LATAM Office and Martin Kuyper, Founder and Owner of Eurotruss could deliver the powerful mix of comfort, support and the right products what made me decide to invest massively into it,” states Javier Barba. An initial order of one complete roof system was immediately doubled and extended with hoists, barriers, FOH and single truss inventory in order to cope with the demand of the larger tours and the growing demand in trussing, stages and rigging. “The necessity to have that part under our own roof was evident and Eurotruss has the best products and the support which is crucial in such a large investment. The PR15 is the true innovation in aluminium stages with a high load capacity, perfect trim height, all options and fast in- and out load to keep cost low and ability to do all the shows with our own gear.”
22nd March 2018
Squeek Lights Goes Rogue for August Burns Red
USA – Grammy-nominated August Burns Red kicked off its winter tour on 5th January in support of its seventh studio album Phantom Anthem. From Montreal, where the tour began, to the House of Blues in San Diego and every place in between, fans are packing venues to immerse themselves in the band’s raw and powerful brand of metal-tinged music. They aren’t leaving disappointed either, not just as a result of the group’s thunderous sound, but also because of the deep transformative light show designed by LD Victor Zeiser of Squeek Lights.
Working with his lighting director Dave Summers, Zeiser has created a seamless flow of big multi-faceted looks that draw audiences into the captivating music of his client. Impressively, he and Summers conjure up this magnetic visual aura with a relatively small rig anchored by Chauvet Professional Rogue fixtures.
“We have six Rogue RH1 Hybrids, four Rogue R1 Washes and three Rogue R1 FX-Bs, along with four NEXT NXT-1s and some strobes, that’s about it,” said Zeiser. “We applied the same design aesthetics to the rig as we have in the past, but we wanted to add new fixtures and new looks to keep things fresh. The band was excited by the demo we gave them of the RH1, and they were gung-ho about incorporating this fixture into the rig for their tour, so it became a big part of our design.”
That design is described by Zeiser as “hard hitting,” with continuous movement, variations between spot and beam displays, and transitions from beam heavy looks to layers of texture. Like the music of August Burns Red, which at times will depart from its traditional metal sound to incorporate other influences, the light show avoids predictable patterns.
“Dave has been great at flowing with the music,” said Zeiser. “He loves the variety of the looks he can get out of the RH1s. I think he’s using them an equal amount of time in beam mode and blown out spot mode. He’s also using them with a combination of the prisms. Another thing we like is the nice interplay between the narrow beams from the NXT-1 and the wider light from the RH1s. They complement each other very well.”
Zeiser’s design calls for two Rogue R1 Wash fixtures and two Rogue R1 FX-B units to be hung on truss located to either side of the stage. The RGBW washes are used to sidelight the band members and work in coordination with the NEXT NXT-1 and Rogue RH1 Hybrid fixtures to envelop the stage in deeply saturated colours, creating a surreal effect.
Adding impact at key moments and engaging the crowd with audience lighting are the four Rogue R1 FX-B fixtures. “We use the FX-Bs to crisscross the stage with narrow beams. This plays off nicely against the washes,” said Zeiser. “The FX-Bs were part of our show on the last August Burns Red tour, but since the band responded to them so positively that time, we decided to sneak them in this year along with all of the new things we have on our rig.
Also new this year is a stunning set piece that sits upstage just off the drum riser. Designed by Carson Slovack, it’s a replica of the band’s Phantom Anthem album cover logo. In its centre, giving it a captivating illuminance, is a collection of Chauvet DJ Festoon fixtures. It is one of the many things about this lighting/stage design that, like the music of August Burns Red, burnishes itself into the memory.
22nd March 2018
Sennheiser Pulls Out All the Stops for Brit Awards 2018
UK – Hosted by comedian Jack Whitehall and once again held at London’s The 02 Arena, this year’s BRIT Awards saw two of Britain’s most exciting breakthrough pop acts, Stormzy and Dua Lipa, take home the top prizes, and Sennheiser’s Digital 6000 series get taken to extremes.
Britannia Row Productions provided all requirements for the show’s audio system, which was designed by BRITs’ head of sound Colin Pink, with a combination of Sennheiser Digital 6000 and 9000 series microphones proving the majority choice for both artists and presenters. Now in its 16th year of supporting the event, this year saw Sennheiser make the almost impossible a reality.
As well as winning both British Album Of The Year and British Male Solo Artist, Stormzy gave an epic performance beneath an indoor waterfall effect which soaked both him and his SKM 6000 as he sang his hit singles Blinded by Your Grace, Pt.2 and Big for Your Boots.
“When I was told about Stormzy’s production idea for the BRIT Awards, I thought, wow! How are we going to do this and which Sennheiser mic would be the best choice?” says Raphael A. Williams, Stormzy’s sound engineer. “We decided to use D 6000 along with a 9235 dynamic capsule.”
To ensure the microphone was fully waterproof, Raphael completely covered the mic head with cling film during rehearsals. “But that took the clarity away,” he recalls. “So we tried putting cling film under the foam closer to the capsule and that worked really well. Our original plan was to swap the mic out straight after the waterfall section of the show, but we didn’t need to as it worked so perfectly. After the rehearsal, we opened up the capsule and, even though the cling film wrap and the capsule were soaking wet, the microphone still worked. We dried it off in rice overnight and it worked great the next day, too.”
Raphael says the overall result was amazing. “I could hear the water hitting the mic in my in-ears and I thought, this is incredible!” he says. “D 6000 is so clean and transparent; What you put in really is what you get out. Stormzy was excited about the event and the fact that we were able to execute his creative idea without any glitches was great.”
Providing support in the run-up to the show was Sennheiser artist relations manager Jack Drury, with customer development and application engineer Andrew Lillywhite on hand throughout the show, both working hard behind the scenes to make sure every request was met. One major task was providing Rita Ora with a fully customised white SKM 6000.
Sam Savile, Rita’s monitor engineer, had been looking to move her to Digital 6000 after testing it with another artist last year and instantly becoming a fan.
“When Colin Pink got in touch to say that Brit Row had a large amount of D 6000 available on site and offered it for our use, it was the perfect opportunity,” says Sam. “I first got the request from Rita for a white mic for the performance on the Friday evening before the show, when the crew were just about to take off for another show in Kosovo.”
Sam immediately texted Jack Drury, who put him in touch with Rebel Trading Company (RTC), specialists in the design and manufacture of custom microphone stands, to start the customisation process rolling.
“The 9235’s consistency with the 5235 made it an easy step across,” says Sam. “But the big challenge was getting the mic to site in time for the BRITs’ dress rehearsal, as we understandably weren’t prepared to make a switch after that.”
“We got an email from Jack late Friday night asking if we could do a super-fast customisation on a D 6000 for Rita’s performance at The BRIT Awards,” explains RTC’s Maria Perna. “Initially, it looked very unlikely as we were not going to get our hands on the mic until Monday lunchtime, and it needed to be back at Sennheiser for Tuesday morning ready for rehearsals. It just didn’t give us enough time to prep, paint and top coat to the standard we work to. But we have supplied quite a few Rebel Custom Mic Stands to Rita over the years and we love working with her and her team; they are valued clients, so we were not about to let this one go.”
Maria called Jack and then came a game changing result. “He was willing to drive the mic over to us on Sunday, which meant if we got to work straight away Sunday evening the customisation process would be possible,” she smiles. “It was a great example of everyone pulling together and doing what’s needed to make it happen. I must say, watching Rita’s amazing performance and also seeing how the mic finish really complimented the outfits made it all worthwhile. I loved the creative team’s vision; it’s all in the detail and we are happy we were a part of it.”
“The service was superb from beginning to end,” adds Sam. “Jack really went above and beyond to get the mic over to Rebel in time for the paint job to be finished. Turning around a custom paint job in a single office day is no mean feat, especially with the additional disassembly, assembly and testing of the SKM 6000 wireless microphone.
“I’m really pleased with the finished product and so is Rita. The paint job is flawless and the sound quality is superb. I’ve been a fan of the Sennheiser 5200 for years, but the increased sound quality with D 6000 is instantly noticeable and the lack of a compander makes for a really clean top end.”
In picture: At the BRIT Awards, Stormzy performed with a Sennheiser SKM 6000 wireless microphone underneath an indoor waterfall. photo: Andrew Timms; Rita Ora singing through her white SKM 6000 at the 2018 BRIT Awards. photo: Getty Images, Karwai Tang/WireImage
22nd March 2018
Arlo Guthrie Warms Up Miranda Lambert Livin’ Like Hippies Tour with Chauvet Professional
USA – Having not yet reached her 35th birthday, Miranda Lambert wasn’t born in time to experience the Summer of Love in 1968, but the multi-Grammy winning country superstar captures the heartfelt openness of those heady days in her aptly named Livin’ Like Hippies tour. Opening with a cover of the John Prine classic, “That’s The Way The World Goes Round,” her 20-song set takes audiences on a lively, freewheeling road trip that offers an unruffled look at life, love and happiness.
Lambert’s lighting designer, Paul Guthrie, strengthens the connection between the artist and her audience in this deeply personal show with help from the warm white glow of Chauvet Professional Strike 4 fixtures, supplied by Upstaging of Chicago.
Guthrie is using 40 of the multi-formatted fixtures on the 23-city arena tour, which kicked off on 23rd January. Flying an equal number of Strike 4s on downstage and mid-stage truss, he relies on the warm white luminaires (each of which has four 100W COB LEDs) for audience lighting.
“I really like the way the Strike 4 works as an audience light with its intense warm white output,” said Guthrie, who first used the fixture two years ago when lighting the Macklemore & Ryan Lewis Intimate tour. “They have the output to light up an entire arena, but you can turn them down for gentler looks.”
For the Livin’ Like A Hippie tour, Guthrie and his lighting director Taylor Price are running the Strike 4 fixtures in their rig at 100% when the show calls for it, and then lowering the output at other times. “Taylor is a lighting director extraordinaire,” said Guthrie. “He’s doing a great job running the entire rig.”
The Strike 4 fixtures are especially effective at lighting the crowd during the sing-alongs in the show. “Miranda likes to see the audience, especially during the sing-alongs,” said Guthrie. “The Strike 4s give us good lighting at those times, while at the same time not blinding people in the crowd.”
At other times in the show, the Strike 4 fixtures are turned up full blast to accent some of Lambert’s no-holds barred raucous songs like “Kerosene.” Evenly spaced on the mid-stage truss and on the slightly wider downstage truss, which runs the entire width of the stage, the Strike 4 units also contribute to creating a sense of depth, drawing eyes to the video panels that are arranged across the back deck.
Guthrie also changes things up by varying which pods in the Strike 4 units are illuminated, creating asymmetrical configurations. From time to time, he also varies the brightness level of the different pods. This underscores the open road vibe of the show by evoking images of a starry night.
Mostly though, the versatile Strike 4 fixtures are used to light the audience and connect people to a powerful multi-platinum artist as she takes them on a world-wise journey worthy of anything Ken Kesey and his Merry Pranksters could have imagined back in their hippie days.
21st March 2018
There’s a Bright Bunch at Gearhouse
South Africa – The Gearhouse group of companies has made significant investments in the latest lighting technology over the start of 2018. “It’s crucial for us as the largest technical supplier in South Africa to make this sort of regular CAPEX outlay. It keeps our capabilities ahead of the pack,” says Peter Abrahamse, lighting workshop manager in the Johannesburg Branch. “So far, we have taken delivery of 460 brand-new lighting fixtures and seven new desks, which have immediately been deployed around the country. We split the purchase between the Gearhouse South Africa and INHOUSE Venue Technical Management branches according to their specific requirements.”
“The fixture purchases for this year were mostly rider-driven” adds JHB lighting operations manager, Adrian Skinner. “We had to consider the individual needs of a very diverse spread of client and event types as well as the particular characteristics of our regional lighting needs. The Western Cape region, for example, tends to prefer a more compact product suited to venues with less headroom whilst the Johannesburg region prefers the shutter functionality and brightness output of a larger unit like the BMFLs. The Kwa-Zulu Natal market is primarily looking for ease of use and reliability.”
The team cherry-picked items across the Robe, Phillips, MA Lighting and Martin stables; buying 48 Robe BMFL Blades, 48 Robe LEDBeam 150s, 48 Robe Spiiders, 48 Phillips Varilite VLZs and seven MA Dot 2 consoles through local distributor DWR Distribution. A further 192 Martin Rush Pars, 48 Quantum Washes and 28 Quantum Profiles were purchased through Electrosonic, which holds the Martin Professional agency in South Africa
Each fixture has attributes that make it the “favourite” for a specific application or market sector. “The BMFLs are currently highest discharge light output in the JHB lighting arsenal, coupled with the fastest shutters in the game and high-speed precision movement while the VLZs offer unparalleled brightness for an LED profile and both have phenomenal shutter versatility, which makes them ideal for corporates, theatre use and concerts” says branch operations manager, Stuart Andrews.
The compact size and intensity of the Quantum Profiles and Robe Spiiders have made them a winner in the Cape Town market for quite some time already and the new units are supplementary to the Cape Town branch’s existing Quantum and Robe 600 stockholding. “This high-output LED fixture has great on-board effects for everything from the rock and roll stages to high-profile corporates but also lends itself to TV work due to its colour mixing and even field of light and low power consumption,” says CTN lighting operations manager, Andrew Gleave.
“The multi-functional, diminutive Spiiders are a notch brighter than the Robe 600 which they will replace in the Durban branch and offer superior control on channel programming” adds Goodman Nyoka, who heads up the lighting division in the Durban branch.
“The Rush Pars have a fantastic zoom function and extraordinary reliability which make them solid workhorses, and they are really valued for that,” continues Adrian. “The LEDBeam 150s also provides great eye-candy in a compact housing and let’s face it, designers cannot ever have enough quality beam light, so they are also always in demand.”
Sounds like we have a lot of happy customers here and looks like Gearhouse is set to shine brightly in 2018.
In picture: Peter Abrahamse, Stuart Andrews, Andile Msimang, Adrian Skinner, Robert Grobler and Bernard Harris take delivery of the MA desks and Spiiders; Adrian Skinner, Bill Lawford, Peter Abrahamse take delivery of the BMFL Blades.
photos: Duncan Riley
21st March 2018
SolaSpots Star Performers at Amateur Musical Awards
The Netherlands – Held in the prestigious Royal Theater Carré in Amsterdam, the third annual Amateur Musical Awards featured lighting design by Coen van der Hoeven, who specified a large High End Systems rig for the show, including 16 SolaSpot 2000s, 40 SolaSpot 1000s, six SHAPESHIFTER C1s, 20 UNO and Hog 4 control.
The team’s production time was only one day, so Coen’s challenge was to get a show with 250 performers, 16 piece orchestra and 17 show numbers up and running in just a few hours. The LD also had to reckon with a live television broadcast. He explains: “We put together a group of the best specialists in theatre. V-Productions took care of delivering the equipment, together with AED Group Holland. Their board operator Kaj van Dijk programmed the Hog 4, and we ran the show on WYSIWYG during the dress rehearsal in a sports hall. Our crew chief Tijs Winters was stolen from Stage Entertainment Holland!”
Coen says he required a smart lighting rig, not complicated to construct, and with not too many different kinds of spotlights. “The spots needed to be versatile, reliable and with lots of output. I didn’t want both wash and spot fixtures, but a spot that could do both, this is why I chose the SolaSpots.” The SolaSpot 2000’s were placed right above the stage and on the floor behind the orchestra, along with the 1000’s as side lighting above the orchestra and, most importantly, in and behind the five metre AMA logo. “I really like the vivid, rich colours of the SolaSpots and the very original gobo package. I haven’t seen better colours in LED spots, especially when it comes to lighting people. And the SolaSpots’ quiet operation is a big advantage in theatre.”
An avid user since the Hog 2 days, Coen’s preferred console platform is the Hog 4. “There is no system with a better and more intuitive effects engine, and the way Hog handles timing of literally every parameter is the best. It is fantastic that the whole range communicates and is exchangeable. The Hog 4 flagship model is a very powerful tool on big live shows like the AMAs, where I use a separate page for each song or part of the award ceremony, the motorised faders are a must! And the fact that we kept our spare computer in its case says everything; with the Hog 4 I am confident that there isn’t going to be any trouble.”
21st March 2018
Adlib on The Script for Freedom Child Tour
Worldwide – Multi award-winning rental and production specialist Adlib is back on the road with Irish rockers The Script, supplying an amazing sounding CODA audio system for FOH engineer Steve 'Pato' Pattison.
He and monitor guru Marc Peers are also both well-known and talented Adlib regulars who have worked on previous Script tours, and are both assuming engineering roles for the first time.
Adlib has provided audio for The Script’s four previous album campaigns which has included three arena tours and some stadium shows. Long term FOH engineer Richy Nicholson has actually flipped roles on this one, after many years of mixing FOH, he’s representing Adlib as the account handler, co-ordinating everything from the office and warehouse perspectives.
A top touring crew join Pato and Marc on the road including systems engineer Alan Harrison, George Puttock, Jay Petch and Laurie Binns.
It’s the first time The Script have used CODA in Arenas, a decision made by Pato after using it on last summer’s album launch tour.
Pato loves the outstanding clarity and precision of the CODA sound, together with its huge flexibility, meaning that it can be quickly and easily adapted and rigged in different sized venues. He relishes the daily challenges that come with using CODA due to its studio monitor quality output, which means “you really have to up your game” to take advantage of its enormous dynamics and transparency.
The main system set-up is main left and right hangs of 14 AiRAY dual 12-inch speakers, complete with four ViRAY dual 8-inch downs, side hangs of 12 AiRAY with four ViRAY downs, plus an upstage hang of eight ViRAY and a centre cluster comprising another eight.
The flown subs are eight SC2 dual 15-inch bass cabinets, run in conjunction with a ground stacked spaced array of 32 SCP dual 18 subs.
APS 10s and HOPS 8s are used for front fills.
Being a rock band with plenty of power pop influence and a lot of attitude, the music requires excellent low and mid power, perfect delivery and intelligibly; this, plus the PA’s ability to reveal intense detail without any elements sounding harsh or strained, was another reason for the choice.
Pato loves the fact the subs are set and sturdy. “You can get all the low end needed without creating any artefacts and the frequency response stops exactly where it’s supposed to stop, which is just fantastic!”
As the system technician, Alan’s challenges are creating the system design and fine tuning to perfection each day, getting it optimised first at FOH and then ensuring that as much of the audience as possible also enjoys the same sonic experience.
With 11 trucks and a rolling stage, time is at a premium and the slot times are tight; however, with the practical handling and straightforward rigging system, the AiRAY simply flies up each day, and they have been in and flown within two hours of tipping, allowing the other departments more time to concentrate on their work.
CODA’s modelling software EASE Focus 3 and its sonic signature also makes it seriously faster than using other systems. Alan and Pato both agree that “it sounds incredible straight from the off”.
Due to the accuracy and honesty of the predictions, Alan can 90% guarantee that what he designs will be the system they build for real each day, proudly and with a smile, pointing out that this means “less time making noise and annoying the rest of the crew!”
The PA drive system is digital from mic converters to the amps, so benefits from minimal signal degradation from multiple A to D conversions. He feeds his Lake LM44 at FOH via AES from the Allen & Heath S7000 console, and then Dante down to the Lake LM26 processors positioned stage left and right. AES over CAT6 from these is sent to the amplifiers which are the new four-channel Linus 14 with 5K of RMS per channel.
The amps are “amazing” he commented, noting the much lower harmonic distortion than others, which, coupled with the clarity and richness of the speakers, means a completely crystal clear sound.
Pato chose the S7000 for its simplicity, power and ease of use. “It has everything you need – no plug-ins or other stuff needed, it has loads of inputs and is totally user-friendly!”
The band start the set on the B stage right in the middle of the audience which gets the show off to a tumultuous start with some serious direct engagement that underlines the great rapport The Script enjoy with their enthusiastic and loyal fan base.
They work hard and relentlessly through the whole set to keep this exclusive communication and all the excitement and energy flowing, right through until the final chords.
Pato explains that because the CODA reveals so much, intricate effects pop out on some of the tracks that have previously not been audible. One of his tasks was ensuring these are all present and balanced in the mix, for which he finds the console’s dyn8 insertions really helpful.
“It’s an incredibly clean system for such a small box,” he concludes.
The creative sound he’s producing for the band has all the vibrancy and vigour of rock with the beauty of hearing the intricacies of what each band member is playing, even when there are multiple other inputs in the mix. Such is the sonic finesse of the CODA.
Adlib’s Marc Peers has worked on the last four Script album tours in different roles including audio crew chief on the last one; however, this is the first time he’s mixed their monitors which he is loving! “It’s like a super-friendly family reunion when a Script tour goes back out,” he commented.
He’s specified a Midas PRO X console, chosen for its excellent sound and – similar to Pato at FOH – because no outboard is necessary and everything you need is right there at the fingertips!
The band tour their own Sennheiser IEM system and the only monitor speaker onstage is an Adlib MP4 drum sub for some atmosphere in that area. They are running eight channels of Sennheiser 2000 series, five for the band, a spare, a tech mix and an EQ channel, so it’s a straightforward set-up.
As a hugely experienced and knowledgeable monitor specialist, Marc is savouring the chance to bring some of his own nuances to the mix.
He has also taken on the frequency management and planning which brings a new aspect to the job. “Sometimes on a larger tour, you will have a dedicated crew person looking after this now, but on something like this, it’s ideal and beneficial in several ways for me to do it myself,” he commented.
Especially with the B Stage in play, they are using 24 frequencies which is reasonably more than a standard set-up.
The tour is proving a big hit and is currently scheduled to continue in Europe and then visit Asia, Australia and South Africa before returning to the UK and Ireland, so there will be more chances to catch some show-stopping, action-packed performances before the summer is out!
Richy Nicholson commented: “It has been great being part of the Script Family for so many years and to have the opportunity to carry on in this new capacity. They are a brilliant live band and the production always gets better with each tour. Pato and Marc along with our crew are doing a great job out there, long may it continue!”
In picture: Adlib Crew of George Puttock, Laurie Binns, Jay Petch, Steve Pato, Alan Harrison and Marc Peers; The Script live at Liverpool Echo Arena.
photos: Steve Sroka
20th March 2018
Charlie Daniels Rocks 20th Volunteer Jam with Bandit Lites
USA – Charlie Daniels’ Volunteer Jam has seen many different iterations over four decades, but none have been as distinct as Volunteer Jam XX: A Tribute to Charlie. Produced by Blackbird Events, Bandit Lites provided the lighting for the Country Music Hall of Fame member’s 20th installment of Volunteer Jam which featured a set list of over 30 songs from a diverse and talented line-up including Travis Tritt, Chris Young, Alison Krauss, Lee Brice, Chris Janson, Justin Moore, Billy Gibbons of ZZ Top, Alabama, The Oak Ridge Boys and Lynyrd Skynyrd.
“Volunteer Jam XX had a kind of 'specialness' about it,” said Charlie Daniels in a release. “The calibre, quantity and variety of talent who took the stage crossed lines, demographics, genres and styles that, while truly diverse, blended together to make for what was most likely the most entertaining Volunteer Jam in its 44-year history."
“Bandit Lites and Charlie Daniels have shared a very long and positive relationship since the '70s and there was never a question as to our desire to be involved with this production,” said Bandit vice president Mike Golden.
Bandit Lites provided lighting designer Mark Carver with Martin MAC Viper Profiles, VL 3500 Spots, VL 3500 Washes, Chauvet Rogue RH1 Hybrids, Chauvet Nexus 4x4 and Portman P1 fixtures with a grandMA 2 full console for control.
“The producers were looking for a balance between contemporary and old school looks,” said Carver. “It was also being recorded for AXS TV so attention was made to produce with a great video product.”
Carver utilised the Vipers and Rogue Hybrids for hard edge beam effects and texture for the stage, while the VL 3500 Washes provided colour and back light for depth and edging. Old school par bars evoked the classic country rock vibe while Portman P1 fixtures supplied eye candy.
With Vol Jam as a one-night only extravaganza, multiple artists taking the stage and the special nature of this celebration, efficiency was key for the compressed schedule, a factor Bandit Lites prides itself on.
“The show came in well prepped by Bandit and was installed by techs John Lucksinger, Ty Veneziano and Sam Morgan in record time,” said Carver. “Mike Golden and Project Manager Don Lockridge couldn’t have been more helpful in supplying a well prepped and totally complete package. John Lucksinger also served as board op and did a fantastic job in the compressed schedule. Overall the show was a great success.”
“I really want to thank Rob Rauffer from Blackbird and Mark Carver for their leadership as they both stepped to the plate to make this a very smooth and special event,” added Golden. “I know I speak for all at Bandit Lites in saying we are very proud to have been a part of this tribute honoring the legendary Charlie Daniels.”
20th March 2018
Elation Paladin Makes Site Lighting Dynamic at Okeechobee Music Festival
USA – 1st to the 4th March saw the third incarnation of the Okeechobee Music & Arts Festival, a four-day multi-genre music experience filled with art and entertainment held at Sunshine Grove in the heart of the Florida wilderness. The festival’s recipe of offering a range of diverse talent (this year saw Arcade Fire, Bassnectar, Halsey, Travis Scott, The Flaming Lips, Snoop Dog, and Khalid among many others) attracts a wide range of music fans.
Rob Ross, site lighting designer for the festival and president of Rob Ross Design, Inc., designs and oversees the installation of the site lighting at the festival and chose to highlight one of the most important symbols of the festival in dynamic lighting, a can’t miss 90-foot tall fire tower. The fire tower, which displays prominently in the festival’s branding, including website, posters, pamphlets and site map, can be seen from across the festival grounds and therefore serves as a gathering and meeting spot for guests.
“It was important for us to keep the fire tower at the forefront of our lighting design so that it would stand out and remain a symbol on site, integrating the festivals marketing materials with the on site guest experience,” said Ross, who has been involved with Okeechobee since its incarnation, working to develop the look and feel of the festival since 2016. “We used 16 Elation Paladins at the base of the fire tower to light up the structure and used the very bright lights to really give it life.”
The Paladin is an IP65-rated hybrid LED luminaire with zoom that functions as a brilliantly bright blinder, powerful strobe and high-output wash light. Its 24 40W RGBW LEDs kick out a full spectrum of colours, including high-impact white light. Ross used the fixtures to create a wide range of looks on the tower, including a rainbow effect pulsing around the tower and a white strobe effect. In one special look, Ross created a static rainbow around the fire tower with colours blending as one moved up the structure, ending in an extremely bright white on the top cabin of the fire tower.
“The Paladin's bright intensity allowed us to mix dark saturated colours without having to worry about losing any brightness on the fire tower,” Ross said. “The zoom capabilities also allowed us to adjust the focus to maximise intensity and emphasize the sharpness of the tower. A random zoom effect on the fixtures really made the tower sparkle, giving movement to the light and creating even more dimension in the cueing.”
Because it has multiple pixel zone control, the Paladin can be pixel mapped for easy video design integration or can be used for eye candy looks. It also includes a manual tilt adjustment that allows for more flexible positioning for more accurate projection.
“What was really great is that these fixtures are cost effective enough that we were able to use 16 of them at the base of the tower, in a project where our budget is spread across an entire festival site,” Ross said, adding, “It’s a delicate balance deciding how to spread out the gear.” The lighting rig was programmed by Rob Ross Design’s lead designer, Alejandro Fajardo.
With the tower dressed in a brilliant wash of color, the only thing missing was a crowning beacon of light which Ross accomplished by topping the fire tower with eight Elation Platinum Beam 5R narrow-beam fixtures. “We used these to create various beam effects in the sky that could be seen from throughout the site,” the LD stated. “We had a couple of fun effects going on up there; my favourite was a lighthouse type effect that was modelled after the searchlights atop the Eiffel tower.”
Ross began using Elation lights about six years ago when he started working with The Design Oasis on some of their site lighting projects. He again called on the full service cross-rental company to support his team for the Okeechobee Music Festival. “The wonderful team at The Design Oasis has supported us throughout much of our work. Their encouragement and dedication have allowed us to continue creating successful designs, despite any technical or logistical difficulties,” he concludes.
photos: Jorg Photography
19th March 2018
Lüz Studio Lights Børns With GLP X4 Series
Worldwide – Lüz Studio continues to provide highly inventive lighting solutions from its base in Montreal, currently for American singer-songwriter, Børns, on his world Blue Madonna tour. This opened in Oakland, CA, at the start of the year and will travel the globe during 2018.
Set up in 2005 by versatile lighting/video designer Matthieu Larivée, Lüz Studio has frequently turned to GLP’s X4 platform for its requirements, and this latest tour has been no exception. For the LD has made versatile use of 16 X4 Bar 20 battens and 14 impression X4, supplied by Upstaging of Chicago.
Børns’ 2016 Dopamine tour had been non-production tour, with no lighting whatsoever, so instead Lüz Studio designed a backdrop that would be fun to be lit by local LDs. “There were three separate layers of red, blue and green, so depending on the lighting used, a different backdrop would be created.” Lüz themselves were involved in lighting some of a few bigger shows.
When they started working on what would be Børns’ first full production tour a few months ago, Matthieu Larivée wanted to do something special with the lighting that reflected the artist’s world. “He is always super chic, has a super strong artistic vision and his music is poetic,” he said.
“Designing a club tour usually means a lighting floor package. I wanted to keep that in mind but I wanted to have a visual reference that would differentiate a Børns concert from the other acts that play in a club.”
His idea was for a unique canvas that would work well with the lights. “The Blue Madonna album has a very summery vibe but Børns wanted to have a classic rock look too. So we came up with the idea of having a wall of tropical leaves as a nice scenic backdrop onto which we could front project and create dramatic rear projection effects.”
The hand-crafted canvas is made of 1,000 different leaves, hung on a camouflage net. They are painted grey to catch all colours of light and yet disappear when not lit. “When lit from bottom, side, front or back, it creates different shapes and looks,” explains the LD, who deployed four X4 Bar 20 on either side of the backdrop and eight concealed in the backdrop itself. Impression X4s were also located at the bottom of the backdrop to create a dramatic lighting angle, while the pixel mapping effect projected on the leaves was also very effective. “Pixel animation can be very modern but on this one, because the source was hidden, it created a mystic look. It’s just so versatile.”
“The X4 Bar was a key element in the design,” he went on. “We were able to create nice, theatrical sidelights to highlight the music punches with the fast zoom and create some nice moments with the tilt effect. The hidden fixtures behind the backdrop were stunning, and this is one of my favourite looks. With the zoom and tilt possibility we could achieve so much and I could be very precise while providing dynamic support for the rock show.”
Explaining further, Larivée added: “The speed of each parameter of the X4 was super important. The fact that you can go very narrow and very wide was also important. So, I could side light the leaves and on a snare hit, I could punch the zoom to create another dimension.”
Matthieu Larivée himself programmed the lighting with assistance from Jean Sebastien Guilmette from Luz Studio, with the whole show timecoded.
The LD says he first fell in love with the X4 platform after seeing the original X4 at the Midnite Hour Productions in Toronto, noting its unique design and it has since become his ‘go to’ wash unit.
Above all, he says, a lighting fixture needs to be versatile. “And the LED GLP fixture line is certainly that, and they are well designed, easy to program, precise and offer endless colour possibilities. I can use the X4 on a whole range of events, from musicals to rock shows.”
photos: Steve Carlson
19th March 2018
dB Audio Namibia Makes Some Noise with new Robe Spiiders
Namibia – dB Audio in Namibia has continued its investment in Robe moving lights with the recent purchase of 12 Spiider LED wash beams, added to its inventory of over 150 Robe moving lights, the largest Robe stock in Namibia.
The lights were supplied by DWR’s distributor for southern and central Africa, DWR and are the latest addition in a steady commitment to the brand which dates back 13 years by dB Audio, one of the busiest rental and production specialists in Namibia.
Owner and founder David Benade started the company in 2004, initially as an audio supplier, however it soon made sense to offer other production disciplines like lighting and rigging. At that point, audio was his specialist area, a competitor moving brand was dominant in the region, and, being a start-up, budget was tight.
All these things considered, he started researching and scouting around what might be a rising star lighting brand with a good future, a ‘one-to-watch’, and Robe popped up again and again. He started asking around, and all his sources both personal and via the internet, came back saying that Robe was definitely a new kid on the block; keen, enthusiastic, tails up but, also with a solid OEM manufacturing history and the capability of developing quality, well-built products, so he decided to take the plunge and buy Robe! The first pieces of kit were two AT series 575 Spots. “I’ve not looked back since that day,” declares David.
In terms of market positioning, Robe’s meteoric trajectory has elevated it to being among the most respected manufacturers worldwide. It is also the brand that is strongest and most prevalent in the south of Africa, due to a combination of launching some excellent products over the years and the enthusiasm of DWR, its South African based distributor since 2007.
David recalls how it was a big decision at the time, “But one that’s totally paid off for our company and our market. Robe has given us fantastic support over the years and it’s been really gratifying to see their hard work pay off and make them a market leader.”
dB Audio was so busy for the last two months of 2017 that they pulled out all their older Robe purchases including the original 575 Spot ATs and a bunch of XT Series scanners which were all still working!
Since 2010, the launch of the LEDWash 600 and a turning point for Robe’s own product strategies, dB has invested in all the major product releases, including the LED Wash series, LEDBeam 100s and 1000s and more recently Pointes and BMFLs.
Being cutting edge has been part of the company’s philosophy since the start.
There’s also the fact that the cross rental market in Namibia is limited, and to hire extra kit from South Africa can be phenomenally expensive due to the transport costs, so the idea has also been to try and be as self-sufficient as possible with good equipment.
So when it came to purchasing some new LED washes, Spiiders were an obvious choice as specified by the dB lighting team led by Gillroy Barmann who commented: “Our Robe LEDWash series fixtures have worked extremely hard, so it was time to invest in the latest versions and take some pressure off the older stock.”
“It’s an incredible fixture with excellent output and plenty of flexibility at a good price and it’s also going to be relevant for some time!” stated David.
The first job for the new dB Audio Spiiders was the Windhoek Jazz Festival in Independence Stadium, Windhoek (LD Ramon le Roux). dB’s Gillroy Barmann and Geraldo Papo then used them for the Hunter’s Roadshow, a high profile party in Ongwediva in the north of Namibia for the top SA cider brand which needed to look fantastic. Ramon Le Roux included them again in his design for international singer Joss Stone’s one off performance at the Warehouse Theatre in Windhoek.
In picture: Leena Tjithunga, Geraldo Papo, (centre) Gillroy Barmann and Natangwe Petrus Ndenge.
19th March 2018
Chauvet Professional Sets Mood For 3 Doors Down at Bob’s Biker Bash
USA – Even before the opening notes were sounded for Bob’s Biker Bash on 4th November, John Garberson knew it was going to be a great night. Behind the stage, the setting Arizona sun was blazing a glorious red that looked as if it came out of a classic western movie. “It was the perfect setting for an outdoor concert, and everything that followed lived up to this beginning,” said Garberson, who served as the lighting and video production manager for the Phoenix Children’s Hospital fundraising concert, which was headlined by 3 Doors Down.
Contributing to the smooth flow and good mood of the evening was the versatile and power-packed lighting rig that Garberson and his team at Creative BackStage put together for the show. Anchoring that rig was a collection of 15 Maverick MK2 Spot, 25 Rogue R2 Wash and four Strike 4 fixtures from Chauvet Professional.
“We’ve been a part of Bob’s for six years,” said Garberson. “Pro Productions has us do the lighting and video with the mandate to create a rig that can create the most excitement for the crowd that turns out to support Phoenix Children’s Hospital. The thing we like about the Mavericks and Rogues is that they deliver a lot of pop, which allows us to create arena style looks at a one-off outdoor show.”
To maximise the versatility of the moving fixtures in his rig, Garberson flew them on three rows of truss, which was based on the 3 Doors Down lighting plot. The multi-platinum selling band’s LD Jay Branson, a partner and the principal designer at Two Pair Creative of Las Vegas, ran their show. Matthew Berg ran the show for the opening act Big Swing.
The three-truss run consisted of a 40-foot downstage, a 35-foot mid-stage and a 40-foot upstage. “Having the three rows creates a lot of opportunities to come up with different looks,” said Garberson. “Aside from being ideal for crossing the stage with beams from every direction, this configuration also works great for back lighting, specials and audience lighting.”
Garberson flew four Maverick MK2 Spot and 10 Rogue R2 Wash units on downstage truss. He also hung four Strike 4 units flown in this position for audience lighting. On the mid-stage truss, he flew six Maverick and an equal number of Rogue fixtures. The upstage truss had five Maverick MK2 Spots and four Rogue R2 Washes.
“There were a lot of cool moments in the evening that the lighting played a big role in creating,” said Garberson. “Hitting the stage with light from the different positions really crated an architecture that the artists moved through. One of the coolest moments was when we had some dancers move on stage with only background lighting. It was kind of subtle, but it showed the kind of depth the lighting rig was capable of creating.”
It was all in all a perfect evening. The large crowd left happy. The Phoenix Children’s Hospital raised money; and as if on cue by the end of the concert a bright November moon illuminated the sky.
19th March 2018
BCS Audio chooses DiGiCo SD12s for James Arthur and Tom Odell tours
UK – Born out of the back of a van 24 years ago, BCS Audio has gone on to become one of the UK’s premier, multi-faceted pro audio companies. BCS owner David Shepherd explains why DiGiCo’s latest console, the SD12, was an obvious investment and the ideal choice for the current James Arthur and Tom Odell tours.
“When the SD12 was launched, I could immediately see it being a very popular console because it’s such a great fit for both small and large jobs,” explains David. “The footprint of the console means it will fit into a bus or trailer, whilst its twin screens give it the feel of the larger consoles in the range, which helps front of house engineers with speed of workflow. That’s why we bought two of them and they’ve been working hard all summer on the tours, as well as for the both artists’ appearances during the busy festival season.”
“I was using an SD10 before going onto the SD12,” says Davy Ogilvy, FOH for Tom Odell. “It took a little while to adjust to the SD12, but it's a great desk. The smaller footprint made it easy to squeeze into crowded FOH tents during the festival season and the built-in UB MADI and DMI-Dante card have been endlessly useful.”
“It’s really affordable for smaller shows,” adds David, “and adding optics means it can be used in a much more flexible way with our existing consoles – we already have a large stock of DiGiCos including SD10s, SD8s and SD11s – whilst using SD Racks gives the SD12s more flexibility with the rest of our stock.”
David is delighted that his confidence in the SD12 and in DiGiCo’s reputation for building long-lasting, tour worthy consoles has paid off.
“I bought the consoles before anyone had even spec’d them because I just knew they were going to work really hard – and they have!” he says. “Not only have they been out all summer with James Arthur and Tom Odell, one of them has already been booked for the whole of November by British musician, producer and DJ, Bonobo.”
19th March 2018
Wang Feng tour flies high with L-Acoustics
China – Chinese rock icon Wang Feng kicked off one of the country's most highly anticipated live music events in September 2017 with The Times tour. The major national tour supports his latest album 29, Guoling Lane which has propelled Wang Feng to even greater acclaim.
Debuting at the iconic Bird’s Nest Stadium in Beijing, the tour has the hugely popular singer performing in 30 cities over the course of 2017 and 2018. The production requested a sound system without delays on the field, to preserve sightlines and budget. Sound designer Mr. Shaogang Jin chose an L-Acoustics K system, supplied by rental company Lab Beijing, for its long throw and even coverage.
One of China's most renowned sound engineers, Shaogang Jin has designed sound and manned FOH for Wang Feng over many years both on tour and for the prominent reality TV show The Voice of China. He has also worked as master sound engineer of the Opening and Closing Ceremonies of the Beijing Olympics in 2008. In addition to the powerful throw of the L-Acoustics K system, he cites L-Acoustics' rugged and waterproof design, and ease of tuning, via LA Network Manager as the main factors influencing his system choice for The Times tour.
The system design consists of a total of 44 K1, 96 K2 and 24 Kara, plus 24 K1-SB and 40 SB28 subs, with K1 and Kara used for the main L/R hangs, K2 for outfill and Kara for frontfill. Consistent bass coverage across diverse venues was accomplished with flown K1-SB and ground stacked SB28 subwoofers. The entire system was driven by 86 LA8 amplifier controllers.
Shaogang Jin used L-Acoustics 3D acoustical modelling programme, Soundvision to help him design the system to get the coverage he wanted in each venue. “Soundvision is a very powerful and accurate design tool. It's really helpful and makes the tour much easier,” he explains.
With such a complex tour, Shaogang Jin was grateful for the technical support provided by L-Acoustics application engineer Mr. Alvin Koh. “The support from L-Acoustics was excellent,” he says. “We knew we could count on Alvin’s extensive experience for advice in getting the best out of the system.”
As the tour continues throughout 2018, Shaogang Jin knows that the system will be well-accepted. “L-Acoustics produces the world's highest quality speakers. It's the best choice for touring. Sound engineers are very familiar with it and particularly appreciate the L-Acoustics signature sound. Everyone is very satisfied with the system.”
19th March 2018
GLP’s High-Speed Force 120 Earns an Array of New Fans
USA – Highly-experienced production designer Travis Shirley has recently been turning to the GLP fixture portfolio in order to meet some of his more demanding challenges.
Having used the company’s new revolutionary JDC1 hybrid strobe with his long-time charge, Enrique Iglesias, he has now become the first major adopter of GLP’s new Force 120 high speed, variable direction fan unit with internal RGB LED lighting, this time with country rock band, Old Dominion, having been introduced to the five-piece on their previous tour by manager, Will Hitchcock.
In mapping out their touring plan for 2018 the band chose to embark on their own arena size tour before supporting Kenny Chesney on stadium dates later in the year. “There was a determination to have a presence throughout the entire year, whether in a support or headlining capacity,” acknowledges Travis.
With the need to be adaptable between both scenarios, the LD had become aware of the Force 120s impressive launch at last year’s LDI Show, and subsequent videos of the unit in action at the expo confirmed his belief that this could provide a unique design solution. He duly spoke with his vendor, David Haskell, president of Nashville based Morris, and the two men were soon heading to GLP’s US HQ in Los Angeles to take a first hand look.
They spent a day at the facility, thoroughly checking suitability for the design, as well as the deployment requirements. “The moment I saw it I knew it would be perfect for the band,” Travis confirmed. “We wanted to look at the light and durability as a whole.” And he could see clearly that the Force 120 would deliver his expectations.
While the LD set out to draw them into his design, Morris worked out the logistics of deploying the system. As for GLP, since this was a brand new fixture, they had to manufacture the 15 active units in double quick time, in order to meet the rehearsal deadline for what would be the units’ first major outing, and the band’s largest production tour.
Although he would gladly have used more, Travis found that 15 of the Force 120s delivered ample coverage when the tour first opened in Canada “It was a very large look for the size,” he said. “There is a simplicity to the fans that will make them a perfect element for many instalments, whether that be an Awards Show, Corporate gigs, or in my case, a tour.”
The Force 120s are concealed behind kabuki drapes and revealed as required to create the element of surprise. Speaking of the rationale behind this, the designer said: “Much as we are a fan of the fans – pun intended – we wanted to have a bit of reveal when it came to showcasing them. Therefore we designed a series of banners and drapes that hang in front of the fans. Each drop is concealed by several kabuki solenoids that eventually reveal the fans just after the halfway mark in the show.”
New units they may be, but neither Travis, nor his touring lighting director, Kevin Lichty, and programmer, Trevor Ahlstrand, had any intention of under-driving them. “As you would expect we have taken full use of the fan attributes, with variable speed, variable direction, endless chase options etc. One of the most notable and unique programming options occurs while playing with maximum speed and strobe on the fans.”
The Force 120s have also won the band over. “Considering they have to play in front of them every night I think the band is extremely happy with the product and design choice.”
In closing Travis Shirley says, “One of the things I’ve noticed is how fans on social media react to the band’s new look. We’ve received lots of positive comments and chatter regarding the GLP Force 120s.”
And finally he gives a glowing testimonial to the equipment vendors for their support. “Morris is a top notch company with a staff like no other,” he eulogises. “Their highly dedicated and driven employees make each of my tracks with Morris an enjoyable one.” And while they are always on hand should there be any problems, Travis confirms that the Force 120s have been functioning flawlessly.
photos: Mason Allen
16th March 2018
Christie technology scores with Vegas Golden Knights on-ice projection mapping
USA – The Vegas Golden Knights hockey team not only continues to impress the sporting world with its outstanding play, they are doing it in typical Las Vegas-style. A striking projection mapping show uses Christie projection and processing technology coupled with the expertise of Image Engineering to engage the crowd and bring the story of the Golden Knights to life on the ice at T-Mobile Arena.
Bringing a professional sports team to Las Vegas, a city known for showmanship and world-class entertainment, is no small feat, and the Vegas Golden Knights have embraced the challenge of playing their home games in the “Entertainment Capital of the World.” One of the top priorities of the team is to create a truly memorable fan experience. The first-year National Hockey League (NHL) club uses 12 Christie WU20K-J projectors, Christie Mystique Install, Christie Pandoras Box and Christie Widget Designer to create the on-ice show.
Leading up to the team’s inaugural home game on 10th October, 2017, the Vegas Golden Knights and Image Engineering had been collaborating and planning for months on the pre-game and in-game entertainment. However, when the horrific mass shooting occurred in Las Vegas on 1st October, the team wanted to respond to the tragedy and do its part to help the community grieve, heal and persevere. This necessitated building an entirely new show.
“We wanted to honour the victims, the survivors and the first responders; months of planning turned into a few days of planning. We were listening to the community and seeing what made the most sense,” says Jonny Greco, vice president events and entertainment, Vegas Golden Knights. The NHL franchise honoured the first responders, victims and survivors by projection mapping the names of the 58 victims on the ice followed by 58 seconds of silence.
“It was celebrating this city and acknowledging what had happened and giving Las Vegas the opportunity to honour and grieve together, and then transition into a few hours of time when hopefully they could have some fun and be in a more positive place,” says Greco.
The Golden Knights have been committed to winning fans over since that first game. “Within three hours we have to win them over. It’s quite a concentrated effort,” says Greco. The new franchise knows that expectations are high for one of the NHL’s top teams, and all the elements must work seamlessly to ensure a great fan experience. So, for the Golden Knights and Image Engineering, choosing Christie technology was a perfect fit.
“Christie’s reputation obviously is phenomenal and all over this town,” says Greco. “All over The Strip you see Christie projectors. I didn’t have a lot of experience with that coming in and so that’s where you trust great people to do great things at great times and Image Engineering was able to do that.”
Image Engineering was brought onboard by the Golden Knights to handle the full game presentation, including AV integration. “We took a lot of care to figure out an installation plan that was going to work for T-Mobile Arena because they do have so many large concerts and one-off shows that come in and out so frequently,” explains Ian Bottiglieri, director of project management, Image Engineering.
The 12 projectors are in 'pods' of two near each face-off circle, each blue line, and centre ice, on each side of the arena. Image Engineering then used Christie Mystique to align the projectors, saving both them and the Golden Knights what would normally be between eight to ten hours every time the projectors needed realignment after being repositioned for a concert or other event.
“Mystique was great because it took about four to five hours to get Mystique set up and running for the first time. After that, we didn’t even really need to think about our alignment because we just needed to block out a 15-minute time period to be able to run the Mystique system and everything would be realigned and perfectly warped and blended. That definitely took a lot of angst and anxiousness out of the equation because the alignment wasn’t even a concern because of the Mystique system,” says Bottiglieri.
The Pandoras Box Quad Player is integrated with the time code triggers from the Daktronics system, triggering the content in a synchronized fashion, and, according to Bottiglieri, the Golden Knights’ technical team are rapidly learning what Pandoras Box is capable of and continue to push the envelope with some “cool, creative stuff.”
With extensive experience working with Christie technology “it was a natural fit,” says Bottiglieri. “It wasn’t a question for us of who we were going to use or what the product was going to be.”
The Vegas Golden Knights continue to win fans over with each game. Says Greco, “In the end, it is about winning on the ice and providing a home ice advantage to get wins, but we want to have fun along the way.”
16th March 2018
Elation Q7 PARs Weather the Cold on Miller Holiday Lites
USA – Clearwing Productions of Milwaukee used Elation Professional’s Level Q7 IP RGBW Par lights on Miller Holiday Lites in Milwaukee for the entire month of December, in cold weather with no issues then rolled them right into ‘big game’ festivities in Minneapolis in January, where they continued to perform in even colder weather.
Clearwing, who stock hundreds of the Level Q7 IP Par lights, provided all of the lighting, decor, video and audio equipment for Miller Holiday Lites in partnership with GMR Marketing, their second year decking the halls on State Street with GMR Marketing and Miller Brewery.
Miller Holiday Lites is a yearly family-friendly tradition in Milwaukee, where guests are invited to take a mini-tour down State Street, decorated with festive holiday lighting courtesy of Miller Brewing Company. Guests had the chance to view a 4-5 minute programmed light show before enjoying other Miller Brewery tour activities, such as experiencing the iconic caves and sampling a wide variety of Miller products.
Used for uplighting and wash lighting in several areas of the production, the Level Q7 IP fixtures, which house seven 15W RGBW LEDs for nearly unlimited colour options, were the workhorse of the Holiday Lites display according to Mercer Pinkston, account executive at Clearwing. “Honestly, the most impressive feature of the Level Q7s is the durability,” she said. “All of these fixtures sat outside in freezing temps, snow and heavy wind for well over a month. An interesting thing to note is that these exact fixtures went straight from our hot, humid, and rainy festival season to Miller Holiday Lites and then on to another show directly after that. They traversed several different climates and were exposed to a variety of elements throughout their first official year in our inventory and they are still performing as well as the day we unboxed them.”
Some 200 Level Q7 IP fixtures were used to light various areas down two city blocks of State Street. One of the biggest compliments that Clearwing and lighting designer Mitch Van Dyke received on this year’s design was for a special colour wash effect in trees during the light show. Pinkston explains, “Some of the trees are very large and in hard-to-access locations so getting traditional string lights on them wasn't a possibility. Instead, we used Q7s to uplight and front wash these trees. They really packed a punch by offering us the opportunity to have many colour options and people loved it!” Level Q7 IP fixtures were also used to uplight a special 'keg tree', a crowd favourite according to Pinkston.
Miller Holiday Lites ran from 29th November to 30th December and was again an important event in creating the holiday spirit in Milwaukee. “The event was excellent and so were the Q7 fixtures,” Pinkston concludes. “We never had issue with any of them, which is amazing considering we had 200 site wide.”
photos: Jay Baumgardner